Podcasts about metro goldwyn mayer

Dans le roman graphique Seule contre Hollywood, son auteur Halim nous transporte 80 ans avant #MeToo lorsqu'une jeune actrice aura le courage d'affronter l'un des plus puissants studios hollywoodiens et de porter plainte pour agression. À 20 ans, un juge américain a dit d'elle qu'elle était la femme la plus dangereuse au monde. On était en 1937, 80 ans avant Me Too et le procès d'Harvey Weinstein. Et les dirigeants de la puissante Metro Goldwyn Mayer avaient eu l'idée, sans rien y voir de répréhensible, de livrer en pâture 120 jeunes danseuses professionnelles à 300 invités, juste pour fêter une année de bénéfices record, quitte à fermer les yeux sur le viol de certaines d'entre elles. Mais Patricia Douglas, elle, a choisi de ne pas se taire. Et elle a eu le courage de dénoncer les prédateurs d'Hollywood. L'affaire a été longtemps occultée, mais elle a fini par revenir à la surface via la presse, d'abord, puis via un documentaire.Halim est l'invité de Sur le pont des arts. Seule contre Hollywood a paru aux éditions Steinkis. Au programme de l'émission :► ReportageLaura Dulieu nous entraîne à Tirana en Albanie à la découverte de la Vila 31, l'ancienne maison du dictateur Enver Hoxha, transformée en résidence d'artistes. ► Chronique Librairies du mondeJennifer Fulton de la librairie Bonjour Books à Washington DC aux États-Unis nous présente un polar. Manhattan Palace de Carole Geneix nous plonge au cœur d'un hôtel new-yorkais où luxe et secrets s'entremêlent. Un mariage entre un héritier fortuné et une jeune Instagrameuse française qui met en lumière les secrets de plusieurs personnages-clés et révèle la présence d'un tueur ! ► Playlist du jour- Suzane - Je t'accuse- Ginton, Oumou Sangaré, Palane - Sabu.

Daniel and Erwin review the surprise sequel, Gavin O'Connor's "The Accountant 2." They talk about the surprise tone, the action, the Buddy chemistry with Jon Bernthal and Ben Affleck and more. Did they love it, did they hate it, or are they Somewhere Between? Listen to find out!Forensic accountant Christian Wolff teams up with his estranged but highly lethal brother to track down mysterious assassins.Release date: April 25, 2025 (USA)Director: Gavin O'ConnorStarring: Ben Affleck; Jon Bernthal; Cynthia Addai-Robinson; Daniella Pineda; J. K. SimmonsRunning time: 2h 5mMPAA rating: RDistributed by: Warner Bros. Pictures, Amazon MGM Studios, Metro-Goldwyn-Mayer

Ko so leta 1933 v filmskem studiu Metro-Goldwyn-Mayer odkupili pravice za filmsko adaptacijo zelo priljubljenega romana avstrijskega pisatelja Felixa Saltna Bambi, so nameravali posneti igrani film, a se je to kmalu izkazalo za prevelik zalogaj, zato so pravice prepustili Waltu Disneyju in vse preostalo je zgodovina … Zgodba o malem jelenčku, ki se je pod Disneyjevo taktirko precej zmehčala in se iz nekoliko temačnejšega romana za starejše bralce spremenila v živo pisano risanko za najmlajše gledalce, je dobila čisto nove razsežnosti. Le malokdo vsaj ohlapno ne pozna njene vsebine, izraz »bambi«, ki sicer izvira iz italijanske besede za otroka, pa je postal celo pogovorni sinonim za majhnega srnjačka. Bambi je dobrih sto let po nastanku romana verjetno najbolj znani jelenček na svetu poleg Božičkovega Rudolfa in končno je napočil čas ali bolje rečeno dovoljšen tehnološki napredek, da ga na filmskem platnu zaigra pravi jelen. Te zahtevne ideje se je z veliko potrpežljivosti lotil francoski scenarist in režiser Michel Fessler in se z ekipo odpravil v Orleanski gozd, da bi ob pomoči podjetja Animal Contact, ki usposablja živali za avdiovizualni svet, v naravnem okolju posnel igrani film s samimi živalskimi junaki. Rezultat je osupljiv in gledalec zlahka pozabi, da ne gleda dokumentarnega filma, ampak kosmate, pernate ali luskaste igralce, ki so prizore pred snemanjem večkrat vadili in nato tudi večkrat posneli. Seveda od njih ni moč pričakovati disneyjevske obrazne mimike ali kakšnih res zapletenih, le v risankah možnih akcij, vendar so svojo nalogo izvrstno opravile, neokrnjena narava pa seveda še bolj pripomore k pravljičnemu ozračju. Prav zato, ker je vse na meji dokumentarnosti, Bambijeva življenjska pot ni tako zelo melodramatična, kot se morda spomnimo iz risanke; v gozdu namreč ne obstajata dobro in zlo, le boj za preživetje, in tako na primer sicer neuspešni lov orla na Bambijevega zajčjega prijatelja izzveni le kot popolnoma naraven gozdni pojav – dramatičen, a brez nepotrebne drame. Edini pravi sovražnik je seveda človek. Človek, ki v gozd vdre od zunaj in s svojim nerazumevanjem in nespoštovanjem njegovih prebivalcev prepletenemu gozdnemu ekosistemu povzroča nepopravljivo škodo. Prav zaradi tega skoraj vizionarskega uvida – Salten, sicer tudi sam zagrizen lovec, ki pa je menda po puški segel le v res nujnih primerih, je delo napisal že daljnega leta 1923 – roman Bambi sodi tudi med začetnike okoljevarstvene literature. In težko bi si zamislili boljši format za osvetlitev tega danes tako žgočega problema, kot ga je v svoji vizualno čudoviti igrani filmski različici predstavil Michel Fessler in Bambija končno osvobodil disneyjevskega počlovečenja.

Monumentalfilmklassiker wie Ben Hur und El Cid oder der Hitchcock-Thriller Spellbound sind ohne seinen Soundtrack undenkbar. Seine mehrfach Oscar-gekrönte Hollywood-Karriere im Dienst von Metro-Goldwyn-Mayer machte den ungarisch-amerikanischen Komponisten Miklós Rózsa berühmt. Dass er eigentlich viel lieber Werke für den Konzertsaal schrieb, blieb neben dem ganzen Filmrummel lange unbemerkt. Die Deutsche Staatsphilharmonie Rheinland-Pfalz unter Gregor Bühl legt bereits ihr zweites Rózsa-Album bei "Capriccio" vor. Alexandra Maria Dielitz hat es sich angehört.

Nel 1924 nasce una storia casa di produzione cinematografica: la Metro-Goldwyn-Mayer! Learn more about your ad choices. Visit megaphone.fm/adchoices

fWotD Episode 2902: Lady Blue (TV series) Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 15 April 2025 is Lady Blue (TV series).Lady Blue is an American detective and action-adventure television series. Produced by David Gerber, it originally aired for one season on the American Broadcasting Company (ABC) network from September 15, 1985, to January 25, 1986. It was picked up by ABC after its pilot aired as a television film on April 15, 1985. The show revolves around Chicago detective Katy Mahoney (Jamie Rose) and her violent methods of handling cases. The supporting cast includes Danny Aiello, Ron Dean, Diane Dorsey, Bruce A. Young, Nan Woods, and Ricardo Gutierrez. Johnny Depp also guest-starred on the series in one of his earliest roles. With cinematography by Jack Priestley, the episodes were filmed on location in Chicago. Television critics noted Lady Blue's emphasis on violence, calling Mahoney "Dirty Harriet" (after Clint Eastwood's character Dirty Harry). Rose said she joined the project after being drawn to its genre. She prepared for the role by watching Eastwood's films, received advice from Eastwood on how to handle a gun, and practiced at a shooting range.After the pilot aired, Lady Blue was criticized by several watchdog organizations (particularly the National Coalition on Television Violence) as the most violent show on television. ABC moved the series from Thursdays to Saturdays before cancelling it in early 1986, partially due to the complaints about excessive violence. Critical reception to the series was primarily negative during its run, but television studies author Cary O'Dell questions whether that stemmed from contemporary sexism. Lady Blue has not been released on DVD, Blu-ray, or an online streaming service. The series' rights are owned by Metro-Goldwyn Mayer, but there are no plans for future home releases.This recording reflects the Wikipedia text as of 00:44 UTC on Tuesday, 15 April 2025.For the full current version of the article, see Lady Blue (TV series) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Danielle.

pWotD Episode 2897: Jay North Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 369,667 views on Monday, 7 April 2025 our article of the day is Jay North.Jay Waverly North Jr. (August 3, 1951 – April 6, 2025) was an American actor. His career as a child actor began in the late 1950s, and he went on to appear in eight TV series, two variety shows and three feature films. At age 7, he became a household name for his role as the good-natured but mischievous Dennis Mitchell on the CBS situation comedy Dennis the Menace (1959–1963), based on the comic strip created by Hank Ketcham.As a teen, North had roles in two Metro-Goldwyn-Mayer feature films: Zebra in the Kitchen and Maya. He also starred in the NBC television series adaptation of the latter film. As an adult, he turned to voice acting for animated television series, voicing the roles of Prince Turhan in the Arabian Knights segment of The Banana Splits Adventure Hour and a teenaged Bamm-Bamm Rubble on The Pebbles and Bamm-Bamm Show.After leaving show business, North began working with fellow former child star Paul Petersen and the organization A Minor Consideration, using his experiences as a child performer to counsel other children working in the entertainment industry.This recording reflects the Wikipedia text as of 01:25 UTC on Tuesday, 8 April 2025.For the full current version of the article, see Jay North on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kajal.

We present our A Working Man (2025) review!A Working Man is a 2025 American action thriller film directed by David Ayer, who co-wrote the script with Sylvester Stallone. The film is based on the 2014 novel Levon's Trade by Chuck Dixon. It stars Jason Statham, Michael Peña and David Harbour.A Working Man was released in the United States by Amazon MGM Studios under Metro-Goldwyn-Mayer, and internationally by Warner Bros. Pictures on March 28, 2025.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

In this episode we cover the life of actress, comedienne and producer, Lucille Ball.  We talk about her life, her time with Metro-Goldwyn-Mayer, her time as the queen of Television and the legacy she left behind.  We talk her marriage to Desi and her second husband Gary Morton.  We talk her time as the head of Desilu studios, shows she discovered and her legacy today.  Plus in Arthur's corner we talk more Dandy's World, and we talk about Arthur's latest foray into voice acting thanks to Edward October and so much more including the family banter you all love!  So stop procrastinating and start listening to your new favorite episode of the Family Plot Podcast!Become a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

The guys finally watch an actual movie of old in the 1957 classic Twelve Angry MenDirectorSidney LumetProducerHenry Fonda, Reginald RoseScreenwriterReginald RoseDistributorCriterion Collection, United Artists, Metro-Goldwyn-Mayer, MGM/UA Home Entertainment Inc.Production CoOrion-Nova PicturesGenreDramaOriginal LanguageEnglishRelease Date (Theaters)Apr 20, 1957Budget($335,000) uncertain box officeStarring (and their age)Martin Balsam(Juror 1, 38), John Fieldler(Juror 2, 32), Lee J. Cobb(Juror 3, 46), E.G. Marshall(Juror 4, 43), Jack Klugman(Juror 5, 35), Edward Binns(Juror 6, 41), Jack Warden(Juror 7, 37), Henry Fonda(Juror 8, 52), Joseph Sweeney(Juror 9, 73), Ed Begley(Juror 10, 56), George Voskovec(Juror 11, 52), Robert Webber(Juror 12, 32)

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.

They're here! Join BP, Coop and Justin as we analyse the iconic original Poltergeist movie. Poltergeist is a 1982 American supernatural horror film directed by Tobe Hooper and written by Steven Spielberg, Michael Grais, and Mark Victor from a story by Spielberg. It stars JoBeth Williams, Craig T. Nelson, and Beatrice Straight, and was produced by Spielberg and Frank Marshall. Plot Poltergeist focuses on a suburban family whose home is invaded by malevolent ghosts that abduct their youngest daughter. Chapters 00:00 What is Poltergeist? 00:54 Title Sequence 1:32 Introducing Poltergeist 1:59 Overall Thoughts 5:19 Favourite Parts 14:31 What We Disliked 20:11 Poltergeist (2015) – The Remake 31:08 Trivia 36:13 Ratings 40:51 Thank You 41:19 End Scene SHOP OUR STORE ⁠⁠⁠⁠https://completeguidetohorror.threadless.com/collections/new/⁠⁠⁠⁠ Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our YouTube channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Shop our Store!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tip us $5⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠ Release and Critical Reception Released by Metro-Goldwyn-Mayer through MGM/UA Entertainment Co. on June 4, 1982, Poltergeist was a major critical and commercial success, becoming the eighth-highest-grossing film of 1982. In the years since its release, the film has been recognized as a horror classic. It was nominated for three Academy Awards, named by the Chicago Film Critics Association as the 20th-scariest film ever made. Steven Spielberg involvement Accounts differ as to the level of Spielberg's involvement, but it is clear that he was frequently on set during filming and exerted significant creative control. For that reason, some have said that Spielberg should be considered the film's co-director or even main director, though both Spielberg and Hooper have disputed this. Sequels and Remake The film was followed by Poltergeist II: The Other Side (1986), Poltergeist III (1988), as well as a 2015 remake, but none had the critical success of the original. The Poltergeist Curse The Poltergeist franchise is believed by some to be cursed due to the premature deaths of several people associated with the film (including Heather O'Rourke and Dominique Dunne), a notion that was the focus of an E! True Hollywood Story. Poltergeist was also featured on Season 1, episode 3 of Cursed Films. Popular Culture "Bad Dream House", the first segment of "Treehouse of Horror", the first episode of the annual The Simpsons Treehouse of Horror Halloween specials, is partly a parody of Poltergeist. Spice Girls pays homage to the film in their 1997 music video for the song "Too Much". The Family Guy episode "Petergeist", Peter Griffin discovers an Indian burial ground when he attempts to build a multiplex in a backyard. When he takes an Indian chief's skull, a poltergeist invades the Griffins' home. The episode used some of the same musical cues heard in the film and recreates several of its scenes. American Dad! also parodied the film with the season 10 episode "Poltergasm", in which the Smith house has become haunted by Francine's unsatisfied sex drive, and Roger plays Ruby Zeldastein, a parody of Tangina. The 2001 comedy horror film Scary Movie 2 parodies the movie's clown doll attack in Robbie's bedroom, as well as Diane's levitation. #poltergeist #theotherside #ghost #haunt #movie #horror #1982 #80shorror #carolanne #jobethwilliams #reverendkane #tangina #clown #familyguy #drawntogether #podcast #completeguidetohorror #stevenspielberg #screamqueens

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.

Dicen que Isidoro Martínez Vela-Ferry nadaba como un delfín y terminó produciendo, dirigiendo y exhibiendo cine. Fue un grande la natación española, el mejor durante la década de los 40 que culmina con su participación olímpica en Londres 1948. Todo el mundo lo reconocía por la calle, en la prensa era el héroe, 'otra vez gana Ferry'. Pero en su vida también había mucho cine.  Su padre fue en los años 20 y 30 el gerente de la Metro Goldwyn-Mayer en España. El estudio cine mientras nadaba y las competiciones internacionales le permitieron hablar en inglés en una España de postguerra donde pocos dominaban otras lenguas. Todo ese cóctel biográfico hace que cuando llegan a España las grandes producciones americanas termine trabajando con ellos  e incluso siendo ayudante de dirección de grandes como Orson Welles, John Huston o Michael Anderson entre otros. Los extras y especialistas de las escenas más complicadas solían ser, gracias a Ferry,  sus compañeros del Real Canoe Natación Club, sobre todo nadadores y waterpolistas. Incluso él mismo Ferry se hizo famoso en la prensa de Estados Unidos tras salvar del morir ahogado a John Huston en el rodaje de "Moby Dick" , "De campeón de natación a héroe americano" titulaba la prensa en Estados Unidos. Pero su gran salto es cuando se hace productor y codirige "El pisito" con Marco Ferreri en 1958. Ahí tocó el cielo y luego vendrían sus cortometrajes documentales deportivos con Blume y Bahamontes entre otros y sus largos de ficción como 'La cara del terror' , 'Escala en Hi-fi o 'Cruzada en el mar'. También fue un pionero en los rodajes submarinos que culminan su etapa activa y creativa en el cine. Pero su relación con el régimen franquista nunca fue la mejor y terminó cansado y necesitado de tener una vida más rentable. Y sin alejarse del cine compra terrenos en la costa mediterránea y monta cines de verano y multisalas. Se hace exhibidor para completar todas las facetas del cine y así fue hasta el final de su vida en Benidorn. Muchas de su salas siguen hoy abiertas y regentadas por su familia. Hoy pueden escuchar en este podcast la vida de un grande del deporte y del cine que como tantos no ha tenido el reconocimiento que merece. Nos han hablado de  Isidoro Martínez Vela-Ferry su hijo Isidoro Martínez, su sobrino Antonio Martínez Asensio, Rodrigo Gil, director de comunicación de la Real Federación Española de Natación e hijo de Juan Gil, que nadó con Isidoro y  Carlos Heredero, crítico de cine, historiador y director editorial de Cuadernos de Cine. Han colaborado Sergio Castro, Gemma Alegrí, Iñaki Pascualena , Pascual Donate y Marcos Granados.

Stāsta kinokritiķe, Rīgas Starptautiskā kino festivāla (Riga IFF) radošā direktore Sonora Broka. Neilgi pēc tam, kad 1927. gadā tika dibināta Amerikas Kinomākslas un kinozinātnes akadēmija, Losandželosas centrā, „Biltmore” viesnīcas kristāla zālē notika vakariņas, lai apspriestu jaunās organizācijas mērķus. Viens no šiem mērķiem bija izstrādāt metodi, kā godināt izcilus sasniegumus nozarē, tādējādi veicinot augstāku kustīgā attēla radīšanas procesa kvalitātes līmeni. Tobrīd gan Akadēmijas dienas kārtībā aktuālāki bija jautājumi, kas saistīti ar darbaspēku, nozares publisko tēlu, kā arī informācijas nodrošināšanu tehnoloģiskos un producēšanas jautājumos, un tikai 1929. gada maijā Rūzvelta viesnīcā Holivudā tika pasniegtas pirmās 12 apzeltītās statuetes, ko pazīstam kā “Oskarus”. Balvas dizaina — bruņinieka, kurš stāv uz filmas ruļļa un tur rokās zobenu – autors bija „Metro Goldwyn Mayer” jeb MGM mākslinieciskais direktors Sedriks Gibonss. Kinolentes ruļļa spoles pieci spieķi simbolizēja sākotnējās piecas akadēmijas filiāles – aktierus, režisorus, producentus, tehnisko profesiju speciālistus un scenāristus, bet zobens – nozares attīstības un labklājības aizsardzību. Ilgus gadus statuetes tika lietas bronzā un apzeltītas, bet Otrā pasaules kara gados tās tika izgatavotas no ģipša. Kādēļ Oskars? Pastāv vismaz trīs versijas – aktrise Beta Deivisa apgalvoja, ka statuetes aizmugure izskatījās gluži tāda pati kā viņas vīra Harmona Oskara Nelsona mugura. Žurnālists Sidnijs Skolskis tā nodēvēja balvu, rakstot par Ketrīnas Hepbernas uzvaru 1934. gadā, bet Akadēmijas tobrīd bibliotekārei, vēlāk izpilddirektorei Mārgaretai Herikai statuete esot atgādinājusi viņas tēvoci Oskaru. 1939. gadā laikraksts “Los Angeles Times” pārsteidzīgi nodrukāja uzvarētāju vārdus savā vakara izdevumā, kas iznāca īsu brīdi pirms ceremonijas – pateicoties šai rūgtajai mācībai, balvu ieguvējus turpmāk prese uzzināja vien kopā ar citiem, skatoties ceremoniju. 1953. gadā ASV Kinoakadēmijas balvu pasniegšanu pirmo reizi demonstrēja televīzijā, bet kopš 1969. gada ceremonija tiek pārraidīta arī ārpus ASV. Skatītāju miljoniem lēnām sarūkot pēc 2010. gada, tika nolemts ceremoniju saīsināt, kā arī sākt to agrāk. Tomēr Latvijā “Oskara” ceremoniju joprojām skatās vien rūdītākie kino fani –  tās norise pēc vietējā laika sākas nakts vidū. Mūsdienās Amerikas kinoakadēmijai ir 55 cilvēku valde, kas pārrauga 17 atsevišķas filiāles, kas pārstāv dažādas kino jomas: aktiermākslu, režiju, scenāriju, skaņas montāžu un citas. Kopš 2016. gada, kad valde paziņoja, ka dažādos Akadēmijas biedru sastāvu, tās rindas ir paplašinājušās līdz aptuveni 8000 biedriem. Uzskaitot pāris kritērijus dalībai Akadēmijā: tajā netiek uzņemti ne televīzijas profesionāļi, ne preses pārstāvji, turpretī iepriekšējo gadu nominantiem uz balvu bieži dalība tiek piedāvāta automātiski. “Oskari” tiek piešķirti 24 kategorijās, un divās no tām, pateicoties Ginta Zilbaloža filmas “Straume” neticamajiem starptautiskajiem panākumiem, šogad ir cerība izskanēt arī Latvijas vārdam. Šobrīd ir izziņoti īsie pretendentu saraksti uz nominācijām 10 kategorijās, tai skaitā arī kategorijā “labākā ārzemju filma”. Tajā līdztekus tādām Latvijā redzētām filmām kā Metjū Renkina režisētajai “Universālajai valodai”, Magnusa fon Horna “Meitenei ar adatu”, norvēģu drāmai “Armands” un Berlināles „Zelta lāča” ieguvējai Senegālas dokumentālajai filmai “Dahomejas karaliste” ierindojusies arī “Straume”.

GOLDENEYE to pod wieloma względami film wyjątkowy, jeden z najważniejszych w całej serii. Obraz Martina Campbella nie tylko otwiera erę Pierce'a Brosnana, ale przede wszystkim jest pierwszą częścią powstałą po zakończeniu zimnej wojny, po długiej, sześcioletniej przerwie, spowodowanej niekończącymi się bataliami prawnymi, zawirowaniami wokół studia Metro-Goldwyn-Mayer i United Artists. O tym co dokładnie wydarzyło się w latach 1989 – 1995 opowiedzą Wam Przemek Bartnik (jamesbond.com.pl) i Marcin Tadera (jamesbond.org.pl). A działo się naprawdę sporo! Dość powiedzieć, że od sukcesu tej produkcji zależała przyszłość całej serii; gdyby „GoldenEye” nie spełnił oczekiwań, kolejnej części już by nie było! W czwartej, ostatniej części podcastu omawiamy trzeci akt filmu i jak na wszystko, co do tej pory usłyszeliście - chyba dosyć zaskakująco podsumowujemy pierwszy film ery Brosnana. Zapraszamy do odsłuchu! 

En esta ocasión elegimos a los desvergonzados, imprevisibles y geniales Hermanos Marx. Fueron pioneros en el cine del absurdo y siguen siendo un referente para la comedia más osada. Aunque hablaremos de su carrera en cine y hasta en teatro, nos centraremos principalmente en “UNA NOCHE EN LA ÓPERA”. Fue su sexta película, aunque fue la primera que rodaron para la Metro Goldwyn Mayer. Estrenada en 1935, a punto de cumplir NOVENTA AÑOS, sigue teniendo momentos espléndidos y por eso la revisamos, para animaros a descubrirla o a repetirla y disfrutar con Groucho, Chico y Harpo Marx. Hoy nos juntamos Javier Jiménez de Sevilla y Paco Dolz de Valencia, contando con Miguel Angel Parra de Barcelona, el mayor fan que conozco de los famosos hermanos.

GOLDENEYE to pod wieloma względami film wyjątkowy, jeden z najważniejszych w całej serii. Obraz Martina Campbella nie tylko otwiera erę Pierce'a Brosnana, ale przede wszystkim jest pierwszą częścią powstałą po zakończeniu zimnej wojny, po długiej, sześcioletniej przerwie, spowodowanej niekończącymi się bataliami prawnymi, zawirowaniami wokół studia Metro-Goldwyn-Mayer i United Artists. O tym co dokładnie wydarzyło się w latach 1989 – 1995 opowiedzą Wam Przemek Bartnik (jamesbond.com.pl) i Marcin Tadera (jamesbond.org.pl). A działo się naprawdę sporo! Dość powiedzieć, że od sukcesu tej produkcji zależała przyszłość całej serii; gdyby „GoldenEye” nie spełnił oczekiwań, kolejnej części już by nie było! W trzeciej części podcastu przenosimy się z naszą opowieścią do Sankt Petersburga. 

Robert Winfree and Mark Radulich present their Red One 2024 Movie Review!Red One is a 2024 American action-adventure Christmas fantasy comedy film directed by Jake Kasdan and written by Chris Morgan, from an original story by Hiram Garcia. The film follows the head of North Pole security (Dwayne Johnson) teaming up with a notorious hacker (Chris Evans) in order to locate a kidnapped Santa Claus (J. K. Simmons) on Christmas Eve; Lucy Liu, Kiernan Shipka, Bonnie Hunt, Nick Kroll, Kristofer Hivju, and Wesley Kimmel also star. The film is seen as the first of a Christmas-themed franchise, produced by Amazon MGM Studios in association with Seven Bucks Productions, Chris Morgan Productions, and The Detective Agency.Red One was released internationally by Warner Bros. Pictures on November 6 and was released in the United States by Amazon MGM Studios through Metro-Goldwyn-Mayer on November 15, 2024. The film received generally negative reviews from critics.Filming began in October 2022 in Atlanta and wrapped in February 2023. Filming ran into issues with Johnson, who was an average of seven to eight hours late to film his scenes and missed several days of shooting. These delays reportedly increased the budget by $50 million to a total of $250 million, which Garcia disputed. Johnson later admitted to frequent tardiness as well as urinating in bottles on set, but Evans and Kasdan defended him.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

"My Old Ass" had its world premiere at the 2024 Sundance Film Festival, where it received positive reviews for Megan Park's writing, direction, and the breakthrough lead performance from Maisy Stella, playing a young woman who her future self has advised not to fall in love a specific boy in her life. Park and Stella were both kind enough to spend some time talking with us about their work on the film, which you can watch or listen to below. Please be sure to check out the film, which is now playing in theaters from Amazon MGM Studios under the Metro-Goldwyn-Mayer label. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's, @EchoChamberFP https://www.instagram.com/echochamberfp/ has definitely got some hot button films to get into!!! Pressman Film & Lionsgate reboot a 90's horror favourite. We get a psychological satire from Metro-Goldwyn-Mayer, Free Association, this is important, Bold Choices, Amazon MGM Studios & Warner Bros. Pictures, and slice of life with Ley Line Entertainment & Sony Pictures Classics. Then there are two comedies, Spyglass Media Group, Artists Road & Netflix go high school, AND we ponder a question in space thanks to Pinky Promise, Storm City Films & Peacock! Today we have: The Crow Watch Review: Here. https://youtu.be/_5WncvDHt8I New York City, World Premiere: 2oth August 2024 Theatrical Release Date: 23rd August 2024 Director: Rupert Sanders Cast: Bill Skarsgård, Solo Uniacke, FKA Twigs, Isabella Wei, Josette Simon, Danny Huston, Laura Birn, Karel Dobrý, Sami Bouajila, Jordan Bolger, Sebastian Orozco, David Bowles, Tundy Smith, Samba Goldin, Jordan Haj, Dukagjin Podrimaj, Darija Pavlovicová Running Time: 111 min Cert: 15 Trailer: Here. https://youtu.be/djSKp_pwmOA?si=ohiE4Cug7yE25k62 Website: Here. https://thecrow.movie/ ---------------- Blink Twice Watch Review: Here. https://youtu.be/1fZrW6pPtag DGA Theater, Los Angeles, World Premiere: 8th August 2024 Theatrical Release Date: 23rd August 2024 Director: Zoë Kravitz Cast: Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Trew Mullen, Geena Davis, Kyle MacLachlan, Cris Costa, María Elena Olivares, Saul Williams, Tiffany Persons, Aaron Himelstein, Zoë Kravitz Running Time: 102 min Cert: 15 Trailer: Here. https://youtu.be/vVoyBSgTjOs?si=kJqMKExFfwVhrN1W Website: Here. https://www.warnerbros.co.uk/movies/blink-twice ---------------- Incoming Watch Review: Here. https://youtu.be/Zh4Tcawcd7I Digital Release Date: 23rd August 2024 Director: Dave Chernin, John Chernin Cast: Kaitlin Olson, Mason Thames, Ali Gallo, Isabella Ferreira, Ramon Reed, Raphael Alejandro, Bardia Seiri, Kayvan Shai, Loren Gray, Bobby Cannavale, Kim Hawthorne, Scott MacArthur, Thomas Barbusca, Victoria Moroles Running Time: 91 min Cert: 15 Trailer: Here. https://youtu.be/E_Vc11HVEYo?si=OcadMDFRx1u8GM4I Website: Here. https://www.netflix.com/tudum/articles/incoming-release-date-photos-news ---------------- Between The Temples Watch Review: Here. https://youtu.be/hGKmHUieXGY 2024 Sundance Film Festival, World Premiere: 19th January 2024 US Theatrical Release Date: 22nd August 2024 UK Theatrical Release Date: 23rd August 2024 Director: Nathan Silver Cast: Jason Schwartzman, Jacob Morrell, Carol Kane, Dolly de Leon, Caroline Aaron, Robert Smigel, Madeline Weinstein, Matthew Shear, Steven Lack, Lindsay Burdge, Jason Grisell, Cindy Silver, John Magary, Annie Hamilton, Pauline Chalamet Running Time: 111 min Cert: 15 Trailer: Here. https://youtu.be/0UNPfUU0UZI?si=GLj-4DZH9eKHIfwf Website: Here. https://www.sonyclassics.com/film/betweenthetemples/ ---------------- If You Were The Last Watch Review: Here. https://youtu.be/7Xm2GbreHZw South by Southwest, World Premiere: 14th March 2023 US Digital Release Date: 20th October 2023 UK Digital Release Date: 24th August 2024 Director: Kristian Mercado Cast: Anthony Mackie, Zoë Chao, Natalie Morales, Geoff Stults, Missi Pyle, Angelica Agelviz, Kaleka, Sarah Voigt, Jason Bayle, Jessamine Burgum, Langston Fishburne, Andrew Farrier, Taylor Shurte Running Time: 93 min Cert: 15 Trailer: Here. https://youtu.be/rRdKIvxZ0Po?si=5KuytuE96acdb4gz ---------------- *(Music) 'Da Joint' (Instrumental) by EPMD - 2020

Med sitt unika berättande förändrade Woody Allen filmhistorien. Sedan kom tiden, och anklagelser om sexuella övergrepp, ikapp honom. Nya avsnitt från P3 ID hittar du först i Sveriges Radio Play. Den amerikanske regissören Woody Allen är en av filmkonstens mest uppburna personer. Han har slagit rekord i antal Oscarsnomineringar, erövrat filmfestivaler, turnerat världen runt och hyllats för sina skildringar av hemstaden New York. I sju decennier har biobesökare tjusats av Woody Allens rappa, komiska dialog och känt igen sig i hans relationsskildringar. Men det senaste decenniet har kantats av något annat än framgångar. När anklagelser om sexuella övergrepp från det tidiga 90-talet åter kom upp till ytan under MeToo-rörelsen blev Woody Allen i praktiken canceled. Frågan är vad som händer med ett konstnärskap som sträcker sig över ett halvt sekel när det synas utifrån nya perspektiv, och en ny moral.Avsnittet är gjort våren 2024 av produktionsbolaget DIST.I avsnittet medverkar P1 Kulturs journalist Lisa Bergström, programledaren Fredrik Wikingsson och författaren Caroline Ringskog Ferrada-Noli.Programledare: Vendela LundbergAvsnittsmakare och reporter: Tobias NorströmLjudmix: Fredrik NilssonLjudklippen i programmet är hämtade från Amazon studios, Academy of Motion Picture Arts and Sciences, NBC, CBS, ABC, CNN, Fox, Metro-Goldwyn-Mayer, Sveriges Radio, HBO MAX, Arcade Publishing, PBS, AP, France24.

Se cumplen también 100 años del nacimiento de la Metro Goldwyn Mayer, que nació un 17 de abril de 1924 de la fusión de 3 pequeños estudios: la Metro, los Goldwyn y la Mayer. En Esto te va a sonar hablamos de la historia del mítico estudio y de su logo.

We have reached another Don Bluth animation classic! The Pebble and The Penguin. Another cult classic that 90s babies and kids hold near and dear to their hearts! The Pebble and the Penguin is a 1995 American independent animated musical comedy-adventure film directed by Don Bluth and Gary Goldman. The film stars the voices of Martin Short, Jim Belushi, Tim Curry, and Annie Golden. Based on the true life mating rituals of the Adélie penguins in Antarctica, the film focuses on a timid, stuttering penguin named Hubie who tries to impress a beautiful penguin named Marina by giving her a pebble that fell from the sky and keep her from the clutches of an evil penguin named Drake who wants Marina for himself. Towards the end of production, Metro-Goldwyn-Mayer significantly changed the film, forcing Don Bluth and Gary Goldman to leave their film and demand to have their names taken off the film. The two would later start working at Fox Animation Studios. The film was released in the United States on April 12, 1995, by MGM/UA Distribution Co., receiving negative reviews from critics and being a box office bomb, grossing only $3.9 million against a $28 million budget. It is the final film to be produced by Sullivan Bluth Studios before the studio went bankrupt and ceased operations.

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found. How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The Lucky Lady (February 14, 1946)00:32:10.863 = Consequences (February 21, 1946)01:02:27.676 = Black Path of Fear (March 07, 1946)01:28:53.720 = No More Alice (March 14, 1946)01:59:25.121 = The Lonely Road (March 21, 1946)02:30:10.968 = Out Of Control (March 28, 1946)03:00:17.665 = Post Mortem (April 04, 1946)03:30:40.306 = The Name of the Beast (April 11, 1946)04:01:08.422 = The Night Reveals (April 18, 1946)04:31:23.782 = Dark Journey (April 25, 1946)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-013

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found. How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The Bluebeard Of Bellac (September 21, 1944)00:31:24.702 = Drury's Bones (January 25, 1945)01:00:50.179 = A Tale Of Two Sisters (February 08, 1945)01:30:19.574 = Sell Me Your Life (February 15, 1945)01:59:40.041 = John Barbey And Son (February 22, 1945)02:29:09.451 = My Wife Geraldine (March 01, 1945)02:58:27.676 = Love's Lovely Counterfeit (March 08, 1945)03:27:59.046 = Cricket (March 15, 1945)03:57:28.431 = Hearts Desire (March 22, 1945)04:26:57.668 = The Taming Of The Beast (March 29, 1945)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-012

THIS WEEK ON THE 4:30 MOVIE, we celebrate the 100th anniversary of Metro-Goldwyn-Mayer with MORE STARS THAN THERE ARE IN HEAVEN WEEK as we curate an all-new fantasy theme week of legendary MGM films from its incredible century of moviemaking. Hear the lion's roar, only on The 4:30 Movie.  Once again join all your favorite 4:30 Movie hosts for all-new fantasy theme weeks including MARK A. ALTMAN (showrunner, PANDORA, author, THE FIFTY-YEAR MISSION, THEY SHOULDN'T HAVE KILLED HIS DOG, writer/producer FREE ENTERPRISE), STEVEN MELCHING (writer,  BATMAN: THE BRAVE & THE BOLD, THE CLONE WARS, STAR WARS REBELS), ASHLEY E. MILLER (showrunner; DOTA: DRAGON'S BLOOD; writer, THOR, X-MEN: FIRST CLASS, BLACK SAILS, FRINGE) and DAREN R. DOCHTERMAN (concept designer; WESTWORLD, MASTER & COMMANDER, PICARD; associate producer, STAR TREK: THE MOTION PICTURE - DIRECTOR'S EDITION).    ** Now YOU can join the conversation on Discord at https://discord.gg/7kgmJSExeh **   You can follow THE 4:30 MOVIE on social media at: Twitter/X: @430moviepodcast Instagram: @the430movie Facebook: Facebook.com/430movie     Listen to the Treksperts Podcast Network Shows: Monday: Weirded Beardos w/ Daren & Kirk  Tuesday: Treksperts Briefing Room w/ Peter & Lisa Wednesday: Deck 78: A Pop Culture Podcast (SUBSCRIBER ONLY) Thursday: Inglorious Treksperts w/ Mark, Daren & Ashley Friday: The 4:30 Movie  Sunday: The Kids Stay In The Podcast w/ Isaac & Caden   SUBSCRIBE to our pop culture, subscriber-only podcast, DECK 78, on Apple Podcasts via The 4:30 Movie and Spotify via trekspertsplus.com today!    FOLLOW and RATE ALL OUR TREKSPERTS PODCAST NETWORK Shows Today!  

THE FOLLOWING PODCAST HAS BEEN APPROVED FOR RESTRICTED AUDIENCES ONLY BY THE COMIC BOOK ADAPTATION ASSOCIATION OF AMERICA, INC. Rated NC-17 for pervasive extreme aberrant sexual and violent content including explicit dialogue involving graphic descriptions of horror violence and gore. Giger & Species 00:00:44 The Message 00:07:40 Species #1 by Dennis Feldman, Jon Foster, & Brian Kane 00:17:04 Species #2 00:22:41 Species #3 00:26:40 Species #4 00:31:15 Species: Human Race #1 by Gordon Rennie, Phil Hester, & Ande Parks 00:36:36 Human Race #2 by Ed Gorman, Phillip Hester, & Ande Parks 00:40:04 Human Race #3 by Stephen Blue & Denys Cowan 00:42:46 Human Race #4 by Steve R. Bissette, Mark A. Nelson, George Pratt, & John Nyberg 00:45:12 Species II (1998) 00:51:02 Naked Aggression by John Layman & Rich Bonk (2003) 01:02:46 Species III (2004) 01:13:15 “Offspring” by Brian Pulido & Mico Suayan (2006) 01:17:58 Species – The Awakening (2007) 01:21:43 MU/TH/UR 3800 01:27:53 episode art gallery blog post Aliens Podcast, Comic Books, Dark Horse Comics, Dark Horse Presents, H. R. Giger, Metro-Goldwyn-Mayer, Sci-Fi Channel, Species (1995), Species II, Species III, Species 4, Species – The Awakening, Syfy,

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The Ten Grand (June 22, 1944)00:31:15.744 = The Walls Came Tumbling Down (June 29, 1944)01:00:28.813 = The Search For Henri LeFevre (July 06, 1044)01:30:02.526 = The Beast Must Die (July 13, 1944)01:59:29.689 = The Black Shawl (July 27, 1944)02:28:49.817 = Banquo's Chair (August 03, 1944)02:58:17.500 = The Diary of Saphronia Winters (August 17, 1944)03:27:47.412 = Black Path Of Fear (August 31, 1944)03:57:20.238 = Voyage Through Darkness (September 07, 1944)04:26:51.081 = You'll Never See Me Again (September 14, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-011

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = You Were Wonderful (November 09, 1944)00:31:35.737 = The Dead Of The Night (November 16, 1944)01:01:04.638 = The Fountain Plays (November 23, 1944)01:30:44.758 = The Black Curtain (November 30, 1944)02:00:14.326 = The Lodger (December 14, 1944)02:29:43.507 = The Brighton Strangler (December 21, 1944)02:59:12.634 = A Thing of Beauty (December 28, 1944)03:28:39.963 = I Had An Alibi (January 04, 1945)03:57:57.876 = Drive-In (January 11, 1945)04:27:27.459 = Death Went Along For The Ride (April 27, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-010

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = A Woman in Red (April 06, 1944)00:31:11.151 = The Marvelous Barastro (April 13, 1944)01:00:30.680 = The Palmer Method (April 20, 1944)01:29:58.301 = The Dark Tower (May 04, 1944)01:59:26.669 = Fugue in C-Minor (June 01, 1944)02:28:42.004 = The Case History of Edgar Lowndes (June 08, 1944)02:58:04.269 = A Friend to Alexander (June 15, 1944)03:24:24.987 = The Man Who Couldn't Lose (September 28, 1944)03:53:53.720 = Dateline Lisbon (October 05, 1944)04:23:30.825 = Eve (October 19, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-009

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = Donovan's Brain, Part 1 (May 18, 1944)00:31:24.931 = Donovan's Brain, Part 2 (May 25, 1944)01:00:41.205 = The Singing Walls (September 02, 1943)01:30:09.809 = The Cross-Eyed Bear (September 16, 1943)01:59:41.078 = Suspicion (February 10, 1944)02:29:12.972 = Life Ends at Midnight (February 17, 1944)02:58:42.004 = The Defense Rests (March 09, 1944)03:28:11.465 = Narrative About Clarence (March 16, 1944)03:57:28.775 = Sneak Preview (March 23, 1944)04:27:05.414 = Cat and Mouse (March 30, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-008

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. Many of the hour-long "Suspense" shows were movie adaptations in the "Lux Radio Theater" mold, including “Deadline at Dawn,” “Crossfire” and “Nightmare” -- the last of which was filmed in 1947 as “Fear in the Night”. There were even two productions that, it could be said, acted as previews of coming attractions: the series' 1948 productions of “In a Lonely Place” and “The House by the River” were brought to the silver screen in 1950. Several of "Suspense's" celebrated classics were also repeated during the hour-long experiment, having been lengthened to fit the new format. "Suspense's" hour-long experiment closed up shop on May 15, 1948 and, close to two months later, the show moved back to its cozy Thursday night berth in its familiar half-hour form through September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = “The Burning Court” (June 17, 1942)00:31:24.029 = The Devil In The Summer House (November 03, 1942)01:00:53.552 = The Bride Vanishes (December 01, 1942)01:30:31.934 = Till Death Do Us Part (December 15, 1942)02:00:00.615 = Nothing Up My Sleeve (January 05, 1943)02:29:24.419 = The Devil's Saint (January 19, 1943)02:58:52.578 = Last Night (March 06, 1943)03:28:25.102 = Uncle Henry's Rose Bush (June 29, 1943)03:57:52.047 = The White Rose Murders (July 06, 1943)04:27:08.240 = The Fountain Plays (August 10, 1943)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-007

Legendary publicist and Friar Jim Mahoney joins Joe Sibilia to discuss his book "Get Mahoney!: A Hollywood Insider's Memoir" about his unparalleled PR career, his start in public relations at Metro-Goldwyn-Mayer in the 1940s working with Clark Gable, how he came to represent Friar Frank Sinatra for 15 years, why he never watched the Rat Pack shows while he was with the group in Las Vegas, why Sinatra didn't appear on a television special with fellow Friar and client Bob Hope, and working on the recovery effort of Frank Sinatra Jr. after his kidnapping in 1963. Plus, Jim talks about saving Friar and client Johnny Carson from a barroom brawl while filming "Johnny Goes Home" in the 1980s, being hit in an altercation with client Judy Garland, his first encounter with his friend and fellow Friar Don Rickles, the condition under which Jim would work with Friar Jack Carter, dealing with Friar and client Joey Bishop, staying at Friar and client Paul Anka's house, and Jim's son and fellow publicist Sean jumps in to talk about booking Friar Bob Newhart on David Letterman's talk show! Special thanks to Sean Mahoney, Marilee Mahoney, and Monica Mahoney-Adler!

This year marks the 100th anniversary of Metro-Goldwyn-Mayer. It has had a big impact on spy genre.

In this week's episode of "Sunday Night Playhouse," brought to you by Vintage Classic Radio, we are thrilled to present a captivating radio play adaptation of "Little Women." This timeless classic, originally broadcasted by Lux Radio Theatre on March 13th, 1950, brings the cherished tale of the March sisters to life. Set against the backdrop of post-Civil War America, "Little Women" follows the endearing stories of Meg, Jo, Beth, and Amy as they navigate their journey from childhood to womanhood. Through their adventures, the sisters explore the bonds of family, love, and personal growth, embodying themes that still resonate today.This particular adaptation is notable for featuring four of the original stars from the Metro Goldwyn Mayer 1949 film adaptation, making it a special treat for fans of the story. June Allyson brings her spirited portrayal of Jo, the ambitious and bold sister with dreams of becoming a writer. Peter Lawford adds charm and depth to the character of Laurie, the boy next door who becomes an integral part of the March family's life. Margaret O'Brien delivers a heart-touching performance as Beth, the gentle and kind-hearted sister, while Janet Leigh embodies the role of Meg, the eldest sister navigating her path toward love and responsibility.This Lux Radio Theatre production encapsulates the spirit of Louisa May Alcott's beloved novel, offering listeners a nostalgic journey through the trials, tribulations, and joys of the March sisters. Tune in to Vintage Classic Radio's "Sunday Night Playhouse" for an evening of warmth, nostalgia, and the timeless lessons of "Little Women."

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage.But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits.This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.)To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name.Many of the hour-long "Suspense" shows were movie adaptations in the "Lux Radio Theater" mold, including “Deadline at Dawn,” “Crossfire” and “Nightmare” -- the last of which was filmed in 1947 as “Fear in the Night”. There were even two productions that, it could be said, acted as previews of coming attractions: the series' 1948 productions of “In a Lonely Place” and “The House by the River” were brought to the silver screen in 1950. Several of "Suspense's" celebrated classics were also repeated during the hour-long experiment, having been lengthened to fit the new format. They included such audience favorites as “The Lodger,” “Donovan's Brain,” and “Love's Lovely Counterfeit.”"Suspense's" hour-long experiment closed up shop on May 15, 1948 and, close to two months later, the show moved back to its cozy Thursday night berth in its familiar half-hour form with a new sponsor, Autolite. The show experienced a re-emergence in popularity and, while the merits of the hour-long broadcasts must ultimately be decided upon by the listener, the decision by CBS to keep the series in production certainly seems in retrospect to have been the right call; "Suspense" would continue to be heard on the network for the next fourteen years, closing the curtain for the last time in September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = The ABC Murders (May 18, 1943)00:31:23.679 = Banquo's Chair (June 01, 1943)01:00:04.798 = Five Canaries in the Room (June 08, 1943)01:27:43.968 = Lazarus Walks (October 19, 1943)01:57:13.761 = Cabin B13 (November 09, 1943)02:26:43.972 = The Black Curtain (December 02, 1943)02:56:12.566 = The Night Reveals (December 09, 1943)03:25:40.443 = Wet Saturday (December 16, 1943)03:55:02.322 = Back For Christmas (December 23, 1943)04:23:52.863 = Finishing School (December 30, 1943)04:53:12.480 = The Sisters (February 03, 1944)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-006

Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing WeirdDarkness@RadioArchives.com!When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn't seem to be important at that particular stage. Besides, in the show's salad days, the guest stars that did appear were of considerably low wattage.But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio's outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense's" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits.This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense's" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That's right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.)To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name.Many of the hour-long "Suspense" shows were movie adaptations in the "Lux Radio Theater" mold, including “Deadline at Dawn,” “Crossfire” and “Nightmare” -- the last of which was filmed in 1947 as “Fear in the Night”. There were even two productions that, it could be said, acted as previews of coming attractions: the series' 1948 productions of “In a Lonely Place” and “The House by the River” were brought to the silver screen in 1950. Several of "Suspense's" celebrated classics were also repeated during the hour-long experiment, having been lengthened to fit the new format. They included such audience favorites as “The Lodger,” “Donovan's Brain,” and “Love's Lovely Counterfeit.”"Suspense's" hour-long experiment closed up shop on May 15, 1948 and, close to two months later, the show moved back to its cozy Thursday night berth in its familiar half-hour form with a new sponsor, Autolite. The show experienced a re-emergence in popularity and, while the merits of the hour-long broadcasts must ultimately be decided upon by the listener, the decision by CBS to keep the series in production certainly seems in retrospect to have been the right call; "Suspense" would continue to be heard on the network for the next fourteen years, closing the curtain for the last time in September 1962.00:00:00.000 = INTRODUCTION00:01:54.350 = Fire Burn And Cauldron Bubble (April 06, 1943)00:31:20.444 = Two Sharp Knives (December 22, 1942)01:00:31.904 = The Pit And The Pendulum (January 12, 1943)01:30:01.398 = The Customers Like Murder (March 23, 1943)02:29:01.530 = Fear Paints a Picture (April 13, 1943)02:58:26.411 = The Moment of Darkness (April 20, 1943)03:27:50.753 = The Diary of Saphronia Winters (April 27, 1943)03:57:19.454 = Death Flies Blind (May 04, 1943)04:26:46.300 = Mr Markheim, Antique Dealer (May 11, 1943)SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.comWeird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarknessWeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-005

At the last minute, this week's @EchoChamberFP https://www.instagram.com/echochamberfp/ became a 'THREE Parter!!! In 'Part One' Metro-Goldwyn-Mayer have a couple of entries. The first is an actioner with Miramax & Cedar Park Entertainment, the second, with Amazon Studios is a re-imagining of an 80s classic. We look at DC & Warner Bros. Pictures speedster flick, and Motion Picture Corporation of America, Wild Atlantic Pictures bring their rom-com to Netflix. THEN an indie comedy from Studio 181, Sunday Morning Digital & NoBudge. In 'Part One' we have: The Beekeeper Watch Review: Here. https://youtu.be/chGVBw5P6UY Theatrical Release Date: 12th January 2024 Digital Release Date: 8th March 2024 Director: David Ayer Cast: Jason Statham, Emmy Raver-Lampman, Bobby Naderi, Josh Hutcherson, Jeremy Irons, David Witts, Michael Epp, Taylor James, Phylicia Rashad, Jemma Redgrave, Minnie Driver, Don Gilet, Sophia Feliciano, Enzo Cilenti, Megan Le, Dan Li Running Time: 83 min Cert: 15 Trailer: Here. https://youtu.be/SzINZZ6iqxY?si=xkEwuY7nSp5Q_DOA Website: Here. https://www.mgm.com/movies/the-beekeeper ---------------- The Flash Watch Review: Here. https://youtu.be/0vAT_Iwft2E Theatrical Release Date: 16th June 2023 US Digital Release Date: 25th August 2024 UK Digital Release Date: 15th March 2024 Director: Andy Muschietti Cast: Ezra Miller, Ian Loh, Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú, Kiersey Clemons, Antje Traue, Michael Keaton, Ben Affleck, George Clooney, Jeremy Irons, Temuera Morrison, Gal Gadot, Jason Momoa, Saoirse-Monica Jackson, Rudy Mancuso, Sanjeev Bhaskar, Luke Brandon Field, Nikolaj Coster-Waldau, Karl Collins, Kieran Hodgson, Sean Rogers Running Time: 144 min Cert: 12a Trailer: Here. https://youtu.be/hebWYacbdvc?si=PFFTm4Cs4IY7OhL1 Website: Here. https://www.warnerbros.com/movies/flash ---------------- Irish Wish Watch Review: Here. https://youtu.be/-oODHBvTByE Digital Release Date: 15th March 2024 Director: Janeen Damian Cast: Lindsay Lohan, Ed Speleers, Alexander Vlahos, Ayesha Curry, Elizabeth Tan, Jacinta Mulcahy, Jane Seymour, Matty McCabe, Dawn Bradfield, Maurice Byrne, James Rottger, Aidan Jordan, Dakota Lohan, Tim Landers, Rachel Benaissa, Rodrigo Ternevoy, Steve Hartland, Carl Shaaban, Vincent Moran, Charlie Hughes Running Time: 94 min Cert: 15 Trailer: Here. https://youtu.be/_gKXowSyfjM?si=0ykrasaZ2E4GrlE1 Website: Here. https://www.netflix.com/tudum/articles/lindsay-lohan-rom-com-irish-wish ---------------- Road House Watch Review: Here. https://youtu.be/SeVXu8A2F1I Digital Release Date: 21st March 2024 Director: Doug Liman Cast: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, B.K. Cannon, Joaquim de Almeida, Austin Post, Lukas Gage, Dominique Columbus, Arturo Castro, JD Pardo, Beau Knapp, Hannah Lanier, Kevin Carroll, Robert Menery, Darren Barnet, Travis Van Winkle, Jay Hieron Running Time: 121 min Cert: 15 Trailer: Here. https://youtu.be/Y0ZsLudtfjI?si=LpHiu_LKImCgAtsD ---------------- Dad & Step-Dad Watch Review: Here. https://youtu.be/qJvZPAAkCBg Theatrical Release Date: 8th March 2024 US Digital Release Date: 22nd March 2024 Director: Tynan DeLong Cast: Colin Burgess, Anthony Oberbeck, Brian Fiddyment, Clare O'Kane Running Time: 78 min Cert: 15 Trailer: Here. https://youtu.be/Ay-g0be2yTs?si=EDiZswwcgyezwAC- Website: Here. https://www.nobudge.com/dad-step-dad ---------------- *(Music) 'Da Joint' (Instrumental) by EPMD - 2020 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

Pat Mullin and Mark Radulich present our Josie and the Pussycats 2001 Movie Review!Josie and the Pussycats is a 2001 satirical musical comedy film co-produced by Universal Pictures and Metro-Goldwyn-Mayer. Directed and co-written by Harry Elfont and Deborah Kaplan, the film is based on both the Archie Comics series and the Hanna-Barbera cartoon of the same name. Filmed entirely in Vancouver, Canada, the film features Rachael Leigh Cook, Tara Reid, and Rosario Dawson as the Pussycats, with Alan Cumming, Parker Posey, Gabriel Mann, Paulo Costanzo, and Missi Pyle in supporting roles.Although the film's soundtrack album was well received, charting at No. 16 on the Billboard 200 and quickly achieving Gold status, the film itself received mixed reviews and was a commercial failure upon its initial release. However, it has enjoyed later success as a cult film.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Forbidden Planet, es una película de ciencia ficción de 1956 de Metro-Goldwyn-Mayer, producida por Nicholas Nayfack y dirigida por Fred M. Wilcox a partir de un guión de Cyril Hume que se basó en una historia original de Allen Adler e Irving Block. Plot: La tripulación de una nave en el siglo 23 va a investigar un planeta distante, sólo para encontrar sólo dos supervivientes, un poderoso robot y el secreto de una civilización perdida. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Facebook: https://www.facebook.com/fnpod Discord: https://discord.gg/ukWHr4NK6c

There's nowhere left for Bond to run! Except maybe into that mazelike oil rig just offshore... Dr. Manhattan shares his tragic backstory. Dr. Bobblehead drops a bomb. Jaws bites things. • • • Patreon: patreon.com/improvtabletop Twitter / Instagram / Facebook / TikTok: @ImprovTabletop Email: ImprovTabletop@gmail.com Donations: ko-fi.com/improvtabletop • • • Audio Credits Improv Tabletop's theme song is “Melodic Marauder”, written by Scott Villanueva, and performed by Scott Villanueva and Ned Wilcock. The following also by Ned Wilcock. “Marauder: Impossible” “Bond Must Die (License to Maraud) (Feat. Michael Seare)” The following songs are used courtesy of Arcane Anthems, creator of royalty-free music for TTRPGs. Support Arcane Anthems on Patreon at patreon.com/arcaneanthems “The Indomitable” The following songs are from tabletopaudio.com. All of the 10 minute ambiences on this site are licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (https://creativecommons.org/licenses/by-nc-nd/4.0/). “Dark City” “Distilled: Tropical” • • • This actual play episode uses the Fate Accelerated RPG rules by Evil Hat Productions. This is a fanmade work of parody. Improv Tabletop is not affiliated with the James Bond brand or its owners Danjaq LLC and Metro-Goldwyn-Mayer. Also, I need to mention the Broccoli estate because I said in the episode that I would include them here.

The ABBA concert may be in shambles, but that's not going to stop our villains from chasing Bond to the ends of the earth! Dr. Bobblehead starts a fire. Dr. Manhattan summons a homunculus. Jaws bites things. • • • Patreon: patreon.com/improvtabletop Twitter / Instagram / Facebook / TikTok: @ImprovTabletop Email: ImprovTabletop@gmail.com Donations: ko-fi.com/improvtabletop • • • Audio Credits Improv Tabletop's theme song is “Melodic Marauder”, written by Scott Villanueva, and performed by Scott Villanueva and Ned Wilcock. “Marauder: Impossible” also by Ned Wilcock. The following songs are used courtesy of the YouTube Audio Library License. “Overdrive” by Corbyn Kites “Sad Past” by Silent Partner The following songs are by the fantastic Kevin MacLeod. Music: Cuban Sandwich by Kevin MacLeod Free download: https://filmmusic.io/song/3570-cuban-sandwich License (CC BY 4.0): https://filmmusic.io/standard-license • • • This actual play episode uses the Fate Accelerated RPG rules by Evil Hat Productions. This is a fanmade work of parody. Improv Tabletop is not affiliated with the James Bond brand or its owners Danjaq LLC and Metro-Goldwyn-Mayer. Also, I need to mention the Broccoli estate because I said in the episode that I would include them here.

Bond has weaseled his way out yet again! It's time to settle this score, once and for all. If our villains can just come up with the right foolproof plan... Dr. Bobblehead builds a bot. Jaws bites things. Dr. Manhattan just reeeeeaaaaalllly wants to see ABBA. • • • Patreon: patreon.com/improvtabletop Twitter / Instagram / Facebook / TikTok: @ImprovTabletop Email: ImprovTabletop@gmail.com Donations: ko-fi.com/improvtabletop • • • Audio Credits Improv Tabletop's theme song is “Melodic Marauder”, written by Scott Villanueva, and performed by Scott Villanueva and Ned Wilcock. The following songs are used courtesy of the YouTube Audio Library License. “Wild Pogo” by Francis Preve “Overdrive” by Corbyn Kites The following songs are by the fantastic Kevin MacLeod. Music: Sunday Dub by Kevin MacLeod Free download: https://filmmusic.io/song/4435-sunday-dub License (CC BY 4.0): https://filmmusic.io/standard-license Music: Cuban Sandwich by Kevin MacLeod Free download: https://filmmusic.io/song/3570-cuban-sandwich License (CC BY 4.0): https://filmmusic.io/standard-license • • • This actual play episode uses the Fate Accelerated RPG rules by Evil Hat Productions. This is a fanmade work of parody. Improv Tabletop is not affiliated with the James Bond brand or its owners Danjaq LLC and Metro-Goldwyn-Mayer. Also, I need to mention the Broccoli estate because I said in the episode that I would include them here.

FBI Director J. Edgar Hoover and allies like Ayn Rand were convinced that Hollywood was infested with communists. Now they started scouring the movies themselves for evidence of propaganda. Anti-communist figures in the movie business, including John Wayne and Gary Cooper, create the Motion Picture Alliance for the Preservation of American Ideals to counter groups like the Writers Guild. Even American classics like It's a Wonderful Life came under FBI scrutiny. Studios began to feel the pressure – even changing seemingly innocuous scripts to avoid political heat. Archive: The Locket, directed by John Brahm for RKO Pictures, 1946 Robert F Wagner on National Labour Relations Act, Labor Comes of Age, ABC Television, 1965 Ayn Rand interviewed by Mike Wallace, ABC Television, 1959 Interviews with Dalton Trumbo, UCLA Department of Communication Archive, 1972 Woman of the Year, directed by George Stevens for Metro-Goldwyn-Mayer, 1942 Hedda Hopper's Hollywood Show, 14 January 1951 It's a Wonderful Life, directed by Frank Capra for RKO Pictures, 1946

The people all love James Bond, but do they know who he really is on the inside? To get a true sense of how terrible he is, let's see it from his enemies' perspective. Dr. Bobblehead shoots lasers from his monocle. Dr. Manhattan feels blue (da-ba-dee da-ba-die). Jaws bites things. • • • Patreon: patreon.com/improvtabletop Twitter / Instagram / Facebook / TikTok: @ImprovTabletop Email: ImprovTabletop@gmail.com Donations: ko-fi.com/improvtabletop • • • Audio Credits Improv Tabletop's theme song is “Melodic Marauder”, written by Scott Villanueva, and performed by Scott Villanueva and Ned Wilcock. The following also by Ned Wilcock. “Bond Must Die (License to Maraud) (feat. Michael Seare)” “Marauder: Impossible” The following songs are by the fantastic Kevin MacLeod. Music: Cuban Sandwich by Kevin MacLeod Free download: https://filmmusic.io/song/3570-cuban-sandwich License (CC BY 4.0): https://filmmusic.io/standard-license • • • This actual play episode uses the Fate Accelerated RPG rules by Evil Hat Productions. This is a fanmade work of parody. Improv Tabletop is not affiliated with the James Bond brand or its owners Danjaq LLC and Metro-Goldwyn-Mayer. Also, I need to mention the Broccoli estate because I said in the episode that I would include them here.

Meet Me in St. Louis: Movie Review from the Ray Taylor ShowShow topic: Step back in time with Ray Taylor as he revisits the classic 1944 American Christmas musical, 'Meet Me in St. Louis,' a charming portrayal of turn-of-the-century life produced by Metro-Goldwyn-Mayer. This film, divided into seasonal vignettes and culminating in the grand Louisiana Purchase Exposition of 1904, beautifully captures a year in the life of the Smith family in St. Louis. Starring the iconic Judy Garland, alongside Margaret O'Brien, Mary Astor, and a stellar ensemble cast, 'Meet Me in St. Louis' is a cinematic treasure. Ray delves into the film's nostalgic narrative, the enchanting musical numbers, and the timeless performances that have made it a beloved classic. Join him as he explores the enduring appeal of this heartwarming musical and its significance in the golden age of Hollywood cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Drama - Comedy - Musical

Return To Oz is a 1985 dark fantasy film released by Walt Disney Pictures, co-written and directed by Walter Murch. It stars Nicol Williamson, Jean Marsh, Piper Laurie (RIP), and Fairuza Balk as Dorothy Gale in her first big screen role. The film is an unofficial sequel to the 1939 Metro-Goldwyn-Mayer film The Wizard of Oz, and it is based on L. Frank Baum's early 20th century Oz novels, mainly The Marvelous Land of Oz (1904) and Ozma of Oz (1907).  If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!            Watch Return to Oz: https://amzn.to/49kJSkD         Out this Month: Week 1: Shooting the Flames Week 2: The Wizard of Oz Week 3: Return to Oz Patreon: Gateway Horror Poll!     Coming in December 2023: The Green Knight Rare Exports      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers  Twitter: https://twitter.com/TheFilmFlamers  TikTok: https://www.tiktok.com/@thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons:    #ExiledTexan Alex Mendoza Anthony Criswell Ashlie Thornbury BattleBurrito BelleBeignet Benjamin Gonzalez Bennett Hunter Big Dave Bonnie Jay BreakfastChainsawMassacre Call me Lestat. CenobiteBetty Christopher Nelson Cj Mcginnis Dan Alvarez Gia-Ranita Pitt Gillian Murtagh GlazedDonut GWilliamNYC Irwan Iskak James Aumann Jessica E Josh Young Kimberly McGuirk-Klinetobe Laura O'Malley Lisa Libby Livi Loch Hightower Mary Matthew McHenry Nicole McDaniel Nikki (phillyenginerd) Niko Allred Orion Yannotti Paul Perez Penelope Nelson random dude Robert B. Robert Eppers Rosieredleader Ryan King Sean Homrig The Dean Swann William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

Joan Crawford (born Lucille Fay LeSueur; March 23, 190?[Note 1] – May 10, 1977) was an American actress. She started her career as a dancer in traveling theatrical companies before debuting on Broadway. Crawford was signed to a motion picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her parts, Crawford launched a publicity campaign and built an image as a nationally known flapper by the end of the 1920s. By the 1930s, Crawford's fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking young women who find romance and financial success. These "rags-to-riches" stories were well received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest paid women in the United States, but her films began losing money. By the end of the 1930s, she was labeled "box office poison".

This episode contains high-speed chases, modified cars and a mission to uncover secret enemy technology. It's everything you'd find in a James Bond movie, but also on a Cold War BRIXMIS mission- one that today's guest Dave Butler was part of, gathering intelligence on Soviet firepower as Britain prepared for World War Three.During their time in East Germany, Dave and his fellow officers were given the opportunity to legally break the speed limits and laws and ignore the police; it was dangerous work and the trick was to avoid being caught by the enemy cars chasing them. For the 70th anniversary of Ian Fleming's first Bond book 'Casino Royale' Dan finds out if life as a spy is really anything like the Bond stories.Produced by Mariana Des Forges, edited and mixed by Dougal Patmore.Clips courtesy ofCasino Royale (2006) / Metro-Goldwyn-Mayer, Sony Pictures, Columbia Pictures, Sony Pictures Releasing/ Martin CampbellCasino Royale (1967) / Metro-Goldwyn-Mayer / John HustonThe Graham Norton Show/ BBCGoldfinger / United Artists/ Guy HamiltonIf you want to get in touch with the podcast, you can email us at ds.hh@historyhit.com, we'd love to hear from you! Hosted on Acast. See acast.com/privacy for more information.