Podcast appearances and mentions of maud haven

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER We're seen all the movies, we've enjoyed or destroyed them all based on how we feel, and the big night is here at last. We start off with a discussion of the 35th Annual Academy Awards and how unremarkable it was - save for one very uniquely petty acceptance speech. Frank Sinatra may be charming, but he really shouldn't emcee an awards show. Then we dive deep into the 2025 Oscars, are befuddled and disappointed by how much everyone seems to love Anora, declare love for Conan O'Brien's bits and the nation of Latvia, and overall just seem underwhelmed by the year in movies that was. Come along for a final Oscars episode to wrap our season on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Interstitial music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the 35th Academy Awards held on April 8, 1963.

CONTENT WARNING: Discussion of racism, sexual assault, false imprisonment. 1962 contained not one but two books that were thrust upon us as required school reading (or acting), but none loom as large as this story. To be fair, it's one of the few stories about the pre-Civil Rights Act South that's presented through the eyes of a child, and that means it's perfect school fodder. The movie was a huge labor of love from the entire creative team, which is fantastic and reads on screen, but also makes for a truly uneven watching experience. Director Robert Mulligan gets the most out of the cast, but his execution of trying to see things through Jem & Scout's perspective never translates on screen. In fact, the only moments that truly work are in the courtroom, when the reality of small town Alabama racism come roaring back. It's a shame it's not a better movie because Gregory Peck is giving his masterpiece performance and the kids are phenomenal on screen, but acting alone cannot a movie make. We wrap up Oscars ‘62 with To Kill A Mockingbird onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved. Excerpts taken from the introduction to the 35th Academy Awards held on April 8, 1963.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Horror, gore, child murderers, child molesters, serial killers, knives. We're coming up on the 2025 Oscars and we share our main picks, our takes on the nominees, and why Emilia Perez is one of the worst nominees ever posted to the Oscars, all in this bonus episode of Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CONTENT WARNING: Discussion of alcoholism, child neglect, substance abuse, addiction. Every year at the Oscars there's a movie that stands out as the film that should be the Best Picture, just for the sheer raw power of its storytelling. This is that movie. Jack Lemmon is giving a performance for the ages, the supporting cast is rock solid, and the always contrarian Blake Edwards goes for broke. This could have easily been a melodrama, but you get the sense very quickly that everyone making this movie got the impact of what they were doing here. And that's incredible, considering there's movies that come out in 2025 that can't capture the truth of addiction like this movie. We continue Oscars ‘62 with Days of Wine and Roses onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved.

CONTENT WARNING: Discussion of abuse, car accidents, aging, mental illness.. If last week was about a world war, this film is about a two-woman war. Joan Crawford and Bette Davis were two of the bitterest rivals in the 30's and 40's, but by 1962 both were desperate for a hit. So was director Robert Aldrich, and the three combined to create a unique blend of gothic horror and Hollywood cynicism that still resonates today. We continue Oscars ‘62 with What Ever Happened to Baby Jane? onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the film What Ever Happened to Baby Jane?, copyright 1962 The Associates & Aldrich Company Inc.; 1962 Warner Bros. Entertainment Inc. All rights reserved. Excerpt taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved.

CONTENT WARNING: Discussion of deafness, blindness, ableism. D-Day happened over 80 years ago, and to this day, there's only been two films that capture the scope and scale of that bloody day. This movie is one of those, and unfortunately it's the boring one. To be clear, the battle sequences are among some of the best committed to celluloid; there's a few moments that will make you gasp at how well legendary ringleader Darryl F. Zanuck captures the battlefield. But then we turn to the characters, and they're all a) played by actors double the age of the characters and b) say the absolute hokiest lines you'll hear in a war movie. It may be an accurate film, but this definitely isn't entertaining history. We continue Oscars ‘62 as we discuss The Longest Day onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the main theme in the original soundtrack to the film The Longest Day, written and composed by Maurice Jarre. Copyright 1962 Darryl F. Zanuck Productions, Inc. and Twentieth Century Fox Film Corporation, renewed 1990. All rights reserved. Excerpt taken the film What Ever Happened to Baby Jane?, copyright 1962 The Associates & Aldrich Company Inc.; 1962 Warner Bros. Entertainment Inc. All rights reserved.

CONTENT WARNING: Discussion of deafness, blindness, ableism. If you've ever done theater, and we definitely have, you dread the thought of having to deal with anything related to this movie and this story. And you'd be right to, because all too often we tell a sanitized, ableist, overacted retelling of a very real story: the breakthrough Annie Sullivan had teaching her student Helen Keller to communicate. So you'll have to pardon our shock while watching the original film adaptation of the Broadway success, and finding it's in fact a brilliant film. Director Arthur Penn is brilliant in adapting his own stage production by showing and not telling, a move that seems impossible for most stage to screen adaptations. Anne Bancroft and Patty Duke, reprising their roles from Broadway, are absolutely phenomenal. And sure, the supporting cast might as well be cardboard cutouts, but it doesn't matter when you've got a film as compellingly made as this one. We finally get a winner for Oscars ‘62 as we talk about The Miracle Worker onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the original soundtrack to the film The Miracle Worker, written and composed by Laurence Rosenthal. Copyright 1962 Playfilm Productions, Inc. All Rights Reserved. Excerpt taken from the main theme in the original soundtrack to the film The Longest Day, written and composed by Maurice Jarre. Copyright 1962 Darryl F. Zanuck Productions, Inc. and Twentieth Century Fox Film Corporation, renewed 1990. All rights reserved.

CONTENT WARNING: imprisonment, solitary confinement, murder, homosexuality. The duds just keep on coming this week as a movie about one of America's most dangerous (and quirky) prisoners just collapses under its own weight. Many times we celebrate directors and casts who deeply care about their subject. In this case, it somehow makes the whole experience worse, mostly because it commits the cardinal sin of being boring. It's not the worst movie we've ever seen, but it's a real drag to sit through. Oscars ‘62 continues as we talk about Birdman of Alcatraz onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc. Excerpt taken from “Main Title” from the original soundtrack to the film The Miracle Worker, written and composed by Meredith Willson. Copyright 1962 Playfilm Productions, Inc. All Rights Reserved.

We keep our Oscars series rolling and well, things have been rough to start. You'd think with a musical as culturally significant and iconic as this one that the movies would have done it up for fun. Sadly, this is an incredibly BORING movie. Sure, Robert Preston is incredible, and sure, the songs are fun, but after the 3rd of 17 dance breaks, you start to realize that our director just barely made a movie. They might as well have filmed the stage production and screened that instead for as much money as they sunk into this. Oscars ‘62 trudges, not marches along, as we talk The Music Man onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the original soundtrack to the film The Music Man, written and composed by Meredith Willson. Copyright 1962 Warner Bros Records Inc; Warner Bros Pictures Inc. Excerpt taken from “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc.

CONTENT WARNING: castration, sterilization, sex work, abuse, parental abuse and neglect, menace. Did you miss us? We missed you! That's right, it's been far too long, and we're back with a patented Oscars(TM) series, this time focusing on the year 1962. We kick things off this week with mid-century Hollywood stalwart Tennessee Williams. Boy do we wish we hadn't. There are some legitimately good and enjoyable performances, but they're wasted on a movie that said “you know what this play adaptation needs - more set pieces!” This movie is a hot mess, and not in the way Tennessee Williams would want us to see it. Oscars ‘62 kicks off this week with our review of Sweet Bird of Youth onMacintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Ebb Tide,” written and composed by Robert Maxwell. Copyright 1953 Mercury Record Corporation. Excerpt taken from “Main Title” from the original soundtrack to the film The Music Man, written and composed by Meredith Willson. Copyright 1962 Warner Bros Records Inc; Warner Bros Pictures Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of manipulation, religion. It's time for a new spin around the world of documentaries, and we're starting things off with a certified gem that David brings from his “important film” days. In 1966, door-to-door sales were almost completely dead, but that didn't stop Albert and David Maysles from centering their first-ever film on the subject. Their documentary was honed and crafted from 100 hours of footage and four men giving their best pitches for the Greatest Book Ever Written, and completely self-distributed. But the final result is one of the most incisive, thoughtful and honest portrayals of hustle committed to film, and a true breakthrough for documentary filmmaking. We discuss Salesman for our second ever Documentary series this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the film Salesman, copyright 1968, 2001 Maysles Films Inc. All rights reserved. Excerpt taken from the piece “Orson's Theme” from the film F for Fake, written and composed by Michel Legrand. Copyright 1975 Les Films de L'Astrophore.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, childhood trauma, horror, earthquakes, demons, death. Oops, Freddy wasn't really dead after the final nightmare. But as Wes Craven makes abundantly clear in this film, horror legends never really go away, they always stick around. Wes' work in this film is admirable, and it's some of the best storytelling in the series. Yet watching you can't help but think about the meta-horror classic that Wes would bring to us just two years later, a film that redefined the genre. Everyone here is doing admirable work and “sending off “ Freddy in style, but there's a lot of missed opportunities that could have made this a sure-fire horror masterpiece. We discuss (Wes Craven's) New Nightmare this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “A New Nightmare Begins,” written and composed by J. Peter Robinson. Copyright 1994 New Line Productions; Milan Entertainment, Inc. Excerpt taken from the theme to the TV show Documentary Now! written and composed by Joshua Mosier.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, childhood trauma, parental murder, suppressed memories, abuse. There's been a wide variety of entries in the Freddy Knife Hands series, but finally, finally, we got the entry that makes zero sense and is a bonkers good time. No, this film is not good, and no, it does not appear to have actually employed a competent editor. Although that may be the fault of the studio more than anyone involved in the production. Nevertheless, THINGS HAPPEN in this movie, and it's beyond weird and messy and hilarious and gory and sometimes, that's all you really want from your "final” entry in a horror franchise. We discuss Freddy's Dead: The Final Nightmare this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Why Was I Born? (Freddy's Dead)” written by Iggy Pop and Whitey Kirst, and performed by Iggy Pop. Copyright 1991 Metal Blade Records Inc.; New Line Cinema Corporation. Excerpt taken from “A New Nightmare Begins,” written and composed by J. Peter Robinson. Copyright 1994 New Line Productions; Milan Entertainment, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, pregnancy, teen pregnancy, body changes in pregnancy. You don't usually expect the worst film of a horror franchise to be followed with one of the most unique entries, but Freddy Knife Hands is a fickle series of movies. It's a stretch to call this movie “good,” but it's one of the most visually interesting and cohesive entries since the original 1984 film. Stephen Hopkins has truly interesting, fascinating ideas of body horror and trauma along with some of the biggest stakes we've seen so far for Freddy himself. Alas, someone forgot to tell the writers that's what we were doing, because the dialogue and the story wholesale misses the part of the story that would really make this movie great, and instead we're left to wonder what might have been. We discuss A Nightmare on Elm Street 4: The Dream Child this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation. Excerpt taken from “I'm Awake Now” written and performed by Goo Goo Dolls. Copyright 1991 Metal Blade Records Inc.; Select Records; New Line Cinema Corporation.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, child neglect. You never expect 80's horror movies to be quality cinema. But you do expect there to be some wild, ridiculous stuff that also has enough of an edge to be scary and terrifying. With the 4th installment of Freddy Knife Hands, the writers decided that none of this was necessary. No, instead we kill off the remaining Dream Warriors and tag along with a new heroine who literally does nothing. And we mean that literally - nothing happens in this movie until about the last 10 minutes, except for some intensely goofy Freddy murders and some terrible 80s acting. No, this one is truly dire, and the only hope is they can make it weird again before the end of this series. We discuss A Nightmare on Elm Street 4: The Dream Master this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Anything, Anything (I'll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records. Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, misdiagnosis, medical malpractice, mental health stigma, suicide, mental illness. Wes Craven didn't think Freddy Krueger could be a legitimate franchise character. And then the sequel basically printed money, and Wes thought it might be a good idea to jump back in the fray. This time, though, he and his co-writers returned back to the dream world, and Freddy comes for Nancy and a crew of new kids who discover, maybe, the path to destroy Freddy once and for all. No, the acting hasn't gotten any better, and no, the dialogue is still way too on the nose. But this is a real promising return to form for the franchise, and introduces a ton of new ideas for a great horror villain. We discuss A Nightmare on Elm Street 3: Dream Warriors this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records. Excerpt taken from “Anything, Anything (I'll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Horror, gore, child murderers, child molesters, serial killers, knives. Back in our second season in 2018 (?!??!?!) we talked about A Nightmare on Elm Street. We probably feel differently about it now. Check out our long ago review as we gear up for our new October series reviewing Freddy Knife Hands on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, homophobia, trauma.. When we watched the original Nightmare on Elm Street for the show, we were only in our 2nd season and were still relative horror newbies. But it's finally time to explore the entire Fred Krueger canon, and this week we start with a film that has no right to be as interesting and good as it is. The acting still isn't great, the dialogue is atrocious, and the producer made the entire process a nightmare for everyone involved. But the intentional undercurrents of homoeroticism coupled with a totally different take on Freddy's abilities makes this a fun but flawed entry in the canon. We're talking about Freddy Knife Hands in A Nightmare on Elm Street 2: Freddy's Revenge this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc. Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street 2:Freddy's Revenge, composed by Christopher Young. Copyright 1986 New Line Cinema Corporation Excerpt taken from the film A Nightmare on Elm Street 2: Freddy's Revenge. Copyright 1985 New Line Productions, Inc. Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of war, racism, grief, trauma, PTSD, explosions, abuse, trauma. We're wrapping up our series with Spike's most recent joint, traveling to Vietnam for a cross between Apocalypse Now and The Treasure of the Sierra Madre. It's another bold swing in the new era of Spike, but yet again, the balance is all off. When this movie is working, it's a masterpiece, but there's so much of it that feels like a slog. And it's not because of anything fundamentally wrong with the story, just that there's far too much of it, and far too much pontificating on the story itself. For the cast alone, though, it's a shame this got buried in the COVID shutdown, because they deserve heaps of recognition. We conclude our director's series with 2020's Da 5 Bloods this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc. Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street, composed by Charles Bernstein. Copyright 1984 New Line Cinema Corp.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of homicide, gun violence, racism, gang wars, gangs, drug use, sex, misogyny, death of a child, grief. We've jumped ahead to Spike's new era of films for a movie we absolutely should have seen so much earlier. Why? Because it's a Spike Lee Joint adapted from one of the most important Greek comedies ever written, and it happens to be pretty hilarious at how good a job it does. The problem is when Spike and new collaborator Kevin Willmott stray from the source and take themselves a little too seriously with an incredibly silly premise. Especially for Greek drama and comedy, allowing the structure to play out without interruption is the only way to go. We discuss 2015's Chi-Raq this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of Nazi collaboration, antisemitism, robbery, racism, violence, murder, drug dealing, assault, gun violence, threats of violence, homicide, police. This week we've got a special double feature, with a Spike movie we loved without knowing it was a Spike Lee joint, and one from the past that took a different look at the world of crime. In 2006, Spike dropped his most commercially successful film to date that just so happened to be a heist classic. But in 1995, he'd already explored the drug trade taking over lots of the projects. While both movies are different, they're a look at the different ways Spike approaches crime, police work, detectives, and his beloved New York. We discuss 2006's Inside Man and 1995's Clockers this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Ten Thirty” from the score to the movie Inside Man, composed by Terence Blanchard. Copyright 2006 Universal Studios. Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc. Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of underage attraction, racism, sexism, murder, drug use, prison, assault, violence. It's been so long since we had a proper movie fight on this show, and this week's movie finally fit the bill. David thinks this is actually a poignant allegory for the tragic events of 9/11 and trying to reckon with those emotions. Diana thinks it's a pointless movie that deserves to be thrown in the garbage. We both agree, though, that the script could have made some choices to help with the awkwardness of it all. Get ready for an all-out patented Movie Fight(TM) as we discuss 2022's 25th Hour this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Open Title” from the score to the movie 25th Hour, composed by Terence Blanchard. Copyright 2002 Hollywood Records, Inc. and Touchstone Pictures. Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of racism, childhood grief, dysfunctional families, parental anger, drugs, poverty, grief, loss. It was only a matter of time before Spike Lee decided to make his own ode to basketball. Unfortunately, his script here is just not up to par, which is a shame, because underneath the flash and messy storytelling, there's a really interesting story about fathers and sons. Denzel is bringing his best, as usual, and the supporting cast is doing their absolute best. Even Ray Allen, who's definitely not an actor, still has flashes of brilliance as he relaxes into the role. And Spike's directing has so much thought and care, particularly in his use of score. But none of that matters when the movie just doesn't have a whole lot to say. Check the ball and post up as we discuss 1998's He Got Game this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “He Got Game” from the soundtrack to the movie of the same name, written by LuQuantum Leap featuring Stephen Stills, and performed by Public Enemy along with the Voices of Shabach Community Choir of Long Island. Copyright 1998 Def Jam Records, Inc., a PolyGram Company.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of womanizing, misogyny, gambling. Spike Lee had the unenviable task of following up one of the greatest movies of all time. And instead of taking a long break or jumping to big budget movies, Spike decided to rein everything back in for another slice of life about another of his many loves - jazz. Granted, his writing efforts were a bit disjointed, a bit lacking in story to make everything well-rounded. But Spike still brought all his visual powers to bear with a cast that absolutely knocks out their roles, even if they're a bit thin on the page. And don't get us started on the music - this movie still has a lot to offer. Grab a seat and order a drink as we talk about 1990's Mo' Better Blues this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Mo' Better Blues” from the soundtrack to the movie Mo' Better Blues, written by Bill Lee and performed by the Branford Marsalis Quartet featuring Terence Blanchard. Copyright 1990 CBS Records Inc. Excerpt taken from “Part I - Acknowledgement” from John Coltrane's A Love Supreme, copyright 1965 ABC-Paramount Records, Inc.; 2022 UMG Recordings, Inc. Excerpt taken from “Everyday People” by Sly and the Family Stone, copyright 1968 Daly City Music.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of racism, childhood grief, dysfunctional families, parental anger, drugs, poverty, grief, loss. After another Spike masterpiece (one we've both seen already), Spike geared up for one of his most personal projects to date. Written as a TV pilot by Spike's sister Joie and brother Cinqué, Spike reigns everything back in to show a family, both good and bad, living in Brooklyn in 1973. It moves more like a series of scenes than an actual movie, but the characters here are among some of his best, and Spike is willing to lay everything in front of us: the anger, the dysfunction, the sorrow, and the love. It doesn't hurt that he's got Alfre Woodard and Delroy Lindo as the parents either, nor an outstanding child performance from Zelda Harris. It's a really good movie, subtle but true and a delight to watch. Turn the TV off and make sure you clean your dishes as we discuss 1994's Crooklyn this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Everyday People” by Sly and the Family Stone, copyright 1968 Daly City Music. Excerpt taken from “He Got Game” from the soundtrack to the movie of the same name, written by LuQuantum Leap featuring Stephen Stills, and performed by Public Enemy along with the Voices of Shabach Community Choir of Long Island. Copyright 1998 Def Jam Records, Inc., a PolyGram Company.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of sexism, misogyny, rape, rape culture, manipulation, narcissism, sex. We're starting a new director series, and this year we're watching the films of one of Hollywood's most controversial and iconic directors: Spike Lee. This week, we check out his first joint, a sex comedy that's shockingly progressive and thoughtful for its time. It's refreshing for one of the greatest low-budget films of all time to be far more thoughtful than most comedies of its era. And it's incredibly funny to boot, provided you remember it's 1986 and off-color jokes cross the line more often than not. It's not the greatest movie, but it's a great start for one of the best directors of all time. Please baby, pleasebaby, please baby baby please join us as we watch 1986's She's Gotta Have It this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She's Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc. Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She's Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc. Excerpt taken from Nike's “It's Got To Be the Shoes” commercial, starring Spike Lee and Michael Jordan. Excerpt taken from “Fight the Power” from the soundtrack to the movie Do the Right Thing, written by Carlton Ridenhour, Eric Sadler, Hank Shocklee and Keith Shocklee and performed by Public Enemy. Copyright 1989 Universal City Studios, Inc.; Motown Record Company, L.P.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of police murders, police brutality, racism, sex, racial tension, alcoholism. Our Spike Lee series continues with, perhaps, Spike's greatest movie and only his third full-length feature. It's a movie so poignant and real that it can literally change lives, and we don't say that lightly. Of course, Hollywood was terrified it would incite violence and rioting, which is preposterous because its real message is how to navigate living together, both in peace and violence. Spike doesn't ask easy questions and doesn't expect easy answers; he just wants to lay it all out in front of us. And, in the meantime, he gives us a whole crew of unique, well-drawn characters that, even when caricatures, still show a sense of the real world and all of its struggles. Wake up, wake up, up you wake and join us as we watch 1989's masterpiece Do the Right Thing this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fight the Power” from the soundtrack to the movie Do the Right Thing, written by Carlton Ridenhour, Eric Sadler, Hank Shocklee and Keith Shocklee and performed by Public Enemy. Copyright 1989 Universal City Studios, Inc.; Motown Record Company, L.P. Excerpts taken from the movie Do the Right Thing, copyright 1989 Universal City Studios, Inc. All Rights Reserved. Excerpt taken from the 1990 Academy Awards with a speech from Kim Basinger. Excerpt taken from “Mo' Better Blues” from the soundtrack to the movie Mo' Better Blues, written by Bill Lee and performed by the Branford Marsalis Quartet featuring Terence Blanchard. Copyright 1990 CBS Records Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of child neglect, child abuse, teen drug use, teenage pregnancy, racism, systematic racism, manipulation. It wouldn't be a series on this show without a dud to end things on. 1989 had its fair share of great movies, but it also contained this absolutely terrible piece of work. On paper, this movie should be fantastic: Morgan Freeman, John G. Avildsen of Rocky directing, a compelling drama. But the low expectations of our writer and our director's absolute devotion to hitting emotional story beats undercuts a really complicated and unique story from an urban high school. It's bad enough that the movie completely rewrites history; it also just does a really terrible job of it too. Pull your pants up and take your hat off as we watch Lean on Me this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Rap Summary (Lean On Me)” from the soundtrack to the movie Lean on Me, written and performed by Big Daddy Kane. Copyright 1989 Warner Bros. Records Inc. Excerpt taken from the movie Lean on Me, copyright 1989 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She's Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: sexism, manipulation, stealing credit, Kevin Spacey. We jump from a New York nightmare to a fairy tale, albeit one with some real power plays. This week's movie is definitely lighter fare, but it's worth realizing just how empowering it was in its time. Secretaries didn't have the chance to work their way up, and hierarchies only allowed for certain women to make their way to the boardroom. So it was a big deal to say that someone working through various menial positions could get the power to make million or even billion dollar deals. What makes this week's movie great is the combination of its message, its attention to detail, and some truly fantastic chemistry between Harrison Ford and Melanie Griffith. Enjoy your new office as we watch Working Girl this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation. Excerpt taken from “Let the River Run” from the soundtrack to the movie Working Girl, written and performed by Carly Simon. Copyright 1988 Twentieth Century Fox Film Corporation. Excerpt taken from “Work Hard or Die Trying, Girl” from the TV show Bob's Burgers. Copyright 2011, 2014 Fox and its related entities. All rights reserved. Excerpt taken from “Rap Summary (Lean On Me)” from the soundtrack to the movie Lean on Me, written and performed by Big Daddy Kane. Copyright 1989 Warner Bros. Records Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: From 37:33-38:22, discussion of sexual assault and torture of a minor with respect to a fictional character. Also, discussion of infidelity, obsessive behavior, psychopathy, mental illness, murder, animal cruelty, suicide, drowning, strangulation, sexism, mental health stigma. 1987's movie is truly one of the greatest movies ever made about infidelity. This wasn't just a run-of-the-mill thriller - for many, this was a wake-up call. True, the movie takes things to extremes, but there's layers of meaning and thought in this film. That's mostly due to an outstanding cast, with Michael Douglas finding all the subtleties in being an asshole and Glenn Close giving one of her best-ever performances. The only thing holding the movie back is its 1987 attitude toward mental illness and sexual politics. Nevertheless, this movie is still one hell of a thriller that manages to ask a lot of questions with no easy answers. Check to make sure all your bunnies are in their pens as we watch Fatal Attraction this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation. Excerpt taken from the movie Fatal Attraction, copyright 1987 Paramount Pictures Corporation. All Rights Reserved. Excerpt taken from “Let the River Run” from the soundtrack to the movie Working Girl, written and performed by Carly Simon. Copyright 1988 Twentieth Century Fox Film Corporation. Excerpt taken from “Work Hard or Die Trying, Girl” from the TV show Bob's Burgers. Copyright 2011, 2014 Fox and its related entities. All rights reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Homophobia, transphobia, racism, sexism, poaching. Our 1986 entry for this series is one of the most baffling movies in this series. This movie rivaled none other than Top Gun for the biggest box office win of 1986, and made a handful of Australians truckloads of cash. It lived large as the biggest Australian cultural export to America for nearly 30 years. And it's also just an absolutely awful movie. The comedy isn't funny, the romance isn't romantic, and almost half the movie is spent on a slow walkabout in the Outback. There's a handful of jokes and moments that loom large, but they're held together by the flimsiest of stories. And somehow, some way, the Academy saw fit to nominate the film for Best Original Screenplay. Join us for this Aussie travesty as we watch Crocodile Dundee this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Opening Title Theme” from the soundtrack to the movie Crocodile Dundee, written and composed by Peter Best. Copyright 1986 Paramount Pictures Corporation; Best Results Pty. Ltd. Excerpts taken from the movie Crocodile Dundee, copyright 1986 Rimfire Films Limited. All Rights Reserved. Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma. We step into 1984 with a true children's classic that was bound to scar so many young minds. Because this week's movie is a meditation on grief, loss, and how we intertwine with stories to help heal, and it's also full of really cool practical special effects. But while our director may have made the greatest submarine movie of all time, his ability to sort through the nuances of a really beautiful story was kind of a mess. For a 90 minute movie, this drags, and it's not only because the story is lost in translation. Yet the real travesty is missing the second half of the story, which pulls everything full circle in a truly beautiful, wonderful way. Grab a hold of Falcor and get ready to ride as we talk about The NeverEnding Story this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “The Never Ending Story” from the soundtrack to the movie The NeverEnding Story, written by Giorgio Moroder and Keith Forsey. Copyright 1984 Neue Constantin Film Productions GmbH; EMI Records, Ltd. Excerpt taken from “Fletch Theme” from the soundtrack to the movie Fletch, written and composed by Harold Faltermeyer. Copyright 1985 Universal City Studios, Inc.; MCA Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Misogyny, murder, STDs. 1985's movie is perhaps the role Chevy Chase was born to play. Imagine a man with a shoestring disguise budget, the affable charm of the mediocre white man, and an absolute disdain for everyone around him. That's Irwin Fletcher, and Chevy is absolutely fantastic in the role. Unfortunately, Hollywood couldn't escape the thought that they needed to make a silly comedy and not a sarcastic send-up of noir. This movie needed to let Chevy be Chevy and turn on all of his sarcastic charm. Instead, it relies a bit too much on bits, ignoring the mystery structure, and the one-liners outshine the fun of the characters. Splurge on some 49-cent fake teeth as we talk about Fletch this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fletch Theme” from the soundtrack to the movie Fletch, written and composed by Harold Faltermeyer. Copyright 1985 Universal City Studios, Inc.; MCA Records, Inc. Excerpts taken from the movie Fletch, copyright 1985 Universal Studios. All Rights Reserved. Excerpt taken from “Opening Title Theme” from the soundtrack to the movie Crocodile Dundee, written and composed by Peter Best. Copyright 1986 Paramount Pictures Corporation; Best Results Pty. Ltd.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma. We continue our 80's Grab Bag with the true grandfather of all high fantasy movies, or at least the ultra-violent ones. Before Game of Thrones, before The Witcher, there was one man, bigger than 5 combined and able to crush his enemies, see them driven before him, and listen to the lamentations of their women. His name was Arnold Schwarzenegger, and before he become a bona fide movie star, he took on a cult classic role in this week's movie. No, the movie's not what you'd call “good,” but it's also doing more with what it has than a lot of similar movies of its time. Director John Milius didn't have the resources to hire ILM or call up the artists behind Alien and Blade Runner - he had to find a way to make it all work. And even though there's stretches where the movie's laughable, there's also some true badassery hidden within. Grab your broadsword and study the way of its steel as we talk about Conan the Barbarian this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Anvil of Crom” from the soundtrack to the movie Conan the Barbarian, written and composed by Basil Poledouris. Copyright 1982 Universal City Studios, Inc.; MCA Records, Inc. Excerpt taken from the film Mommie Dearest, copyright 1981 Paramount Pictures Corporation. All Rights Reserved. Excerpt taken from “Love on a Real Train (Risky Business)” from the soundtrack to the movie Risky Business, written and composed by Tangerine Dream. Copyright 1983 The David Geffen Company.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma. The 80's Grab Bag continues with a truly promising premise with some very flawed execution. While this movie had the chance to be Ferris Bueller's Day Off but with a ultra-dark twist, it winds up being a bit of a tepid rehashing of bad teen ideas. And it's mostly to do with the awkward, overly “erotic” and ultimately unnecessary sex. It's a shame our writer and director didn't really know what he was doing because he's got a cast of true up-and-coming stars and one hell of a synth-rock soundtrack. Ultimately, it all ends up falling a little flat. Put on some tighty-whiteys and crank up the Bob Seger as we talk about Risky Business this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Love on a Real Train (Risky Business)” from the soundtrack to the movie Risky Business, written and composed by Tangerine Dream. Copyright 1983 The David Geffen Company. Excerpt taken from the movie Risky Business, copyright 1983 The Geffen Film Company; Warner Bros. Entertainment Inc. All rights reserved. Excerpt taken from “The Never Ending Story” from the soundtrack to the movie The NeverEnding Story, written by Giorgio Moroder and Keith Forsey. Copyright 1984 Neue Constantin Film Productions GmbH; EMI Records, Ltd.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma. Our next film in the 80's Grab Bag series centers on a controversial story around a major public figure. Namely, why Faye Dunaway was ever given a chance at stardom. Because this film is a disaster of the most epic proportions. The writing? It's god-awful, making an incredibly complex and difficult story of childhood trauma into a laughable soap opera. The directing? It is truly, ineffably bad, bouncing from moment to moment with editing that would be side-eyed by z-movie directors from the 60's. And the cast? Never let it be said they're not committed (except you, Steve Forrest, no excuses), but literally nobody is able to figure out what the hell is going on. Forget about the tell-all aspect; this movie is a trainwreck of the highest order. Hide all your wire hangers as we talk about Mommie Dearest this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “End Credits” from the soundtrack to the movie Mommie Dearest, written and composed by Henry Mancini. Copyright 1981 Paramount Pictures Corporation. Excerpt taken from the film Mommie Dearest, copyright 1981 Paramount Pictures Corporation. All Rights Reserved. Excerpt taken from “Anvil of Crom” from the soundtrack to the movie Conan the Barbarian, written and composed by Basil Poledouris. Copyright 1982 Universal City Studios, Inc.; MCA Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Homophobia, sexual assault, sexual coercion, homophobia, child abuse, drug use, alcohol abuse, underage drinking, racism. It's a new season and a new series as we head to the 80's this time instead of the 90's and catch up on a number of movies we need to discuss. This week, we're talking about a truly groundbreaking, influential film. It's one thing to say that, it's another to watch spiritual (and literal) sequels or remakes get made of this story, over and over again. And yet this 1980 classic is rough, raw, but still very engaging, partially because of its novelty. No, it's not great, and its 2009 remake is maybe one of the worst movies we've watched for this show. Yet it's almost a requirement to see this movie about the pressure of young creatives searching for their golden ticket. Settle in and make sure your audition is ready as we talk about Fame this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fame” from the movie Fame. Written by Michael Gore with lyrics by Dean Pitchford, and performed by Irene Cara. Copyright 1980 Metro-Goldwyn-Mayer Inc. Excerpt taken from “Fame” from the movie Fame. Written by Michael Gore with lyrics by Lesley Gore, and performed by Irene Cara. Copyright 1980 Metro-Goldwyn-Mayer Inc. Excerpt taken from film Fame, copyright 1980 Warner Bros. Entertainment Inc. Excerpt taken from “End Credits” from the soundtrack to the movie Mommie Dearest, written and composed by Henry Mancini. Copyright 1981 Paramount Pictures Corporation.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. Our show wraps up season 6 with a quick recap of the 95th Academy Awards, in which Jimmy Kimmel only tiptoed over the line a few times and someone in a bear costume tripped Elizabeth Banks and accosted Malala Yousafzai. That was the wildest (and funniest moment) of the night in a still enjoyable Oscars - fun bits, good presentations, and lovely speeches. But the big winner of the night are those weirdos who made the weirdest and most beautiful movie of the year, Everything Everywhere All at Once. We can't help but be overjoyed at the result, considering we've been hailing the movie as our favorite for a whole calendar year. And while the Academy still needs to nominate some women in directing categories and re-examine their actor nominees, overall, it's been a pretty great year for movies, and for new voices. Grab some popcorn or your favorite hangover cure as we talk about this year's Oscars on the season finale of Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. Our Oscars ‘91 series comes to an end with the 64th Academy Awards, live from the Dorothy Chandler Pavilion. And what an…Oscars it was. Look, we won't mince words, this was a boring Oscars. No one looks particularly excited to be there, even Billy Crystal. At least he had an excuse, fighting through the flu to give a lackluster performance. This was the tail end of the Oscars taking itself far too seriously, and it shows. Though there's some good bits, some memorable jokes, and, if you know literally anything about Oscars history, a big winner for the night. Throw on your tux or gown and get ready for our final discussion of Oscars ‘91 this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from The 64th Annual Academy Awards, hosted by Billy Crystal and directed by Jeff Margolis. Aired March 30, 1992 on ABC.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. We're fast approaching the 95th Academy Awards, so that means it's time to get our picks set for all the categories! Will Everything Everywhere All At Once complete its awards cycle, or will another challenger upset? Will Jimmy Kimmel hold the fort down after last year's unexpected ceremony? And what will we enjoy more - the sheer exuberance of “Naatu Naatu” or the sheer delight of seeing David Byrne onstage at the Oscars? Grab your ballots and prepare for your Oscar pools as we discuss our picks for the 2023 Oscars on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the scores to the following movies: All Quiet on the Western Front - Volker Bertelmann Babylon - Justin Hurwitz The Banshees of Inisherin - Carter Burwell Everything Everywhere All at Once - Son Lux The Fabelmans - John Williams "Applause" - Tell It Like a Woman - Music and Lyrics by Diane Warren "Hold My Hand" - Top Gun: Maverick - Music and Lyrics by Lady Gaga and BloodPop "Lift Me Up" - Black Panther: Wakanda Forever - Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyrics by Tems and Ryan Coogler "Naatu Naatu" - RRR - Music by M.M. Keeravaani; Lyrics by Chandrabose "This Is a Life" - Everything Everywhere All at Once - Music by Ryan Lott, David Byrne and Mitski; Lyrics by Ryan Lott and David Byrne

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. Our last movie for the series is so good, we just don't have much to say about it. Get a story about two strong Southern women, wrap it in a beautiful plot about a pushover finally finding her own strength in the world, and give the bow of Jessica Tandy being the best storyteller ever. That's all you need for this beautiful story about friendship, love, and the South. The cast is incredible, the writing is impeccable, and the directing is…well, it's exactly what it needs to be. In fact, the only problem is the fact that this movie wasn't able to get to the deeper romance between its two leads - and even then, it's still pretty romantic. Grab your hammer and start slamming the walls as we talk about Fried Green Tomatoes this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "The Whistle Stop Café" from the score to the motion picture Fried Green Tomatoes. Written and composed by Thomas Newman. Copyright 1991 Universal City Studios, Inc.; 1992 MC Records, Inc. Excerpt taken from the introduction to the 64th Academy Awards, conducted by Bill Conti. Aired March 30, 1992 on ABC.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. This week we're back with another appearance from one of the show's most polarizing figures, but this time, she's not the issue. No, Barbra actually brings some nuance and care to this movie, but the problem is the actual movie itself, or rather, the novel it's based on. There's a whole lot that has to be unpacked in this story, and much of it more thoughtfully and carefully than anyone involved really had time for. It's not hard to see why this movie was a hit, for sure, but Barbra's wearing too many hats, and even an all-time great performance from Nick Nolte can't save this movie from sinking under the weight of all its trauma voyeurism and horrible ethics. Get ready to share way too much as we discuss The Prince of Tides this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the soundtrack to the motion picture The Prince of Tides. Written and composed by James Newton Howard. Copyright 1991 Sony Music Entertainment, Inc. Excerpt taken from "The Whistle Stop Café" from the score to the motion picture Fried Green Tomatoes. Written and composed by Thomas Newman. Copyright 1991 Universal City Studios, Inc.; 1992 MC Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war. This week we discuss what, in retrospect, was the most controversial film of the year, even more than two serial killer films. No, the honor of Film That Made Everyone Angry was this week's movie, predicated on flipping the script on the most infamous moment in American political history. And yet, for a movie tackling such a weighty subject, with a strong, self-assured filmmaker at the helm, this is an absolute stinker of a movie. it's bad enough that the movie trades in some of the worst and most easily debunked conspiracy theories surrounding November 22, 1963; it's also just so incredibly boring. Kevin Costner is reduced to expounding exposition while everyone else has to overact around him, all because Oliver Stone needed to shove his own dark beliefs into the public sphere. In doing so, he created a new level of doubt that has since transformed into some of the most dangerous conspiracy believers in society. All rise as we put JFK on trial this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Prologue” from the soundtrack to the motion picture JFK. Written and composed by John Williams. Copyright 1991 Warner Bros. Inc.; Regency Enterprises; Le Studio Canal+; Elektra Entertainment. Excerpt taken from “Mr. Lucky,” copyright 1980 Music De Wolfe. Excerpts taken from JFK, © 1991 Warner Bros. All Rights Reserved. Excerpt taken from “The Boyfriend (Part 2)” from the show Seinfeld, © 1989- 1998 Castle Rock Entertainment. All Rights Reserved. Excerpt taken from Bull Durham, © 1988 ORION PICTURES CORPORATION. Excerpt taken from “Main Title” from the soundtrack to the motion picture The Prince of Tides. Written and composed by James Newton Howard. Copyright 1991 Sony Music Entertainment, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of allegations of sexual harassment, misconduct, and assault against a writer. Also, misogyny, verbal and physical abuse, murder, humiliation, death. We're going over to the mob this week by discussing the most-nominated film of this Oscars series, and also one of the most boring. It's so dull, it can't even cut through butter. There's a dozen incredibly good stories just waiting to be told about Bugsy Siegel, Meyer Lansky, Vegas, and the mafia in the 40's and 50's, and absolutely none of them get coverage in this movie. No, instead we get a psychosexual abusive romance that somehow is supposed to be the throughline for a bunch of historical exposition and horribly unwarranted violence. The writing is so bad here that there are multiple deserved acting nominations and some really incredible technical achievements and all of them get lost by the wayside. Flip on your screentest and brace yourself as we watch Bugsy on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Bugsy (Act of Faith #2)” from the soundtrack to the motion picture Bugsy. Written and composed by Ennio Morricone. Copyright 1991 Sony Music Entertainment Inc. Excerpt taken from “Prologue” from the soundtrack to the motion picture JFK. Written and composed by John Williams. Copyright 1991 Warner Bros. Inc.; Regency Enterprises; Le Studio Canal+; Elektra Entertainment.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of sexual assault, rape, and sexual advances toward a minor. Also, assault, violence, misogyny, attempted murder. This week, we're talking about a thriller that's a remake of a classic thriller by one of the most famous directors in American movies. And it's all because of Steven Spielberg. Well, OK, it's also because Martin Scorsese saw the chance to make a hit movie, and wow does he deliver. There's nothing particularly special about this week's movie on paper - it's a well-thought, taut thriller. But it's Marty's flourishes and powerhouse performances from Robert DeNiro and Juliette Lewis that propelled this film to Oscar status. At the end of it all, it's a gripping, scary, and fun ride of a movie - and sometimes that's just all you need.. Get the fishing line tied around your teddy bear as we watch Cape Fear on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Max” from the soundtrack to the motion picture Cape Fear. Written and composed by Bernard Hermann, and arranged and composed by George Fenton. Copyright 1991 Universal City Studios, Inc. and Amblin Entertainment, Inc.; MCA Records, Inc. Excerpts taken from the film Cape Fear (1991), © 1991 Universal Studios. All Rights Reserved. Excerpt taken from “Bugsy (Act of Faith #2)” from the soundtrack to the motion picture Bugsy. Written and composed by Ennio Morricone. Copyright 1991 Sony Music Entertainment Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, grief, trauma, loss, catatonia, mental illness, delusion, guilt, shame, AIDS, homelessness, misogyny, depression. This week we're discussing a film that's one of the most beautiful messes you'll ever see. Beautiful, because it revels in medieval mythology while telling a story of redemption in our modern lives. Messy, because our director didn't seem to care about creating a consistent, thorough world for his characters to live in. It's a movie that doesn't hold up as well on deeper scrutiny, and yet also hits you right in the heart with a truly lovely story and incredibly strong performances from some of the best actors in the business. If only Terry Gilliam had reigned himself in just a little bit, this would have been absolutely perfect. Grab your armor and weapons from the scrap heap as we watch The Fisher King on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “How About You (Swing Version)” from the soundtrack to the motion picture The Fisher King, written by Burton Lane and arranged by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc. Excerpts taken from the film The Fisher King, © 1991 TriStar Pictures, Inc. All Rights Reserved. Excerpt taken from “Max” from the soundtrack to the motion picture Cape Fear. Written and composed by Bernard Hermann, and arranged and composed by George Fenton. Copyright 1991 Universal City Studios, Inc. and Amblin Entertainment, Inc.; MCA Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, alcohol, drinking, racism, antisemitism, fascism, Nazis, gunshots. We continue our Oscars ‘91 series this week with yet another dark movie about Hollywood. Though this version has a twist: it's the Coen brothers, and they're making things incredibly weird, as they're known to do. For a movie written about writer's block by two writers dealing with writer's block, it happens to be a fairly decent movie. It's just that the Coens hadn't struck that balance of digging up obscure references and making them instantly relatable. John Turturro and John Goodman give truly incredibly performances, but the Coens seem to have internalized the story a bit too much. Roll in some paper and get to typing as we watch Barton Fink on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records. Excerpts taken from the film Barton Fink, © 1991 Circle Films, Inc. Excerpt taken from “The Red Knight Suite” from the soundtrack to the motion picture The Fisher King, composed by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, gun violence, gangs, racism, police, gang violence, crime, death. Oscars ‘91 continues this week with a movie that lives up to the title of the show, because we really should have seen this movie already. John Singleton, right out of film school, created a narrative that was so authentic and poignant that it didn't matter how predictable the story arc was. The plot isn't complicated, the characters are relatively simple, but it's the reality of life in South Central LA that makes this movie so incredibly powerful. That, and incredible performances from a cast of rising stars, all poised to become household names in the wake of the movie. Grab some barbecue and settle in for Boyz n The Hood on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records. Excerpts taken from the film Boyz n The Hood, © 1991, 1992 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, attempted sexual assault, theft, robbery, guns, police, misogyny, neglect, suicide. We're continuing our Oscars ‘91 series with a groundbreaking major studio movie in its willingness to put women front and center as our heroines. Although, these two aren't the perfect protagonists by any measure, but they are truly compelling. And while the film is rightly remembered as a classic, it's not without its faults. There's a lot of the movie that focuses away from what makes it so great, either out of messy writing or frustrating directing. Still, anytime you can put Susan Sarandon and Geena Davis in a car in the southwest, it's worth the price of admission. Hit the pedal all the way down as we discuss Thelma & Louise on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Thelma & Louise / End Credits” from the motion picture soundtrack to Thelma & Louise, written and composed by Hans Zimmer. Copyright 1991 Metro-Goldwyn-Mayer Music Inc. Excerpts taken from the film Thelma & Louise, © 1991 METRO-GOLDWYN-MAYER STUDIOS INC. Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, serial killers, torture, graphic murder, transphobia, Nazi symbology, horror, terror, darkness, mental illness, body mutilation. It's time for our Oscars series, and we're kicking our review of the Oscar movies of 1991 with a horror film unlike any other. In fact, this movie really isn't a serial killer or slasher film at all; it's more of a psychological journey wrapped in a horror package. In fact, if you only know the cultural signposts from the film, you'd be hard pressed to realize that the film's main character isn't it's iconic anti-hero or its dark, horribly twisted villain. No, it's the outstanding performance of Jodie Foster and the writing of Clarice Starling that truly make the film come alive. It just helps that Anthony Hopkins gives us a masterful, iconic performance to match and foil. Let's have an old friend for dinner as we discuss The Silence of the Lambs on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the motion picture soundtrack of The Silence of the Lambs, written and composed by Howard Shore. © 1990 Orion Motion Pictures Corporation; ℗ © 1991 MCA Records, Inc. Excerpts taken from the film The Silence of the Lambs, © 1991 Orion Pictures Corporation. All rights reserved. Excerpt taken from “Try Everything” from the soundtrack to Zootopia, written and composed by Mikkel Eriksen, Sia Furler, and Tor Erik Hermansen and performed by Shakira. Copyright 2016 Disney Enterprises, Inc. and Walt Disney Records. Excerpt taken from “Thelma & Louise / End Credits” from the motion picture soundtrack to Thelma & Louise, written and composed by Hans Zimmer. Copyright 1991 Metro-Goldwyn-Mayer Music Inc.