Podcast appearances and mentions of Matthew Broderick

Tracy Smith sits down with composer Marc Shaiman, who has crafted music for some of the biggest film, television and Broadway productions of our time. Smith also speaks with some of Shaiman's longtime friends, including Steve Martin, Matthew Broderick and Nathan Lane. Mo Rocca talks with author and commentator Jack Schlossberg, the grandson of President John F. Kennedy, who is now running for Congress in New York. He opens up about his family and much more. Rocca also talks with his parents, Caroline Kennedy and Edwin Schlossberg. Jo Ling Kent talks with former Goldman Sachs CEO Lloyd Blankfein about his early life, the business world and his new memoir. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

While we're being distracted by chatbots and AI gimmicks, Silicon Valley is quietly embedding its products into surveillance systems, border enforcement, battlefield logistics, and even nuclear command-and-control. The real money isn't in selfies with AI. It's in Pentagon contracts and permanent war footing.Investigative reporter Peter Byrne is back to talk with Steve about his 10-part Military AI Watch series at Project Censored. It's a chilling and materialist analysis of the military-industrial-AI complex.Naming names and following the funding trails, Peter reveals how firms tied to Palantir, Google, and other tech giants are positioning AI as indispensable to “national security.” Meanwhile, the systems themselves remain prone to hallucination, data poisoning, and catastrophic error.War games escalate to nuclear exchange. (Does anyone remember War Games, the movie? Matthew Broderick and Ally Sheedy play a teenage nerd and a popular girl who save the world from the nuclear destruction they almost launched. Sigh... innocent times.) Civilian infrastructure becomes battlefield terrain. And the comforting promise of a “human in the loop” is a marketing slogan instead of a safeguard. 2001: A Space Odyssey eerily feels both prescient and naive by comparison. Hollywood likes to personalize everything. The villain is wacky or evil; it's never the economic system.As their conversation continues, Steve and Peter look at class power, media complicity, and the illusion that electoral politics alone can rein in a self-directing war machine.Peter Byrne is an award-winning investigative science reporter who has long uncovered corruption at the nexus of science and industry. Now, in partnership with Project Censored, Byrne has launched Military AI Watch, a groundbreaking ten-part series published on Project Censored's website. https://www.projectcensored.org/military-ai-watch/Find all of Peter's work here: https://www.peterbyrne.info/

Step onto the battlefield for one of the most powerful and critically acclaimed films of the 1980s. This week on the 80s Flick Flashback Podcast, host Tim Williams is joined by guest co-host Laramy Wells to honor the 1989 cinematic masterpiece, Glory.Together, they examine the harrowing and heroic true story of the 54th Massachusetts Infantry Regiment, one of the very first African-American units to fight for the Union during the American Civil War. From the breathtaking cinematography to the powerhouse performances that defined a generation of actors, Tim and Laramy break down why this movie remains an essential watch.In this episode, we march into:

In Episode 85 The Boston Sisters explore the 1989 film GLORY with Frank Smith, founder and executive director of the African American Civil War Memorial Museum. Smith shares the history of the museum, established to honor over 200,000 African American soldiers of the United States Colored Troops (USCT) who fought for freedom during the American Civil War (1861 - 1865). GLORY, the powerful 1989 historical war drama directed by Edward Zwick, tells the story of the 54th Massachusetts Infantry Regiment, one of the first all-Black units in the American Civil War. GLORY follows Colonel Robert Gould Shaw, (Matthew Broderick) the commanding officer of the 54th Massachusetts, as he trains, leads and fights alongside his troop. Yet in the fight to preserve the Union, racial segregation and discrimination persist in the U.S. military during the Civil War. GLORY also features Denzel Washington, in an Academy Award-winning performance as Private Trip, Andre Braugher as Colonel Shaw's childhood friend Cpl Thomas Searles, and Morgan Freeman as Sergeant Major John Rawlins. -------"Revolution to Rights: America at 250 " 10-part series. The historical dramas featured in "Revolution to Rights" tell stories of battles fought in the quest for freedom, and the people whose collective actions and courage inspire us to move beyond remembrance, and to take actions today to ensure freedom and justice for all.------TIMESTAMPSIntroduction to Revolution to Rights America at 250 (0:02)Frank Smith's Background and the Establishment of the Museum (3:35)Historical Significance of the U Street Corridor and the Museum (5:01)The Role of African American Soldiers in the Civil War (9:28)The Impact of African American Military Service on Civil Rights (28:26)Challenges and Successes in Establishing the Museum (41:30)The Role of Walter Hill and the National Archives (41:42)The Design and Significance of the Monument (49:37)The Importance of Oral History and Family Stories (1:05:57)The Future of the Museum and Its Mission (1:07:39)------SUBSCRIBE to HISTORICAL DRAMA WITH THE BOSTON SISTERS® on your favorite podcast platformENJOY past podcasts and bonus episodesSIGN UP for our mailing listSUPPORT this podcast  SHOP THE PODCAST on our affiliate bookstoreBuy us a Coffee! You can support by buying a coffee ☕ here — buymeacoffee.com/historicaldramasistersThank you for listening!

The premise (simple, but the film isn't): A privileged but messy NYC teenager, Lisa (Anna Paquin), causes a moment of distraction that leads to a bus hitting and killing a woman (Allison Janney). In the immediate aftermath she lies to the police—claiming the light was green—helping the driver (Mark Ruffalo) avoid consequences. The rest of the film is Lisa spiralling through guilt, grief, anger, and a need to “make it right,” while the city and everyone around her keep moving.What we talked about:Peak New York energy: classrooms full of political debate, constant noise, constant arguing, constant opinion. It feels like a movie made by New York about New York.The accident scene is brutal and effective: the sound design, the “oh God she's under the bus—no she isn't” reveal, the shock of the detached leg detail.Lisa as a catalyst/chaos engine: she's manipulative early (cheating, playing people), then becomes obsessive—fixated on getting the driver off the road.Adults failing her, repeatedly:Her mum is emotionally absent (Broadway ambitions, new relationship), and the mother–daughter conflict goes nuclear (including a shocking insult).The system shrugs: the driver is exonerated, and later the legal route becomes a cold negotiation rather than “justice.”The legal thread: the case can only move via next-of-kin dynamics; settlement money becomes the lever; but discipline for Ruffalo's driver is off the table because it implies guilt.Matt Damon “week” irony: Damon is barely in it—yet appears in the trailer—making the pick feel like a forced “hipster” choice.The uncomfortable Damon subplot: a teacher boundary-crossing storyline that lands badly and makes the film feel grimier, not deeper.Performances / cast notes: Big ensemble, lots of “oh wow, they're in this” energy: Paquin carries it; Ruffalo is an outright asshole; Allison Janney's presence is seismic even with limited time; plus Jean Reno, Matthew Broderick, and more orbiting the core. Pacing / vibe: Overlong, heavy, and (for us) pretentious rather than profound—with the most compelling parts being the accident's immediacy and the moral rot that follows. Theatrical cut runs about 149 minutes, with a longer 186-minute extended cut also out there. Verdict from us: Lukewarm-to-negative recommend. Strong craft and acting in places, but frustratingly long, emotionally abrasive, and not remotely worth it as a “Matt Damon week” entry.You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

The conclusion to the two-parter for WarGames (1983) sees Ally Sheedy and Matthew Broderick convincing a sad, old 40-something to start to care about the world again. They also teach a computer that reality exists. Pretty normal day, really.Love the show? Please subscribe, rate, and review us here. Also, check out our website: www.seeyounextweekinspace.com and follow us on Instagram @seeyounextweekinspaceHosts: Amy and Sarah WalshEditor: Amy WalshProducers: Amy and Sarah WalshArt: Riley Brown

Today on the Woody and Wilcox Show: Publisher's Clearing House scam; Woody Game Wednesday; Matthew Broderick's car crashed that killed two people; World record for largest gathering of people wearing ball caps; Penisgate at the Olympics; Woman sues for injury at Donny Osmond concert; Meta has patented AI that can control your social media after your death; And more!

For our 150th Episode, Brian decided to highlight one of his favorite films, Ferris Bueller's Day Off. Questions or comments about what we talked about? Click here to let us know!

Hilarious (and True) Hospital Stories | Good To See You | Ep 213Good To See You — episode highlight: Hosts Isaac Abrams, Jen Bartels, and Caitlyn Brodnick deliver raw, hilarious, and painfully honest stories about celebrity run-ins, preventive surgeries, implants, MRSA complications, hospital life, and the messy realities behind healthcare and recovery. The trio blends sharp stand-up wit with candid firsthand accounts — from meeting Matthew Broderick to designing “Coachella nipples,” navigating BRCA testing and preventative mastectomy choices, to implant ruptures, MRSA infection, sepsis, Beverly Hills surgery experiences, medical billing chaos, and auditioning while healing. Expect gut-busting jokes, tender moments, and practical takeaways about body autonomy, friendship, and resilience.Why watch/listen:- Comedy podcast with three working comedians: Isaac, Jen & Caitlyn - Honest BRCA & preventative mastectomy discussion (medical + emotional) - Implant rupture, MRSA & sepsis recovery stories with real details - Hospital anecdotes, aftercare options, and insurance/billing insight - Quirky asides: Merlin the pig, nipple design choices, audition panicTimestamps (major segments)00:00 – 02:00 — Intros & reunion banter (Isaac, Jen, Caitlyn) 02:00 – 10:00 — Matthew Broderick story & early improv jokes 10:00 – 18:30 — BRCA explained & decision for preventative mastectomy 18:30 – 28:00 — Implant design, nipple options & body-image humor 28:00 – 36:00 — Implant ruptures: silicone leakage & surgical scoop talk 36:00 – 47:00 — MRSA explained, infection risks, antibiotic therapy 47:00 – 59:00 — Hospital life: Glendale Adventist, morphine moments, shared rooms 59:00 – 1:02:00 — Insurance, billing nightmares, surgical center vs. hospital care 1:02:00 – 1:10:00 — Aftercare, luxury hotel recovery suites, comic reflections 1:10:00 – End — Rapid-fire anecdotes, sign-off from Isaac, Jen & CaitlynTarget keywords (for title, description, tags)#comedypodcast #goodtoseeyou #funnypodcast - comedy podcast episode- Isaac Abrams- Jen Bartels- Caitlyn Brodnick- BRCA gene- preventive mastectomy- double mastectomy story- breast implant rupture- MRSA infection- sepsis recovery- hospital stories- plastic surgery aftercare- celebrity encounter story- candid comedy podcastSuggested tags (copy to YouTube tags)comedy podcast, standup podcast, Isaac Abrams, Jen Bartels, Caitlyn Brodnick, BRCA, mastectomy, MRSA, sepsis, breast implants, hospital stories, plastic surgery, candid comedy

This weekend, the world is celebrating the second most important romance holiday in February (see last week's episode for the most important)—Valentine's Day! To lean into the traditions of the day, we thought we'd offer you a dozen roses this week, in the form of books! We're taking the topic broadly—from character names, to author names, to rose scented things, to roses on the page — historical, contemporary, mafia and more…there's something in here for everyone.

It's the BIG GAME post-show and we're breaking down all the movie trailers and movie-centric commercials! Grogu & Mandalorian, Cliff Booth on Netflix, the Minions & Monsters, Project Hail Mary... which Big Game trailers will lead to big box office? Did Ben Affleck disgrace all movie stars by appearing in a commercial with Urkel? Is the A.I. ad the worst thing that Matthew Broderick has ever done? Do we let Emma Stone off the hook? Find out! Plus the weekend's Box Office Top Ten as SEND HELP stays #1 for a second straight week. We break down the performance of Solo Mio, Dracula, and the new releases. BIG GAME EP. --- Remember to Rate (5 Stars), Review (Great show, blah, blah, blah) and Follow us on Apple Podcasts: https://podcasts.apple.com/us/podcast/b-o-boys-movie-box-office/id1489892648 E-mail us: theboboyspodcast@gmail.com Subscribe on Youtube: https://www.youtube.com/@theboboyspodcast Follow us on TikTok and Instagram: @TheBOBoysPod Subscribe on Substack: https://substack.com/@theboboys Our AWESOME artwork was provided by the talented Ellie Skrzat. Check out her work at https://ellieskrzat.com/ Thanks to WannaBO VP of Interns Christopher for running our social media! ---

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Paulo is very satisfied with Thomas Anders' vacation Reels, and a man called Flexasaurus Rex gives us the MTV we remember — complete with the Bat Dance.Speaking of Prince, we look at the Stranger Things effect on his catalogue and the literal seven figures his estate is in line to receive from Spotify royalties.Paulo had a terrible time watching '80s movies, which means it's time to get into a white van with a mulleted man.Jump To:Thomas Anders' in Atlantis (00:00:16): MTV Shutdown and Fan Rebuild (00:02:34): https://loudwire.com/coder-built-mtv-rewind-videos-app/https://wantmymtv.xyzStranger Things Spoilers and Prince's Music (00:05:19): https://musictalkers.com/latest-news/10069-prince%E2%80%99s-%E2%80%9Cpurple-rain%E2%80%9D-re-enters-uk-charts-following-stranger-things-finalehttps://deadline.com/2026/01/stranger-things-5-finale-songs-spotify-data-1236676497/Consuming Passions (00:13:48): https://www.youtube.com/watch?v=v_EOP6woNPsFamily Business (00:17:21): https://www.youtube.com/watch?v=inWcoU8fdYUTwo Truths and a Lie (00:22:47) #1980s, #pop culture, #music, #Thomas Anders, #exotic vacations, #MTV shutdown, #fan project, #MTV experience, #Stranger Things, #music charts, #Kate Bush, #Tiffany, #Prince, #David Bowie, #cultural significance, #generational music preferences, #streaming statistics, #Gen Z, #“Running Up That Hill,” #“I Think We're Alone Now,” #“When Doves Cry,” #“Purple Rain,” #music revival, #streaming increase, #MTV online, #Flexor Saurus Rex, #music videos, #vintage ads, #80s nostalgia, #British dark comedy, #Monty Python, #Family Business, #Sean Connery, #Dustin Hoffman, #Matthew Broderick, #heist film, #“Disco Take,” #live performances, #music trivia, #“Lady in Red,” #“Splash,” #girls named Madison, #“Gloria,” #Umberto Tozzi, #Laura Branigan.

This week on Shat the Movies, we march into Glory (1989), the powerful Civil War epic telling the true story of the 54th Massachusetts, the first African American volunteer infantry regiment. With unforgettable performances by Denzel Washington, Morgan Freeman, and Matthew Broderick, the film tackles courage, sacrifice, and the fight for dignity. Gene and Big D dig into the emotional weight, historical accuracy, and lasting impact of this Oscar-winning drama. Does Glory still resonate today? Tune in and find out. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

Listen on YouTube it's the Christmas Special! Luke and Michael share a love for the 1983 film starring Matthew Broderick and Ally Sheedy. T-shirts can be found here – https://www.redbubble.com/people/ufocast Follow us on twitter @ufo_cast Like us on Facebook Review us on iTunes Email the show – ufocast@yahoo.com

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ In this episode, Maverick and Nick delve into the 1983 film WarGames, exploring its themes of technology, youth, and the ethical implications of automation. They analyze the protagonist, David, and the antagonist, WOPR, discussing how the film reflects on the dangers of technology without human oversight. The conversation highlights the film's relevance in today's discussions about AI and the human experience, making it a thought-provoking review of a classic 80s film.----------Highlights:0:00 ‘WarGames' Introduction4:40 Opening Scene11:24 David the Protagonist15:20 WOPR, Joshua, and the Machine21:53 Tension & Stakes29:03 The Climax33:51 Themes & Messages36:38 Side Characters40:20 Lasting Impact#wargames #matthewbroderick #warfilm #alostplot #podcast #film #filmthoughts #dialup #ai #coldwar #sovietunion #1980scinema #1980s 

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ In this episode, Maverick and Nick delve into the 1983 film WarGames, exploring its themes of technology, youth, and the ethical implications of automation. They analyze the protagonist, David, and the antagonist, WOPR, discussing how the film reflects on the dangers of technology without human oversight. The conversation highlights the film's relevance in today's discussions about AI and the human experience, making it a thought-provoking review of a classic 80s film.----------Highlights:0:00 ‘WarGames' Introduction4:40 Opening Scene11:24 David the Protagonist15:20 WOPR, Joshua, and the Machine21:53 Tension & Stakes29:03 The Climax33:51 Themes & Messages36:38 Side Characters40:20 Lasting Impact#wargames #matthewbroderick #warfilm #alostplot #podcast #film #filmthoughts #dialup #ai #coldwar #sovietunion #1980scinema #1980s 

it's the Christmas Special! Luke and Michael share a love for the 1983 film starring Matthew Broderick and Ally Sheedy.

"Tartuffe" is the classic Molière comedy and satire first performed in the 1660s. Matthew Broderick is currently starring in the lead role of a new off-Broadway production of the play at New York Theatre Workshop. Broderick discusses his process for taking on the role, along with Lisa Kron, who plays Dorine, and director Sarah Benson. "Tartuffe" is running through January 24.

Hold on to your butts, lil onions, it's a ridiculous but hilarious ride today. Today, the siblings cringe through a pathetic game of one-upsmanship between two fathers dead set on ruining Christmas for both their families. Ross scrapes together enjoyment for Matthew Broderick while basking in the camp of Danny DeVito and Kristen Chenoweth. Carie can't get over the nonsensical motivations of both fathers, but she should just leave that writer alone, right? Oh, and the reviews, lil onions, you are in for some giggles.  SUPPORT US ON PATREON! 

Today on Too Opinionated we sit down with actor Cam Clarke.   For many American families, the King family defined Christmas entertainment. "Now They're All Here: The King Family, Over 100 Years of Entertainment From America's First Family of Song" is a not only a complete history of the famous King family, but a story of author, Cam Clarke's, life in front of and behind the camera.   "Now They're All Here: The King Family " is more than just a celebration of television history; it's a family album from one of America's most iconic entertainment families. The King Family has been performing together (and with solo careers) since the 1920s: vaudeville, radio, musical films of the 1940s, kitschy sci-fi from the 1950s, tours across the country, recordings in musical genres from jazz and big band to Broadway and pop—even cartoons and video games. Cameron Arthur Clarke is an American voice actor who is known for voicing Leonardo and Rocksteady from the 1987 Teenage Mutant Ninja Turtles cartoon, Shotaro Kaneda from Akira, Freddy from the Barnyard franchise, Liquid Snake from Metal Gear Solid, Clay Kaczmarek from Assassin's Creed II and Simba from The Lion King franchise whenever Matthew Broderick is unavailable.  Cam is also known for being the voice for Snoopy (Snoopy the Musical/Talking Snoopy Doll),  Max Sterling in Robotech, He-Man in the 2002 He-Man and the Masters of the Universe, the tween idol, Heath Burns, in the original Monster High, and Professor X in several X-Men properties.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Sit back, relax, and join the Nuclear Movie Club for WarGames, John Badham's 1983 technothriller starring Matthew Broderick and Ally Sheedy—and perhaps better known as the movie that caused President Ronald Reagan *major anxiety* about U.S. cybersecurity. In this episode, NukeTalk producer Rebecka Green and Ploughshares Roger L Hale Fellow Scott Strgacich discuss WarGames's many (many!) themes, technical intricacies, and 80s parenting styles. AI, video games, NORAD, dinosaurs—this movie has it all. Follow NukeTalk on Instagram and X @nuke_talk and Ploughshares on Instagram and X @plough_shares to be the first in the know about the movie of the week. Questions, comments, or movie trivia? Email podcast@ploughshares.org—we'll do our best to read it on the air! See you at the movies!   ***This season of NukeTalk is produced and hosted by Rebecka Green with support from Scott Strgacich. Editing by Ryan Kuhfeld.

Listen on YouTube it's the Christmas Special! Luke and Michael share a love for the 1983 film starring Matthew Broderick and Ally Sheedy. T-shirts can be found here – https://www.redbubble.com/people/ufocast Follow us on twitter @ufo_cast Like us on Facebook Review us on iTunes Email the show – ufocast@yahoo.com The studio had the Galaxian (1979) and Galaga (1981) arcade machines delivered to Matthew Broderick's home. He practiced for two months to prepare for the arcade scene. According to John Badham, the jeep trying to crash through the gate at NORAD and turning over was an actual accident. The jeep was supposed to continue through the gate. They added the scene of the characters running from the jeep and down the tunnel, and used the botched jeep stunt. The NORAD command center built for the movie cost $1 million, making it the most expensive set ever constructed at the time. The producers were not allowed into the actual NORAD command center, so they had to imagine what it was like. In the DVD commentary, director John Badham notes that the actual NORAD command center isn't nearly as elaborate as the one in the movie, calling the set "NORAD's wet dream of itself." There were several nuclear launch close calls that influenced writers Lasker and Parkes to create the scenario of WarGames, including an incident at NORAD on November 9, 1979 when information on a training simulation tape concerning soviet sub launches was accidentally fed into the warning system and for six minutes the American military complex went into high alert. Only after no soviet missiles were detected by the PAVE PAWS early warning radar system did the U.S. stand down. Training simulations were accordingly moved off site of NORAD after this incident. In the movie, one of the scenarios fed to NORAD operators by Joshua is an influx of encroaching soviet missile subs. The WOPR, as seen in the movie, was made of wood and painted with a metal-finish paint. As the crew filmed the displays of the WOPR, Special Effects Supervisor Michael L. Fink sat inside and entered information into an Apple II computer that drove the countdown display.

Thank you for checking out our newest episode, we are so grateful that you're here.  In fact, we are going to have a Thanksgiving day movie, or at least a movie that happens at Thanksgiving.  That movie is "Tower Heist". On this episode, Eric enters facts territory. John gives rookie numbers. And Richard flexes his antagonism knowledge. So put away your cellphone, check the weight capacity of the nearest elevator, and listen to Plot Spackle! Music: TheFatRat - Epic https://lnk.to/ftrepic

Send us a textThis week we talk about The cable guy from 1996! Our Creator profile this week is Matthew Broderick!https://www.instagram.com/thebonsaimoviecrew/https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT#moviereview #podcast #moviefan #filmpodcast #moviepodcast #film #nostalgia #classic #jimcarrey #benstiller #jackblack #thecableguy #comedy #comedymovie #90s

Seth takes a closer look at Congress reopening the government after Democrats caved and the House forcing a vote to release the Epstein files.Then, Matthew Broderick talks about rehearsing for the play Tartuffe, his embarrassing mishaps that happened while on stage for Plaza Suite and reuniting with his Ferris Bueller's Day Off co-star Alan Ruck for the film The Best Is Yet to Come.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Bob and Brad revisit one of the most beloved animated films of all time, Disney's The Lion King (1994). From its unforgettable soundtrack toBob and Brad revisit one of the most beloved animated films of all time, Disney's The Lion King (1994). From its unforgettable soundtrack to its Shakespearean themes, they explore why this movie remains a cultural juggernaut 30 years later. They discuss the film's stunning animation, powerhouse voice cast (including James Earl Jones, Jeremy Irons, and Matthew Broderick), and its deep-rooted themes of destiny, grief, and redemption.Then, they turn their attention to a whiskey widely regarded as one of the best values in bourbon: Henry McKenna 10-Year Single Barrel Bottled-in-Bond. This award-winning bourbon, known for its rich caramel and oak flavors, has been a fan favorite—but does it live up to the hype?(0:00) Intro (07:54) Brad Explains (10:28) Performances, Themes (40:00) Henry McKenna 10-Year Bourbon Review (52:46) Two Facts and a Falsehood & Final Analysis (1:10:08) Let's Make It a Double and Final Scores Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

We've dug into the podcast vault to bring back a show from the first year of USModernist Radio.  One of the best 80s films is Ferris Bueller's Day Off. Here's the plot: near the end of the school year, high school senior Ferris Bueller (played by Matthew Broderick) fakes being sick to stay home. His parents believe him, though his sister Jeanie (played by Jennifer Grey, the baby you don't back into a corner) is not convinced. Ferris persuades his best friend Cameron (Alan Ruck) to help lure Ferris' girlfriend (Mia Sara) out of school and let them use his father's prized 1961 Ferrari. Spoiler:  that Ferrari tumbles out of a really cool Modernist house, much to the chagrin of Cameron and his dad. Our pal Bob Langford, who pretty much knows every line in the movie, drops by to help us examine this cultural icon with guest Meghann Salamasick, who with her husband Chris are the owners of the that famous Modernist house. Later in the show, with apologies to Wayne Newton, it's George and Bob and Tom serenading Meghann.

Part II of our crossover episode with The Bang-Bang Podcast! Van and Lyle are joined by Sam Ratner, Policy Director at Win Without War, and Andy Facini, Communications Director at the Council on Strategic Risks, to discuss WarGames, John Badham's Cold-War techno-thriller that accidentally foresaw the age of algorithmic warfare. What begins as a teenage prank—Matthew Broderick's David Lightman breaking into what he thinks is a computer game—quickly becomes a meditation on automation, deterrence, and human judgment in systems built to annihilate. Together, the group unpacks how WarGames' “WOPR” supercomputer prefigures today's AI decision-making, where machines learn to “take men out of the loop.” They trace how the film's closing revelation (“The only winning move is not to play”) echoes across four decades of nuclear strategy and modern debates over escalation, autonomy, and control. The conversation ranges from NORAD and machine learning to the moral limits of deterrence, the psychology of Cold-War adolescence, and the comic absurdity of believing one can win an unwinnable game. Like Dr. Strangelove before it, WarGames shows us a military machine that runs on fear, faith, and code, and a civilization learning to live with its own programmed self-destruction.Subscribe to the Un-Diplomatic Newsletter: https://www.un-diplomatic.comSubscribe to The Bang-Bang Podcast: https://www.bangbangpod.com/Further ReadingSam's professional pageAndy's professional page“Strategy & Conscience (The Book Review We Need),” by VanTelehack, a retro internet simulator recommended by AndyThe Imagineers of War: The Untold Story of DARPA, by Sharon WeinbergerThe Closed World: Computers and the Politics of Discourse in Cold War America, by Paul N. EdwardsThe Doomsday Machine: Confessions of a Nuclear War Planner, by Daniel Ellsberg

Free crossover episode with The Bang-Bang Podcast! Van and Lyle are joined by Sam Ratner, Policy Director at Win Without War, and Andy Facini, Communications Director at the Council on Strategic Risks, to discuss WarGames, John Badham's Cold-War techno-thriller that accidentally foresaw the age of algorithmic warfare.What begins as a teenage prank—Matthew Broderick's David Lightman breaking into what he thinks is a computer game—quickly becomes a meditation on automation, deterrence, and human judgment in systems built to annihilate. Together, the group unpacks how WarGames' “WOPR” supercomputer prefigures today's AI decision-making, where machines learn to “take men out of the loop.” They trace how the film's closing revelation (“The only winning move is not to play”) echoes across four decades of nuclear strategy and modern debates over escalation, autonomy, and control.The conversation ranges from NORAD and machine learning to the moral limits of deterrence, the psychology of Cold-War adolescence, and the comic absurdity of believing one can win an unwinnable game. Like Dr. Strangelove before it, WarGames shows us a military machine that runs on fear, faith, and code, and a civilization learning to live with its own programmed self-destruction.Subscribe to the Un-Diplomatic Newsletter: https://www.un-diplomatic.comSubscribe to The Bang-Bang Podcast: https://www.bangbangpod.com/Further ReadingSam's professional pageAndy's professional page“Strategy & Conscience (The Book Review We Need),” by VanTelehack, a retro internet simulator recommended by AndyThe Imagineers of War: The Untold Story of DARPA, by Sharon WeinbergerThe Closed World: Computers and the Politics of Discourse in Cold War America, by Paul N. EdwardsThe Doomsday Machine: Confessions of a Nuclear War Planner, by Daniel Ellsberg

What does it mean to truly use your voice—to tell stories, bring words to life, and inspire others even when life throws challenge's your way? My guest this week, Amber Ba'th, embodies that Unstoppable spirit. Amber is a professional voice actor, a Bible narrator for the Dwell app, and a functional nutritionist who turned a life-changing diagnosis into a deeper calling. Amber opens up about performing on stage, finding her place in the booth, and learning resilience after being diagnosed with transverse myelitis. Her story reminds us that creativity and courage don't fade—they evolve. I think you'll be moved by her honesty, her strength, and her Unstoppable commitment to sharing her voice with the world.   Highlights:   00:10 – Hear how early curiosity in theater grew into a lifelong love for performance. 03:21 – Learn how family roots in the arts shaped a career in acting and voice. 07:21 – Discover why live theater creates a unique audience experience you can't get in film. 14:03 – See how studying Theater Arts Administration opened doors beyond the stage. 17:24 – Find out what moving to LA taught her about auditions, hustle, and opportunity. 25:37 – Get the real entry point into voiceover and why COVID pushed her to record at home. 27:26 – Understand the scope and process of narrating the entire CSB Bible for the Dwell app. 32:07 – Learn how leaning into “villain” characters can expand your VO range. 35:06 – Take why acting classes matter for believable, persuasive voiceover reads. 38:05 – Hear her journey with transverse myelitis and how she reframed ability. 43:47 – See how diet changes and self-advocacy supported healing and daily function. 54:14 – Learn practical nutrition tips VO pros use to protect tone and clarity.   About the Guest:   Hi, I'm Amber Ba'th—pronounced By-ee-th! I'm a Philadelphia native with roots in Los Angeles and Washington, D.C. I earned my BFA in Theatre Arts Administration from the legendary Howard University, and from the very beginning, storytelling and performance have been a huge part of my life. Whether through stage, screen, or sound, I believe creative expression has the ability to inspire, uplift, and connect people. That belief and my faith in Christ, has guided every step of my journey in the entertainment industry.   With over 20 years of experience in theater and film, I've worn many hats—actor, voice actor, producer, company manager, and coach. My early days at Philadelphia's Freedom Theatre gave me the foundation to work on national tours and major productions, such as The Fabric of a Man (national stage and film), and the national tour of If This Hat Could Talk under Tony Award-winning director George Faison. I've also stepped in front of the camera, appearing in Ice Cube's Friday After Next and national print campaigns for McDonald's that landed me in Essence, O Magazine, and Woman's World.   Voice acting has become one of my deepest passions. I've had the privilege of lending my voice to projects for Delorean, Holler Studios, Amazon, Make Originals, and most notably, narrating the greatest story ever told for the Dwell Bible App; just to name a few. I'm known for being versatile—able to bring warmth, humor, authority, and charisma into every read. Whether a character needs to feel animated, compassionate, bold, or simply relatable, I approach every project with creative precision and care.   I've been fortunate to learn from incredible mentors like Nick Omana, Art Evans, Queen Noveen, Linda Bearman, Al Woodley, Joyce Castellanos, JD Lawrence, and Rolonda Watts, and to collaborate with talent across every corner of this industry. I'm always growing, always listening, and always grateful. My goal is not only to entertain but also to reflect God's grace through my work. Faith is my anchor—it's the reason I'm able to keep showing up in this ever-changing field with joy and purpose.   Outside of my career, I'm a mother of two, and I live with a “different ability” that has only strengthened my walk and testimony. I believe that what God has for me is for me, and I want other artists to feel empowered to claim that same truth for themselves. As someone in the faith, You are royalty—act like it, speak like it, know it. I'm here to tell stories, give voice to vision, and ultimately to help others feel seen, heard, and deeply valued in this industry.   Ways to connect with Amber:   LinkedIn- https://www.linkedin.com/in/iamamberbath/   IG- https://www.instagram.com/iamamberbath/   YouTube- YouTube.com/@iamamberbath   Website- www.iamamberbath.com     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Well, hello everyone. Wherever you happen to be, I am Michael Hingson, and this is unstoppable mindset. We are really excited that you're here with us today. And we have a fascinating guest who was referred to us by another fascinating guest who is coming on unstoppable mindset, and we'll get to all that, I am sure. But Amber bath is how she pronounces her last name by eth. I'm saying that right. I assume that is correct. Oh, good. Never want to get it too wrong, you know. Anyway, Amber is a voice actor and does a lot of different things. And we learned about Amber from someone who we were referred to by Walden Hughes, that reps in yesterday USA, and Walden has been on unstoppable mindset a couple of times. Amber, do you know Walden? I know I don't. Well, then we can spread all sorts of rumors and you'll believe everyone, right, absolutely. Anyway. So anyway, what Linda Berryman, you know, so that works. Anyway, I want to welcome you to unstoppable mindset. It's really a joy and a pleasure to have you, and thank you for being here.   Amber Ba'th ** 02:42 Thank you for having me. This is such an exciting moment. Well,   Michael Hingson ** 02:46 I'm anxious to learn all about voice acting and some of those things. But why don't we start by maybe you telling us a little bit about kind of the early Amber growing up and all that sort of stuff. Well, always a good place to start. You know, a   Amber Ba'th ** 03:02 long time ago   Michael Hingson ** 03:03 in a galaxy, far, far away, yes,   Amber Ba'th ** 03:07 oh my gosh. Well, I I'm a suburbian girl here. I'm from the suburbs, actually Philadelphia. I was actually born in DC, raised in Philly, went back to DC, then moved all the way across country to La La Land. Is that where you are now, I'm not. I'm actually back in DC.   Michael Hingson ** 03:33 Go figure. Right now I'm, I'm really curious to hear the history of all these moves. But anyway, so you were raised in Philadelphia. Did you ever meet Rocky Balboa? Just checking,   Amber Ba'th ** 03:45 no, just ran the steps. You did run the steps. I did run the steps. Yeah, actually got a heat stroke. But I did. I was, I was young at the time, and it was super hot. And you know, it's like, yeah, you know, I'm gonna run the steps. Ran the steps, and just shouldn't have   Michael Hingson ** 04:04 done that, not in the middle of the day. No, when did he run them? It was in the morning, wasn't it?   Amber Ba'th ** 04:11 Yeah, he always ran in the morning. So no, I was this was in the heat of the day.   Michael Hingson ** 04:16 So huh, we all have our growth issues that we have to deal with so so you but you were raised in Philadelphia, and you went to school there and so on, and what kind of were your interests and so on, growing up   Amber Ba'th ** 04:32 theater, I was really, I mean, I come from A family who has always been in the spotlight. I had two aunts who actually had a touring show titled The sisters, the Stuart sisters. And, you know, I've always been wanting either to dance, to sing, to act. That was just. Just my thing.   Michael Hingson ** 05:02 So they you came by, it pretty honestly. Then exactly anything else. They were actors in the show.   Amber Ba'th ** 05:10 They were, yeah, one was a singer and one was an actress.   Michael Hingson ** 05:12 Yes, oh, cool, yeah. Well, and what was the show about?   Amber Ba'th ** 05:18 Actually, it was about Harriet Tubman, Sojourner, Sojourner, truth. And it was it they actually toured different toward the country and talked about the Underground Railroad and and and how they were able to escape and free other, other slaves.   Michael Hingson ** 05:42 Now that show isn't whether it's your parents or not, but that show is not on now. It's not running.   Amber Ba'th ** 05:50 This was a stage play. This was many, many years   Michael Hingson ** 05:52 ago, right, right, yeah, but they but no one has continued. I would think it would be a very valuable thing to keep around you.   Amber Ba'th ** 05:59 Would think it would be that, you know, the traditional way, but we kind of moved in different directions, you know. So   Michael Hingson ** 06:06 everything closes eventually. The fantastics eventually closed, and that was on for the longest time, yeah? Well, even cats was on for a long time. Oh, yeah. I, I think, although I don't know, but the producers, I think, has closed,   Amber Ba'th ** 06:22 yeah. And I really wanted to see that. I saw the film, but I wanted to see the stage play.   Michael Hingson ** 06:28 Oh, the stage play was much better than the film, I'm sure. You know, I don't know what it is about Matthew Broderick, but he just doesn't sound natural in films. But we went to see it. It was in August of 2001 and we were living in New Jersey, and I was in New York, because that's where we had our offices, on the 78th floor of Tower One of the World Trade Center. And on a Tuesday in 2001 in August, I went over to the theater where the producers was, and I figured, I'll see if I can get tickets. Because my wife, Karen, who was now she's my late wife. She and I were married for 40 years, and then she passed away. But anyway, we I decided that we would try to see it, and I went over to the theater, and I said, so I want to see if I can get two tickets to the producers. And I knew that the media had said all the news media said, you can't get a ticket before March of 2002 and I said, well, but the deal is that my wife is in a wheelchair. Can we by any chance get a matinee to to go see it? And the guy said, I'm sorry, there's just nothing until at least no December. And I said, Well, okay, is there any chance of any other time other than the weekend, or anything that we could get? And he said, Well, just wait a minute. And he goes away, and he comes back and he goes, What are you doing Saturday night? I went, I guess I'll go see the producers, right? And we did. We got to see the original cast, of course, Matthew Broderick, Nathan Lane and Katie Huffman, who played Ulla. And was so wonderful to see that show. We had seen Matthew Broderick and Sarah Jessica Parker in How to Succeed in Business Without Really Trying. And then we saw Nathan Lane, and A Funny Thing Happened on the Way to the Forum. So we had seen them all perform before, but that was so fun to see.   Amber Ba'th ** 08:27 That's awesome, yeah, yeah.   Michael Hingson ** 08:29 And I think that the film wasn't nearly as good as the play, but   Amber Ba'th ** 08:34 I'm sure it wasn't. So my theater is so dear to me. I I don't know, it's something about the willingness, suspension of disbelief, of breaking out of reality and just, you know, getting away from it all, and just sitting and enjoying yourself, laughing at just sometimes it can be nonsensical. Sometimes it can be sort of reality, you know, whatever, whatever genre you like, and it's nothing like being in the audience when you're when you're having when you're in there as live theater. So it's always a great opportunity to go and see a show, if you are able.   Michael Hingson ** 09:18 Why is it so much more fun, and so many people feel as you do about that, as opposed to going to a movie,   Amber Ba'th ** 09:29 it's, it's a it's a cultural thing for me, and it's immersing yourself in the culture of theater, seeing the different nuances. There's sometimes there's interaction, like, they'll break the fourth wall. Sometimes in that, in every show, is not the same. That's the great thing about theater, because you could go to a show on a Monday and then you go back to see it on a Friday, and it's like, totally different. Yeah, you.   Michael Hingson ** 10:00 It was 93 or 94 whenever they had the big baseball strike. And I went to see Damn Yankees, which has always been one of my favorite movies, because I've always been a ray Walston fan anyway, but went to see it, and during the the and I don't remember who was, who was in it, but at one point, Mr. Applegate, the devil, said, we've got to do something to to disrupt this whole baseball thing and get Joe Hardy back in line with what we want. He said, I got it. Let's organize a baseball strike right there in the middle of the theater. I mean, you know that that had to be ad libbed and just done, but it was so funny to see.   Amber Ba'th ** 10:44 Yeah, you never know what you're gonna get. You know, it's always exciting to see. And   Michael Hingson ** 10:49 I think that the reason that I like theater over over movies is, in part, you're hearing a lot more. Even though there's still audio and electronics, you're still hearing the PA system. You're not hearing the PA system as much. You're really hearing voices exactly you're hearing and seeing so many things. We did go to see Damn Yankees again a few years later, we had moved to New Jersey by that time, and Jerry Lewis was playing Mr. Applegate. Wow. It was the only time he ever did anything on Broadway and and did such a wonderful job. It was incredible, really.   Amber Ba'th ** 11:26 You know, it's the last show that I actually saw. Was Daniel at the sight and sound Oh and oh my goodness, I'm gonna go back. I'm gonna go see Noah. But I was literally sitting on the floor at the end aisle, and when the animals came out, I could actually reach out and touch them if I wanted to. But it was just so beautifully done. It was so amazing. It I can't, I can't even there are words that can't describe the the acting, the set, set design, the sound, everything about that show was amazing.   Michael Hingson ** 12:12 We went to see the Lion King. Karen's brother got us tickets. He was a certified ski guide in France, and he was coming back for the summer with his family, and got all of us tickets. So we went to see Lion King. It was a matinee on a Wednesday, and we got into the theater and the show started. And I knew kind of how it started, with the music and so on, but there's still nothing like hearing it live. But we it live. But we, we, we were listening. And then at one point, of course, the hyenas come in, and they meet with scar but in the play, in the in the musical, they come in from the back of the theater, down the stairs, and Karen, of course, being in a wheelchair, sitting in her chair on the aisle, and the hyenas are growling and they're coming by, and one of them gets right up next to her and goes, you've never seen a lady in a wheelchair jump out of her chair. Oh, it was so funny, but we were talking about it later, and she said, It wasn't long before you got completely used to all these animals, these puppets, and you didn't think of them as anything but the actual animals, wow, which, you know, you you you get in a theater, which you don't get the same in the movies at all. But it was, it was a lot of fun. We actually did get to go backstage afterward and meet some of the actors, and I actually got a chance to look at one of the animals, which was kind of fun.   Amber Ba'th ** 13:47 That's awesome, you know, I'm sorry. The other thing is that when you are in live theater, there's an intermission, and you get to actually mix and mingle with other people, other theater goers. So that's always another thing. I mean, you know, going to the movies. Yeah, you see other people walking back and forth, but they're, you know, rushing for their seat, going to the restroom, getting, you know, and going to the concessions. But there are moments where they're either taking pictures. Sometimes the cast members may come out during intermission, take pictures, and it's more of an interaction with everybody.   Michael Hingson ** 14:24 We went to see God spell once in San Diego, and what we didn't know was there was a guy out there who was coming up to people and wanting to clean their windshields and so on. And what we didn't know until later was that was the actor who played John. He was in character. He was being a servant. It was, it was great. That was so clever. That's awesome. So what did you do for college? Well, I went, as if we don't know,   Amber Ba'th ** 14:55 and I know, right? I went to Howard University. Yeah, and I majored in theater arts administration, uh huh, yeah. So it's the funny thing about that was I always, you know, was in the theater, and my mother told me, I am not paying for you to be an actor. I'm like, Well, I don't know anything else. And this particular year, when I came in, they had just started the theater arts administration program, and I said, Well, I can't do acting. I don't know anything else. This is it. And I really didn't know what that entailed until I got in and I said, Hmm, let's see I get to know the behind the scenes aspects. I can also be a producer to director. I could, you know, basically tell people what to do. That is for me,   Michael Hingson ** 15:50 there you go. So you so you got your degree in that. How come your mother wouldn't pay for you to be an actor?   Amber Ba'th ** 15:59 Because, I mean, back then it was just like, you know, that's something that that's not a real job, no. And even though she did it, they think like that, you know, that's not a real job. You know, it'll never amount to anything. You won't you get, you won't get where you want to be, you know. So I said, you know, I don't know anything else but, but this so, you know, so thank God that that was something that was there when I did come in there.   Michael Hingson ** 16:27 Well, so you, you got your degree in theater arts, production, administration, administration, and so you, you learned how to tell everybody what to do, which sounds a good thing to do, right? And so then what happened after college?   Amber Ba'th ** 16:47 Well, after college, I was I had always been one of those types that said, Oh no, I just got out of college, and maybe two days later I don't have a job, and I'm always worried about that, but I had someone, a classmate, say, You know what, I think you'd be a good fit for this. And what is she talking about? And I don't know if you recall HBO taxicab confessions, uh huh. Okay, so they actually came to DC, and, you know, they chose me. I was chosen to be their production assistant, and I was in the follow vehicle with the cab, you know, all that kind of stuff. And it was like, Okay, this is a lot. This is a lot. They never aired it because a little too risque. But, I mean, they could air it now, but, you know, and they asked me to come to LA, you know, as, and that was a funny thing, because when, before then, I said, oh gosh, I'll never go to LA. It's like Sodom and Gomorrah. And so I wound up going to LA they said, you know, I'll give you, you know, get you a round trip ticket, you know, you can either stay, you can go back, you know, giving me that option. And I took it. I took it, and it was the best thing that I've   Michael Hingson ** 18:14 ever done. What did you do when you got out here?   Amber Ba'th ** 18:17 When I got out there? I, of course, I was working with them for a little bit, and then I decided, You know what, I want to be an actress. This is what this is. I'm here. I am in Hollywood.   Michael Hingson ** 18:29 Mom, not withstanding.   Amber Ba'th ** 18:33 I said, Oh my gosh. And of course, what did I do? I got whatever most actors got was a waitress, a way a serving job, you know, just something enough that I could act flexible enough that I could actually go on auditions and things like that. And I did. I went on auditions. I met a lot of different celebrities. I was in McDonald's had their quote, unquote, adult happy meal that I actually was the poster girl for. I was like, Oh my goodness. And I was in magazines, you know, things like that. And then one day, a friend of mine who graduated with me in theater arts administration, she was actually doing a production, a touring play as the company manager, which is like a tour manager. And she she got another invite to be the company manager on TD Jason's TD Jakes show, and she really wanted to take that so the producer said, Well, you're gonna have to find a replacement. So she called me up and I started working on a show with David Talbert called the fabric of a man who had starred Shamar Moore, and we toured for. Oh, wow. This is interesting, because I didn't really think about this until I started talking. We toured until let's see 910 and I remember because something happened in Houston, Texas, and we had to refund money to all of the audience members, and we're leaving. And what I would do after each show is make sure that the hotel was was taken care of, everything was taken care of. And we went home. Everyone went to their destinations, and we went home. And that morning, I called the hotel, and he told me that different people were still there, and I'm and I just didn't understand why, you know, at the time, because it was really early in the morning in LA and so I'm calling, and I'm like, Well, what's happening? He said, You don't know what's going on. And I said, No. He said, planes are going down everywhere. And I'm like, What are you talking about? I turned on the TV, and that's when I saw the second plane going into the tower. And I just Oh my gosh, this is kind of bringing back some stuff, because I am a woman of faith, and I actually prior to us leaving for seven days, prior to us going to to to Houston. I kept having these dreams about a plane going down in a field, you know, but it would be continuous things. And then the next night, there were planes. There were planes. Looks like two planes colliding. Then there was, I saw people falling out of the sky, and I was like that, this is not making any sense. I didn't know anything. I mean, I was, I didn't know what was going on. And I just kept dreaming these dreams. This is what's happening. Then when we when we were leaving Houston, I had a dream prior to us leaving of the exact shape, color of this plane that went down in the field. And we were, I was at the airport, and I'm looking, and I'm like, okay, that's not the plane that I saw. And so I get on the I get on the plane, and as I'm about to settle in, about to, you know, leave Houston, go to LA, there's a man dressed in Arab garb with, you know, something on his head. And I don't know why I said this, but I just said, I hope he doesn't want to jack the plane. And I went to sleep, and i The dream that I had was that I really saw who was falling out of the sky, but they had on business suits. So when I called the hotel and he told me this, it, it just took over me. You know, I was in shambles. I was like, What? What did I just dream? What happened? Something is not right. I didn't know what was wrong with me at the time. I thought there was something actually wrong with me. Like, why am I dreaming this? What is happening? So that was just something that you happened to ask me the question, and that brought it back. And then I'm thinking about you, you know, so,   Michael Hingson ** 23:44 ah, you know, so many people, many people that I've talked to who didn't at first know what was happening, and they they either turn on their TV, or they were at an airport or something, and they saw the second plane hit the towers and they thought it was a movie. And I've heard so many people say that then, of course, they realized that it wasn't a movie. But you know, a lot of people just thought it was a movie at first, because nobody could imagine it. And you know, that is true. How who would have thought that somebody would deliberately crash airplanes like that into the towers and into the Pentagon? And, of course, now the the one falling out of the sky was that flight 93 in Pennsylvania, Yes, uh huh. And eventually, when you saw the plane, or whatever that was, the plane that you dreamed about, exactly, yeah, uh huh, and that's not surprising. Yeah, there are so many stories of of different things that people experienced that day. We didn't know anything about what was going on until actually we got out of the. Towers, and both towers had collapsed, and my wife was the first one who told us that aircraft had been hijacked and so on. And of course, people say to me all the time, well, of course, you didn't know because you couldn't see it. Excuse me, the last time I checked as I tell people Superman and X ray vision are fiction, and the reality is the airplane hit about 18 floors above us on the other side of the building, no one knew all the way down the stairs, the hundreds of people that I interacted with going down the stairs didn't know what happened. We figured, we figured an airplane hit the building because we were smelling burning jet fuel fumes as we were going down the stairs. So we figured an airplane hit the building. But we had no details. We had no information. Blindness. Didn't have anything to do with it at all. But yeah, it's, it's just one of those things. Well, so you were in, you were still in the business of telling people what to do, which was really good. And how did you eventually, then get into voice acting?   Amber Ba'th ** 26:04 Well, I had always first, it's funny because you people who get into voice acting, oh, I really want to get into voice acting, and they think it's just this one thing that was me. I i always like to do voices. I like to play around with different things. My favorite is the villain. I don't know what it is, but I like to play the villain. But what happened was,   Michael Hingson ** 26:30 you and Cruella de Vil, okay,   Amber Ba'th ** 26:34 it was actually covid. You know, it was. The thing was that I literally was a preschool teacher at the time. And, you know, because after I left, I left LA, I got married and I had kids, and, you know, that kind of thing. So I was back in DC, and so, you know, after that, I covid happened, and I don't want to say it forced me, but it forced me. Nudged me, you know? And I said, you know, this would be great, because different things were happening. Where I was meeting people on on an on an app called clubhouse, and I said, Oh, this is cool. And I've always loved audio dramas too. So I actually about a $40 mic. I bought an eye rig, and I just hooked it up, and I just started talking. And I was in some acting workshops, some improv workshops. I was cast in an audio drama on clubhouse, you know? So it was, I was like, Oh, this is fun, you know, I like talking to myself anyway, so why not? So I created space in my walk in closet, and there you have it.   Michael Hingson ** 28:00 And the rest, as they say, is history. That's right. So what kind of roles have you had, and what kinds of voices and so on, have you created and done?   Amber Ba'th ** 28:11 Well, I I actually, I did the Bible, you know. And whenever I tell the person I narrated the Bible, they're like, the whole Bible, yeah, the whole Bible, technically, that would be 66 books that I narrate, yeah, you know. But yeah, I did the whole Bible for a Bible app, the CSB version for the dwell app, and it was just amazing, because just a little story behind that, I was someone wanted me to narrate their book, and they said that, you know, we want you to narrate it, but we don't want to use your name. We want you to. We want to, we want to use your voice, but we want the narrow, the author to be the narrator. Is this like a ghost Narrator or something, really, that's a   Michael Hingson ** 29:10 little strange, you know? And, oh, we'll give you this   Amber Ba'th ** 29:13 amount of money. Like, okay? And then I actually was praying about it. And, you know, the Lord spoke to me, and he said, I gave you that voice. So I had to decline. And then someone else came to me to narrate a book, and they were taking forever. Oh, it's not ready yet. It's ready. It's not ready yet. And I said, look, okay, I can't do this. I had auditioned for the Bible. And normally it takes, it's like a 2448 hour turnaround time to really know if you if this is for you. Yeah, and I didn't hear anything for about maybe three weeks. And I was like, I guess they found their person. And. I get an email saying that we got good news. You just booked the CSV version. I think I dropped whatever I had in my hand and fell before and, you know, it was just, it was just amazing. So, you know, because what I what happened was I read the Bible every day, and this particular and I read it in a year. So this particular year, I decided to listen to it, and, you know? And I said, You know what, Lord, it would be cool if I could narrate this. And then I had this audition, and I was blessed to read the Bible, and I did it in less than a year.   Michael Hingson ** 30:41 Wow, yeah, it's clearly, you know, it's a long thing. Do you know who Carl Omari is? No. Carl Omari, well, he's probably most known for having recreated the Twilight Zone radio broadcasts. So he, years ago, he took all the Twilight Zone episodes. He got permission from Rod Serling estate, and he created radio broadcasts of them, but he also did the Living Bible, and he got people like Michael York to to be involved in other actors and so on. So I know having, and I own a copy, and I didn't even know about Carl doing it at the time, but it's 98 hours long. It's a long it's a big one.   Amber Ba'th ** 31:22 It's a long one. It is long. But, yeah, that was exciting. Also, I recently just narrated a book called heaven, not by Patricia Robinson, and it's very Orwellian. I should say, you know, I, as I was renarrating it, I'm like, this stuff is happening now. And she wrote it years ago. And I'm talking about, as my children would say, in the 1900s you know. So it was, it was amazing. It was amazing to do that and and I love it, but I do love animated characters. So one of the characters that I never actually thought that I was someone to do impersonations. You know, it's like I got my own voice. You don't need to do anybody else voice. But I was in a workshop for with a good friend, Chris Woodsworth, and he's over in the UK. And he said, Well, what do you like to do? And I said, I like villains. So he thought of a villain, and I never would have thought about Isma from the Emperor's New Groove, and when I was researching, when I was going over the lines, I had to stop myself, because it scared me, because I said, Wait a minute, I really sound like her.   Michael Hingson ** 32:56 All right, really creepy. We need to hear you sound like a villain.   Amber Ba'th ** 33:00 Oh, my goodness, Isma. Okay, so Isma is Cronk. Why did I think that you got this one simple thing? It's like you're a dude, a really, really big stupid monkey named Cronk. And do you want to know something else? I never licked your spinach puffs, never Oh, oh, gosh, oh, goodness. And then, you know, I love, it's the last the laugh that a villain does. I did that, you know, I, I did one. It's called a micro animation called house in the Outlands, and I played a character named sathagawa. And it was one of those, you know, one of those. It was so cool. You know,   Michael Hingson ** 33:49 I've, I've always been impressed with listening to voices and so on, and voice acting, to a large degree, one of the things that I that really made me appreciate a lot of it was, of course, James Earl Jones playing Darth Vader on Star Wars. And then I had the opportunity, while I was in New York once, to go see James Earl Jones and Christopher Plummer in Othello. What an amazing performance, because at the end, when Othello falls on his sword, you know, you know what's going to happen. People have read the play. It's not like Othello is a secret, right, right? The whole crowd just went when he did that. I mean, they were so drawn in by the power of both of their voices and the acting, which is, I've just always loved the fact that people can do that.   Amber Ba'th ** 34:48 Yeah, it's it's amazing. Sometimes I listen to myself and I'm like, That's me.   Michael Hingson ** 34:56 Well, your prejudice. So I. But still, it's just amazing how people can can do so much with with voice collecting old radio shows, as I do, it's really fascinating to to hear all the old shows and the different things that that people do, and the way they can sound so natural doing so many different kinds of voices and so on. And I think we've lost that art, to a degree, at least for a lot of people who try to go off and recreate radio shows, it sounds forced. And we've we've not been able to really train people, although I think one of the things that the radio enthusiast of Puget Sound wants to do is to actually start providing some acting classes to teach people how to use their voices in really doing radio shows, right.   Amber Ba'th ** 35:54 Yeah, yeah, you're so right. I mean, when I was I was actually a a moderator and assistant to a improv workshop coach. I always told students it is so imperative to take acting classes. I mean, I know with voiceovers, it's a lot of it's commercial and things like that, but you have to understand that when you are conveying a message, you know, I don't care how great your voice sounds, if the listener cannot feel, you cannot really get into what you're saying. Or even, let's just say it's a commercial for food. If they can't say, Okay, I gotta go and get some food. Now, you know, then you didn't do your job, right? You know? And I tried to let I said, Listen, it's not just people, you know. They will say, Oh, I'm selling burgers. No, you're not. You're not selling burgers. You know, it's people are hungry. You know, you're telling people this is what they should do because you're hungry, it's mouth watering, yeah, you know, describe what you're eating, and you have to do it in such a way, in such in such a short amount of time, that it just leaves people salivating, you know? And that's, that's what they want, that's what sells the food, the product, or or whatever, whatever it is that you are sharing. So I really tell students, please take acting classes. Yeah, you have to see it, envision it. Sometimes you got to get up and, you know, move around. Sometimes when you're doing auditions, or when you're actually doing a session or performances, you know, and nobody can see you.   Michael Hingson ** 37:50 And it's about the voice. I know that the again, reps the radio enthusiast at Puget Sound does a number of radio recreations. I participated in a couple, but one of the things that I do, and a few of the actors who have been around for a long time, Margaret O'Brien and Beverly Washburn and other people like that, before they will undertake one of the parts that they're they're asked to do in recreating a radio show, they go back and listen to the original show because they want to get into the character.   You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

This week, John and I were dormmates for a few days while he got settled in his new apartment (helloooo outdoor shower!) and I had my first dinner party (a massive success, according to Matthew Broderick!)Then, we walked Taylor's new album, gave "The Wizard of Oz" a review (80 years late?), and cold called some Bravolebs for our favorite segment, "Phone a Bravo Friend"!Plus, after 10 years of begging, I got to interview Howard Stern this week! (available on the SiriusXM app)For more interviews and behind-the-scenes tea, tune in to Andy Cohen Live weekdays on Radio Andy by subscribing to SiriusXM. Use my link https://sxm.app.link/AndyCohen for a free trial! Subscribe to SiriusXM Podcasts+ to listen to new episodes of Daddy Diaries ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

When does comedy become more than a laugh? Ben Mangrum of MIT joins RtB to discuss his new book, The Comedy of Computation: Or, How I Learned to Stop Worrying and Love Obsolescence (Stanford UP, 2025), which in some ways is organized around “the intriguing idea that human knowledge work is our definitive feature and yet the machines we are ourselves made are going to replace us at it.” Comedy has provided a toolbox (Charles Tilly calls them "collective repertoires") for responding to the looming obsolescence of knowledge workers.John's interest in Menippean satire within science fiction leads him to ask about about the sliding meanings of comedy and its pachinko machine capacity; he loves the way Ben uses the word and concept of doubling,; Ben explains how the computer may either queer (in an antisocial way) or get assimilated into romantic heteronormative pairings. John asks about Donna Haraway's 1985 A Cyborg Manifesto and teh way it denaturalizes gender roles and the way new technological affordances (from the Acheulean axe that Malafouris discusses to the Apple watch) redefine human roles. Ben delves into the minstrelsy pre-history of the photo-robots going as far back as the late 19th century. They unpack the distinctively American Leo Marxian optimism of The Machine in the Garden (1964) that spreads back as far as the proto-robots like The Steam Man of the Prairies(1868) and good old Tik-Tok in the Wizard of Oz novels. John asks about double-edged nature of Ben's claim that comic “genericity provides forms for making a computationally mediated social world seem more habitable, even as it also provides Is for criticizing and objecting to that world." First you get description says Ben--and then sometimes critique. John asks about the iterability of the new: how much of what seems new actually New New (in the sense of that great 1999 Michael Lewis book, The New New Thing)? Mentioned in the episode: The Desk Set a play William Marchand and a movie starring Katherine Hepburn. How might a computer be incorporated into the sociability of a couple? Her (Spike Jonze,, 2013) computer meets human makes the rom-com into a coupling machine. WarGames (1983( ends with Matthew Broderick and Ally Sheedy (not Ione Skye—silly John!) paired. But also with Broderick and the formerly deadly computer settling down to “how about a nice game of chess”? Black Mirror as the 2020's version of the same dark satire as the 1950's Twilight Zone. John asks about Stanislaw Lem's Cyberiad, and the comic coupling of Kirk and Spock and the death-as-computer comedy of Douglas Adam's Hitchhiker's Guide to the Galaxy (1979). Leo Marx, The Machine in the Garden (1964). Dave Eggers: the joke structure as critique in The Circle and The Every. John Saybrook wrote in the New Yorker about an eye-opening conversation with Bill Gates in 1994. Istvan Csicsery-Ronay's Seven Beauties of Science Fiction on the “fictionalization of everyday life" Recallable Books: Elif Batuman The Idiot (2017) Richard Powers, Plowing the Dark (2000) Sally Rooney, Conversations with Friends (2017) Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

Episode SummaryIn this sparkling episode of Hospitality Meets, I sit down with the unstoppable Michelle Moreno, founder of QAB Leadership (Is that really it's name Michelle?)From accidentally elbowing Leonardo DiCaprio to fangirling over Sarah Jessica Parker in the dark, Michelle's journey through hospitality is as wild, funny, and inspiring as it gets.With a career that's taken her from London's hottest openings to Mykonos, India, and Mauritius, Michelle's story is one of resilience, humour, and never taking herself too seriously. Along the way, she's learned that imperfection is a superpower, leadership should be fun, and sometimes the best brand names are the ones people trip over.Expect celebrity encounters, cultural adventures, brutal honesty, and some cracking wisdom on careers, confidence, and carving your own path.Key TakeawaysImperfection = Strength – You don't have to be polished to be powerful.Hospitality is Chaos & Magic – From elbowing Leo to opening 50+ restaurants, it's never dull.Leadership with Laughter – Fun belongs in business; we're a long time dead, so lighten up.Follow the Adventure – Careers aren't linear; they zigzag through countries, cultures, and crises.Community is Everything – LinkedIn, kindness, and connection can change your career trajectory.Memorable Quotes"When you say QAB quickly, it sounds like Crap Leadership. But hey, people remember it”"I elbowed Leonardo DiCaprio in the stomach. Not on purpose… just because I was shit”“Life isn't about change, it's about evolution”“We're a long time dead, so let's make leadership fun”“I met Sarah Jessica Parker… and made a tit of myself in front of Matthew Broderick two nights in a row”Final ThoughtsMichelle's story is a glorious reminder that success isn't about straight lines or spotless CVs, it's about saying yes, laughing at the chaos, and evolving along the way. From Nobu in Mykonos to “crap leadership” in London, her career proves that hospitality is a serious industry where fun, imperfection, and humanity always win.Show PartnersA big shout out to Today's show partner, RotaCloud, the people management platform for shift-based teams.RotaCloud lets managers create and share rotas, record attendance, and manage annual leave in minutes — all from a single, web-based app.It makes work simple for your team, too, allowing them to check their rotas, request holiday, and even pick up extra shifts straight from their phones.Try RotaCloud's time-saving tools today by heading to https://rotacloud.com/philThis podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

Tonight we depose Matthew Broderick and crown Steven Weber as the new king slut. Even more dawg jealousy, business mens, secret twins, shit fiddlin' Mitch and a hot pair of heels. Sah-de-mwah!  We are Graham. Would anyone risk it all for Jennifer Jason Leigh? Place an ad for a Single White Female, this week on Doom Generation!

Sing "Nants' Ingonyama," "Hakuna Matata," and "Mamela lelando we" as NostalgiaCast returns to Pride Rock for a discussion of THE LION KING, starring the voices of James Earl Jones, Jeremy Irons, and Matthew Broderick. Rachel Wagner and Stanford Clark of the Talking Disney Classics podcast join Jonny and Darin to chat about the film's long-lasting legacy, stunning animation and adult Shakespearean themes, and place within the '90s Disney Renaissance.

"Shall we play a game?" Okay, let's play, "Where the hell are this kid's parents?" In 1983's War Games, our teenage techie (played by Matthew Broderick) is able to skip school for a week, hack into computers, and get arrested for espionage without even getting grounded. Now though, is truancy this kid's lightest offense? How does this film's "computers are people too" storyline hold up in our AI age? And why is Ally Sheedy's character such a fast runner? The Old Roommates stop their 300th game of tic-tac-toe and discuss this blockbuster through their middle-aged lens. "Dial up" and join them.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on social media @OldRoommates for bonus content and please give us a rating or review!#JohnBadham #MatthewBroderick #AllySheedy #dabneycoleman

This week on Totally 80s and 90s Recall, Dave, Rob, and Kurt are joined by special guests Brad and Sean to dive into the wild world of 1980s comedy movies with a March Madness–style 16-team bracket. From slapstick to satire, the guys break down some of the funniest and most quotable films of the decade, pitting classics head-to-head until only two comedies reigns supreme. Each matchup sparks laughs, heated debate, and plenty of nostalgia as the crew tries to decide which flick really captured the comedic spirit of the 80s. The bracket is stacked with heavy-hitters like National Lampoon's Vacation, Stripes, and Coming to America, each bringing its own brand of outrageous humor and iconic performances. But the competition doesn't stop there—parody powerhouses like Spaceballs square off against teen comedy staples such as Ferris Bueller's Day Off and Fast Times at Ridgemont High. The panel wrestles with tough questions: does a cult classic deserve to topple a box office giant? Should quotability matter more than critical acclaim? And just how much does nostalgia play into picking a true champion? With Brad and Sean stirring the pot and adding their own favorites into the mix, the bracket becomes a hilarious walk down memory lane. Whether it's Chevy Chase bumbling his way through family road trips, Eddie Murphy redefining comedy stardom, or Matthew Broderick convincing us to skip school in style, this episode is packed with laughter, debate, and plenty of “you had to be there” 80s moments. It's the ultimate comedy showdown, and only two films can survive the bracket madness! Pandora: https://www.pandora.com/podcast/totally-80s-and-90s-recall/PC:1001051135    Apple: https://podcasts.apple.com/us/podcast/totally-80s-and-90s-recall/id1662282694    Spotify: https://open.spotify.com/show/11dk5TUoLUk4euD1Te1EYG?si=b37496eb6e784408    Contact Us: Website: https://totally80s90srecall.podbean.com/  Email: 80s90srecall@gmail.com LinkTree:https://linktr.ee/80s90srecall 

Eric, Jeff, Styles, Sheek and Jadakiss got together in Yonkers to have a bracket-style debate on who is the most gangsta of all the characters in the 1986 American teen comedy film Ferris Bueller's Day Off, written and directed by John Hughes and starring Matthew Broderick, Mia Sara and Alan Ruck. This side-splitting conversation gets heated over matchups like Mr. Bueller vs. Mrs. Bueller or Grace the Secretary vs. Abe Froman, the Sausage King of Chicago. The deep consideration of every character is equally thoughtful and hilarious - who do you have as the most G in this film? Let us know!!! Hosted on Acast. See acast.com/privacy for more information.

Welcome to another episode of I'll Show You Mine! This time, Elyse is showing James ‘WarGames' from 1983. Matthew Broderick stars as David Lightman, a young hacker who accidentally logs onto a military supercomputer while attempting to find new video games and nearly starts WWIII.Join us as we talk about the depiction of computers and hacking, the plausibility of a computer working the way the WOPR does, and the killer score by Arthur B. Rubinstein.Our theme song is by us! James Sparkman and Elyse Wietstock.Follow us on Twitter, Instagram, and Twitch at @isympodcastIf you like the show please share it with a friend or leave a review on Apple Podcasts, and if you want access to post-show content, downloadable art, and more, visit illshowyoumine.show and click “Patreon!”

Rachel and Irene welcome fabulous drag queen Bianca del Rio (winner of RuPaul's Drag Race Season 6)! They dive into hilarious ghost stories, including Bianca's “haunted" furniture mishap in Palm Springs, Irene's spectral romance on Staten Island, and tales of New Orleans' creepy charm. Plus, get the scoop on Bianca's upcoming New York theater debut with Matthew Broderick. Don't miss this episode packed with paranormal laughs and drag queen wit! Learn more about your ad choices. Visit podcastchoices.com/adchoices

EPISODE 100 -  “LIGHTS! CAMERA! KARGER! TCM's DAVE KARGER HELPS US CELEBRATE 100 EPISODES” - 8/11/25 We're thrilled to celebrate the 100th episode of FROM BENEATH THE HOLLYWOOD SIGN with a very special guest: DAVE KARGER, beloved host of Turner Classic Movies and one of the most respected voices in entertainment journalism. In this milestone episode, Dave joins us to discuss his fascinating new book, 50 Oscar Nights: Iconic Stars & Filmmakers On Their Career-Defining Wins, a dazzling journey through Academy Awards history told through unforgettable moments, behind-the-scenes stories, and personal reflections. Whether you're a film buff, an Oscars obsessive, or just love a great Hollywood tale, this conversation is the perfect way to help us celebrate our 100th episode. SHOW NOTES:  Sources: 50 Oscar Nights: Iconic Stars & Filmmakers On Their Career-Defining Wins (2024), by Dave Karger; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: The Breakfast Club (1985), starring Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheed, and Anthony Micheal Hall; Sixteen Candles (1984); starring Molly Ringwald & Anthony Michael Hall; Ferris Bueller's Day Off (1986), starring Matthew Broderick &  Alan Ruck; Children of a Lesser God (1986), starring William Hurt & Marlee Matlin; Breathless (1983), starring Richard Gere & Valerie Kaprisky; Tootsie (1982), starring Dustin Hoffman & Jessica Lange; Laura (1944), starring Dana Andrews & Gene Tierney; Seven Chances (1925) starring Buster Keaton; Citizen Kane (1941), starring Orson Welles & Joseph Cotton; On The Waterfront (1954), starring Marlon Brando,Eva Marie Saint, & Karl Malden; Rainman (1988), starring Dustin Hoffman & Tom Cruise; Stella Dallas (1937), starring Barbara Stanwyck & Anne Shirley; Reveille with Beverly (1943), starring Ann Miller; Penny Serenade (1941), starring Cary grant & Irene Dunne; Boys Don't Cry (1999), starring Hilary Swank & Chloë Sivegny; Norma Rae (1979), starring Sally Field & Beau Bridges; Sophie's Choice (1982), starring Meryl Streep, Kevin Kline, & Peter MacNicol; Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Isaacson is the Artistic Director and Executive Producer of The Muny, the third person to hold this position in The Muny's 106 -year history. During his 14 seasons, he has produced 89 Muny shows, 37 new to The Muny stage. He is also a 9 Time Tony Award winning Broadway producer. After his first season at The Muny, The Riverfront Times wrote, “Under the leadership of executive producer Mike Isaacson the quality of Muny productions rose like the proverbial phoenix.” During his tenure, Isaacson has changed the look and feel of The Muny, overseeing a transformation in every aspect of production that culminated in 2019 with the arrival of the theatre's extraordinary James S. McDonnell stage, a state-of-the art stage house that includes revolutionary LED technology, automated sets, and a host of other innovations. In 2016, The Muny embarked on an unprecedented $100 million capital campaign, raising within 5 years a record amount for any theater in the U.S. During the COVID lock-down summer of 2020, Mike produced and created The Muny 2020 Variety Hour, five live online shows that reached a worldwide audience of more than 400,000. For the summer of 2021, The Muny was one of two theaters in the U.S. to reopen, and produced five full productions, receiving acclaim for their artistry and their presence. The 2022 season's productions received 21 nominations from the St. Louis Theatre Critics Circle, more than any other theater in St. Louis. In 2023, The Muny bested its record with 26 nominations, and for it's 2024 season, The Muny received a record 30 nominations – a record for The Muny and for the Theatre Critics Circle. During his time, The Muny's education and outreach programs have grown in number, and their artistic endeavors now incorporate all aspects of theater making – production, performance and administration. The Muny kids and teens are now recognized nationally for their excellence, inspiring a national program where teens from throughout the U.S. audition annually come to St. Louis to be a part of a Muny production. For 27 years, with his partner Kristin Caskey, Mike has produced more than 40 Broadway musicals and plays, national tours, off-Broadway plays, and London productions. This Spring on Broadway, they are producing Jason Robert Brown's The Last Five Years, co-starring Nick Jonas and Adrienne Warren. In 2023, they produced the highly acclaimed Broadway revival of Parade, starring Ben Platt and Micaela Diamond, now on a national tour. Parade also received “Best Revival of a Musical” as well as “Best Musical Revival” from both The Drama Desk and The Outer Critics Circle. In 2022, they produced Neil Simon's Plaza Suite starring Matthew Broderick and Sarah Jessica Parker, which subsequently had a record-breaking run at London's Savoy Theater. Other recent Broadway productions include David Byrne's American Utopia, for which they received a special 2021 Tony Award. It also became a multi-Emmy Award nominated film by Spike Lee for HBO, for which he also served as an executive producer. In 2015, he received the Tony® award for “Best Musical” for the ground-breaking Fun Home. Other producing highlights include Dolls House, Part 2, The Humans (2016 Tony® Award, Best Play); Bring It On The Musical (2013 Tony® nomination for Best Musical); Red (2010 Tony® Award, Best Play); Legally Blonde the Musical (2011 Olivier Award, Best Musical); Thoroughly Modern Millie (2002 Tony® Award, Best Musical); You're a Good Man, Charlie Brown; If/Then; The Seagull; Burn This, Caroline, or Change; One Flew Over the Cuckoo's Nest starring Gary Sinise, and Death of a Salesman (1999 Tony® Award). For the IPN, he served as producer for the Broadway productions of Spamalot (2005 Tony® Award, Best Musical), Ragtime (revival) and The Color Purple. All told, his productions have received more than 139 Tony® Award Nominations, and 40 Tony® Awards. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's show, we take a look at 1983's WarGames starring Matthew Broderick, Ally Sheedy, Dabney Coleman, and John Wood. .  Be sure to let us know what you think of the movie, and the podcast. Thanks and enjoy! ADAMSNERDS.COM  

We unconventionally decide to start with news this week by discussing Sarah Jessica Parker on WWHL, Matthew Broderick's roots in Ireland, the Real Housewives of London trailer, Paige DeSorbo dating that same guy, Social Network 2, Ari Aster's next film, Eddington, and ever more than that. (00:00 - 26:36)We then dive in to this week's episode of The Valley (season 2 episode 14) - "New Rings". (26:36)We then discuss this week's episode of Next Gen NYC (season 1 episode 7) - "Georgia's New Bowling Alley Club". (1:20:40)If you enjoyed this episode and need more Turtle Time in your life, join the ⁠Turtle Time Patreon⁠ and become a Villa Rosa VIP to hear exclusive bonus content! We're recapping the Vanderpump Rules series from the beginning each week.And if you need even more Turtle Time in your life, follow us on ⁠⁠TikTok⁠⁠ or ⁠⁠Instagram⁠⁠. And please, if you want to watch some of the fun things we do, subscribe on YouTube. Hosted on Acast. See acast.com/privacy for more information.

A CLASSIC ROCKER FINDS OUT HE HAS A LOVE CHILD FROM THE 80's, some insane Movies announced and A wild list of celebrities and how they caught their significant others cheating… it's like celebs are just like us guys!CRAP ON FRIDAY Rick Moranis has been gone way too long. Even those new "Ghostbusters" movies didn't lure him back to Hollywood. But I am quite excited to announce that he WILL return to once again play Dark Helmet in "Spaceballs 2"!!! Bill Pullman will return as the hero Lone Starr, too. And Mel Brooks will be back as Yogurt . . . and, presumably . . . President Skroob. (He played both characters in the original.) Josh Gad co-wrote the script, and he's expected to be in it, too. Pullman's son Lewis Pullman has also been cast, along with Keke Palmer . . . but there's no word who they're playing. There's also no word on any other returning cast members. Obviously, John Candy, Joan Rivers, and Dick Van Patten won't be back, since they're no longer with us. Mel released the first teaser yesterday. There's no footage, since filming hasn't begun yet. It starts with a text crawl that makes fun of all the "Star Wars" prequels, sequels, sequels to the prequels, prequels to the sequels, and TV spin-offs. Then it lists all the "Dune", "Jurassic Park", "Avatar", and Marvel movies, plus DC's TWO attempts to start a cinematic universe . . . and just about every other overdone franchise you can name. Then, after a quick appearance from Mel, we get a shot of Rick Moranis' cracked helmet, and the tagline: "The Schwartz Awakens in 2027." Which sounds like a possible title but it's spaceballs and mel brooks so it could be anything. Here is Mel making his announcement. Jerry Seinfeld Proposes ‘Live-Action Sequel' to 'Bee Movie'Jerry Seinfeld has people buzzin' with this idea!The comedic genius posted about the possibility of a “live-action sequel” to his 2007 animated hit Bee Movie.“Bee Movie, which came out nearly 20 years ago, is #4 on Netflix,” he wrote on Instagram showing a hand holding a tennis ball with a honey bee on it. The next slide was the movie's poster, an image of Seinfeld's character Barry B. Benson similarly straddling a tennis ball.“Today, my friend Spike Feresten, one of the writers on the film, was playing tennis and this happened."He continued, “Clearly a sign. Time for a live-action sequel..?" DreamWorks' Bee Movie, which Seinfeld produced, co-wrote, and starred in along with Renée Zellweger, has become a cult favorite since its release.Bee Movie also featured the voices of Matthew Broderick, John Goodman, Chris Rock, Kathy Bates, Megan Mullally, Oprah Winfrey, and several celebrities appearing as animated versions of themselves, including Larry King, Ray Liotta, and Sting.Saint Louis' own Nelly and Ashanti are putting their lives on TV for all to see. They announced an upcoming reality show called Nelly & Ashanti: We Belong Together.A show synopsis says Nelly and Ashanti "rekindle their love, navigate the ups and downs of being newlyweds and new parents, and juggle their careers."The eight-episode series will air on Peacock starting June 26th.A DNA Test Connects Billy Idol To A Son He Didn't Know He HadDetails on the lovechild Billy Idol didn't know he had until a few years ago have surfaced.Idol's daughter, Bonnie, shared in the new doc, 'Billy Idol Should Be Dead', "My husband just surprised me with a DNA test as a Christmas present [a few years ago]. Then a few weeks later, I get the results back on the app and open it and I'm like, who is this? This Brant. His info reads, 'New York, 1985, looking for my biological dad.' I was like, ‘What?'"Brant, Idol's lovechild, grew up believing his dad was someone else until a different DNA questioned his mother's claims about his father. After confronting his mom, she told Brant, "Well, it's pretty crazy, but back in the day, we broke up and I actually spent a weekend with Billy Idol."Fans have done the math and calculate that Brant was conceived during Idol's wildly successful 1984 'Rebel Yell' tour.Idol has whole-heartedly accepted Brant as family, saying, "I really enjoyed being a dad. I always wanted a boy and a girl, and I finagled my way into a boy and a girl. I actually had a son that I didn't realize, who I fathered on the Rebel Yell tour without knowing it. So I somehow finagled this as well."Brant was at Idol's Walk of Fame ceremony back in 2023.Prime Video Will Soon Show Double The AdsAmazon Prime Video is about to double the number of commercials shown per hour on its ad-supported membership level. An Adweek report got the news from an Amazon spokesperson about the amount of commercials going to "four to six minutes per hour" from the two to three minutes that Prime users are used to. In 2024, subscribers who had ad-free access were forced to pay an extra $3 a month to maintain the status. Jay-Z Loses $1 Million NBA Finals Bet Jay-Z is out $1 million after losing a bet on the NBA Finals. Jay placed a bet prior to the series, banking on the Oklahoma City Thunder to win the championship in five games. After Wednesday night's Thunder loss to the Indiana Pacers, OKC can't win the series unless they do it in six or seven games. Jay-Z would have won $3.5 million if the bet had cashed in. With a net worth of $2.5 billion, we're sure Jay-Z will be alright. Ok you guys remember Spinal Tap? The Album cover debate with the label and why it became an all black cover or as Nigel would say NONE MORE BLACK? It was because the original had a woman on all fours with a dog leash on and it was deemed sexist…. To which Nigel replies “Whats wrong with being sexy? Well get this, Sabrina Carpenter announced her new album yesterday, and it's causing a lot of controversy. It's called "Man's Best Friend", and the cover has Sabrina on all fours, in front of a man who's pulling a handful of her hair. A women's advocacy group in Scotland called it "regressive", saying it reduces women to, quote, "pets, props, and possessions," and promotes "an element of violence and control." Sabrina's fans are defending it as SATIRE, and a commentary on how badly women are treated. And some are pointing out that the first single, "Manchild", actually makes FUN of men. HERE IS A CLIP OF THATMeanwhile, in the new "Rolling Stone" cover story, Sabrina talks about being criticized for the sexual imagery in her stage show. She says, quote "It's always so funny to me when people complain. They're like, 'All she does is sing about this.' But those are the songs that you've made popular. Clearly you love sex. You're obsessed with it." She adds, quote, "I truly feel like I've never lived in a time where women have been picked apart more, and scrutinized in every capacity. I'm not just talking about me. I'm talking about every female artist that is making art right now." Pope Leo isn't even the most famous guy in his family. The "New York Times" researched his family tree, and found out that he's related to a bunch of celebrities. The link is an ancestor from about six generations back. He name was Louis Boucher de Grandpre, and he was born in Quebec.And because of him, Leo is distant cousins with Justin Bieber, Justin Trudeau, Angelina Jolie, Hillary Clinton, Jack Kerouac, and Madonna. It's interesting that Leo would be related to Madonna, given that the Catholic Church has condemned her several times . . . most famously when she released her "Like a Prayer" video in 1989. A few years ago, Madonna reached out to Pope Francis, asking to meet with him to discuss "important matters." She told him, quote, "I've been ex-communicated 3 times. It doesn't seem fair." If you've ever wondered how the creators of "Friends" came up with the character of Joey Tribbiani . . . we might just have the answer this morning. Joey Lawrence claims Matt LeBlanc's character was based on HIS character Joey Russo from "Blossom". Lawrence says, quote, "Joey Russo was so successful that when they were creating 'Friends', they wanted a 25-year-old version of that." Supposedly, Matt's character wasn't even originally called Joey, but they changed it because the "Blossom" character was so successful. Joey even claims that Matt was sent to tapings of "Blossom" where he would, quote, "sit up in the audience with a yellow notepad and take notes on how I portrayed Joey Russo." He says they wanted Matt to bring the "innocence" of Joey Russo to Joey Tribbiani, so the character could, quote, "get away with his womanizing." I guess the Grammys were sick of hearing about whether Beyoncé deserved to win Best Country Album for "Cowboy Carter". So, they just announced a major change. For next year's Grammys, the award formally known as Best Country Album will now be called Best Contemporary Country Album . . . and they will also be adding a new category: Best Traditional Country Album. There's a lot to unpack here. And one year after Beyoncé wins makes the timing of this all the more clickbait-y. According to the Grammy website, "traditional country music", quote, "adheres to the more traditional sound structures of the country genre, including rhythm and singing style, lyrical content, as well as traditional country instrumentation such as acoustic guitar, steel guitar, fiddle, banjo, mandolin, piano, and live drums." Where "contemporary country music", quote, "remains reminiscent and relevant to the legacy of country music's culture, while also engaging in more contemporary music forms." Someone tweeted, "Morgan Wallen and Post Malone better not be in the traditional country category at the Grammys, because in what world are they traditional country?" Wait, hold up. When Morgan collaborated with Alvin and the Chipmunks, that wasn't traditional country??New in Theaters: "How to Train Your Dragon", "Materialists", and "The Life of Chuck" There's nothing like a good breakup story. Here are seven times a celebrity found out their partner was cheating in an unconventional way: 1. Demi Moore learned that Ashton Kutcher was having an affair in 2011, from a Google Alert. When she called him on it, he admitted it right away. Her response was, quote, "Are you [effing] kidding me?" 2. Britney Spears started dating lawyer David Lucado in 2012. But in 2014, her father found out there was paparazzi footage of David kissing another woman. He bought it to prevent it from being released, and Britney broke it off. 3. Kourtney Kardashian dumped Scott Disick in 2008, after finding texts on his phone from a contact called, quote, "my wife." They did the on-and-off thing until 2015, when photos emerged of Scott with another woman in France. 4. Elizabeth Hurley found out Hugh Grant was cheating on her in 1995, when he got arrested for GETTING IT ON with Sunset Boulevard prostitute Divine Brown in his car. They didn't break up until 2000, and they're still friends. 5. Laura Dern found out Billy Bob Thornton was being unfaithful when the news broke that he had ELOPED with Angelina Jolie in 2000. She was away making a movie, and she never saw it coming. 6. Eva Longoria's marriage to NBA star Tony Parker ended in 2010, after she found inappropriate texts with another woman on his phone. 7. This one's ancient history, but it was a HUGE tabloid story back in the day: In 1958, actress Debbie Reynolds was missing her husband, Eddie Fisher, because he was supposedly away on tour. So she decided to give her friend Elizabeth Taylor a call . . . and who answered Liz's phone? Eddie FREAKIN' Fisher. (!!!) Eddie left Debbie and married Liz, but that only lasted five years.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSICTwo men broke into Macklemore's Seattle home on Saturday and bear-sprayed the nanny while his kids were asleep in their rooms. The nanny escaped and called 911, and the thieves reportedly made off with thousands of dollars' worth of items. Billy Corgan of The Smashing Pumpkins announced that his National Wrestling Alliance has inked a deal for its matches to be streamed on Roku. · A guitar pick used by Kurt Cobain when Nirvana taped their MTV Unplugged in 1993 is being raffled off to raise money for the Royal College of Music in London. It's $5 to enter and will be drawn in November. An unlikely bromance between Bob Dylan and Machine Gun Kelly is brewing. The rock legend has narrated a trailer for MGK's upcoming album, Lost Americana. RIP: Bonnaroo founder Jonathan Mayers has died, with 'Billboard' working to confirm his age and cause of death TVViola Davis, Conan O'Brien, Ryan Murphy, and Henry Winkler are among this year's inductees to the Television Academy Hall of Fame. “Their transformative leadership and innovative work have made a lasting impact on the medium, and the Television Academy is proud to honor their legacy.”· Roseanne claims she was asked to guest star on "The Conners" . . . as a GHOST.· MrBeast is giving his fiancée an experience she'll never forget. MOVING ON INTO MOVIE NEWS:Before Harrison Ford took the role as Hans Solo in 'Star Wars', George Lucas' team hand delivered the script to Al Pacino, hoping he'd play the captain of the Millennium Falcon. The vest that Matthew Broderick wore in the 1986 film “Ferris Bueller's Day Off” could soon be yours to own. Sotheby's estimates the vest could fetch between $300,000 and $600,000. The auction runs through June 24. Orlando Bloom spent $13,000 on a procedure to remove microplastics from his blood, but experts are skeptical that it actually works.· AND FINALLYYesterday, we talked about the best movie dads, and today, we have a list of the best TV dads.AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.