Podcast appearances and mentions of michelle pfieffer

This week, we've got another early 90's Cold War thriller, and this time it's a John Le Carré adaptation starring Sean Connery and Michelle Pfieffer in the lead roles - Roy Scheider appears alongside them in THE RUSSIA HOUSE!

Jack Nicholson's Daryl van Horne was one hell of a guy. A self-described "horny little devil," he was powerful enough to seduce nearly any woman in Eastwick, and made others puke cherry pits. Yes, back in 1987, audiences fell under the spell of Nicholson - and Cher, Susan Sarandon, and Michelle Pfieffer as the titular witches. But now, decades later, is the supernatural tale funny enough, sexy enough, or scary enough to make a demonic dent? The Old Roommates work their magic and revisit all the mayhem through their middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#GeorgeMiller #JohnUpdike #Cher #SusanSarandon #MichellePfieffer #JackNicholson #VeronicaCartwright

"There are no victims in this classroom!" Michelle Pfieffer is a whitefish out of water in the 1995 hit, Dangerous Minds. Pfieffer plays Louanne Johnson, an ex-marine divorcee down on her luck. Her only prospect, it seems, is to attempt to teach a gaggle of "passionate" high school kids, most of whom happen to be (gasp!) teenagers of color. Cue "Gangsta's Paradise"! Yes, back in the 90s, mainstream films were fairly black-and-white. But now, decades later, does this white savior storyline get a pass because it's based on a true story? Is Michelle the mousiest of ex-Marines ever? And why do some of these kids look 30? The Old Roommates head to the principal's office and give all the drama a rewatch through their middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#DangerousMinds #MichellePfieffer #Coolio #gangstasparadise

Tom Cruise will close the Olympics with a special stunt that will point the way to the next games...some of the actors being considered for the new Yellowstone include Kurt Russell, Patrick Adams and Michelle Pfieffer...and reports say Richard Simmons died a happy man!

Today, this licensed esthetician and skin care guru sister are talking about delicious gel hand soaps, silky probiotic hand lotions, and elevated perfumes that are surprisingly potent and clean - Have you heard of Michelle Pfieffer and Henry Rose Perfume Line? Are you ready to learn how to truly take care of your skin? Change your skin today! Enjoy our Newsletter - soap-themed - get ready for some bubbles!  Lindsey and Ashley's favorite Products - Yay!  xxx~ Lindsey & Ashley Formaldehyde releasers: DMDM hydantoin, imidazolidinyl urea, and diazolidinyl urea. Opt for products without these ingredients. As promised in today's episode.  Rate, Review, & Follow on Apple Podcasts - maybe leave a review??!!!  Should you wanna come find me on Insta I'm @lindseyrholder and @spaskinandbeauty Disclaimer: All media and platforms are not intended to provide diagnosis, treatment, or medical advice. Content provided by our platform is for informational purposes only. Please consult with a physician or other healthcare professional regarding any medical or health-related diagnosis or treatment options. Information on our platform should not be considered as a substitute for advice from a healthcare professional. The statements made about specific products throughout our platform are not to diagnose, treat, cure, or prevent disease.  

Justus and David take things back to Bible study to discuss this faith-based animated family musical from their Christian upbringings. Listen to them square off like Moses and Ramses as David threatens to destroy Justus' podcast empire with plagues of bagel-related tangents, Star Wars impressions, and sexy horses. Celebrate the Jewish holiday of Passover with our two notably non-Jewish hosts this week on the Greatest Movie Ever Made! The Prince of Egypt (1998) is directed by Simon Wells, Steve Hickner and Brenda Chapman and stars Val Kilmer, Ralph Fiennes, Michelle Pfieffer, Sandra Bullock and Jeff Goldblum. Music: “Fractals” by Kyle Casey and White Bat Audio

We are back with the second Listener's Pick episode of the podcast! Thankfully, I had seen both of these films and was able to revisit them both in time for the podcast, and if you have ever wanted to hear me openly wonder if a film was extremely feminist or falling victim to the male gaze, question if Jack Nicholson could pull Cher, Susan Sarandon, and Michelle Pfieffer all at once with them all being fine with it, accidentally spend my entire time critiquing a film I actually really enjoy, before shifting into one of the heaviest films I have spoken about on the podcast and then making Julianne Moore the most talked actress on the podcast, then we've got an episode for you! Thank you again to Toiletghoulie and Ethan for these recommendations!If you want to submit a movie recommendation, please fill out this Google Form!And for 3 dollars a month, you can support the podcast on Patreon! Patrons get podcasts early and with video now! Here is the Patreon if you would like to support!Social Media:TikTokInstagramFor any business inquiries: moviegoodormoviebad@gmail.com

This week we get to an episode that Mackey has been questioning for a while on the placement and Corson does something he never does, he admits he was wrong. Still a great episode but not a top 15 for sure. We discuss why this happened plus Michelle Pfieffer and a call from Country Breakfast Nelly. All that and more on the latest episode of Smells Like Ottos Jacket, where we countdown the top 100 Simpsons episodes of all time. #simpsons #smellslikeottosjacket #countdown Twitter - @smellsj Instagram - @simpsons_ottosjacket  

Welcome back to the Horror. Cult. Trash. Other. Podcast! This week, for a Women in Horror special, we're discussing all things What Lies Beneath, the camp supernatural horror film including Michelle Pfieffer constantly slaying whilst getting wine drunk, Harrison Ford looking like he can't be arsed and the striking resemblance to the plot of an episode of Charlie's Angels. Alongside our main film discussion, we also discuss what we've been watching recently including The Seventh Seal and Brain Dead. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!

On this episode of I Am The Wiz, Wiz reviews the 1993 costume drama The Age of Innocence starring Daniel Day-Lewis, Michelle Pfieffer and Winona Ryder, directed by Martin Scorsese.

A very special episode: It's Christina's birthday! As is tradition, co-host Christina gets to make co-host, Brian, watch one of her favorite movies for The First Time. Christina's choice? Grease 2, that much-maligned 1982 sequel to the 1978 masterpiece. Michelle Pfieffer cooly rode her way to super stardom while critics panned the rest of this (now) cult classic. Upon rewatch, does Christina still love it? Did Brian enjoy it at all? The Old Roommates head back to Rydell High for a lesson in nostalgia, all through a middle-aged lens. Listen to this.Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on Instagram and YouTube @OldRoommates for bonus content and please give us a rating or review!#MichellePfieffer #AdrianZmed #LornaLuft

Shakespeare this week - find out just how nerdy our childhoods were when it came to the Bard. We're so annoying we call him the Bard.Follow the Show @freshmoviepodFollow Chelsea @ChelseathepopeFollow Victoria on Letterboxd: https://letterboxd.com/vicrohar/Email the Show abreathoffreshmovie@gmail.comShop the Store: http://tee.pub/lic/bvHvK3HNFhk Show Art by Cecily Brown Theme Music "A Movie I'd Like to See"Arranged & Performed by Katrina EresmanWritten by Al HarleyYouTube Channel  

Episode #6: Latino PacinoOn this episode Prime Cut explores two Brian De Palma - Al Pacino collaborations - Scarface (1983) and Carlito's Way (1993):(0:00:00) Overview - De Palma & Pacino(0:20:15) Scarface(1:22:49) Carlito's WayBrian De Palma; Al Pacino; Scarface; Carlito's Way; Robert Loggia; Michelle Pfieffer; Steven Bauer; F Murray Abraham; Sean PennYou can follow Prime Cut Podcast on Instagram: https://www.instagram.com/prime_cut_podcast/You can e-mail Prime Cut Podcast: primecutpodcast@gmail.com

On this random episode of Capital Games Movie Club, Wiz flies solo as he reviews "Ant-Man and the Wasp: Quantumania" starring Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfieffer, Kathryn Newton and Jonathan Majors, directed by Peyton Reed. Does this start the fifth phase of the MCU on the right foot? Find out in Wiz's review!

National zipper day. Pop culture from 1961. Saigon fell, Dachau liberated, Desmond Doss saves 75, Rodney King riots begin. Todays birthdays - Duke Ellington, Carl Gardner, Willie Nelson, Tommy James, Jerry Seinfeld, Daniel Day Lewis, Eve Plumb, Michelle Pfeiffer, Carnie Wilson, Uma Thurman. Alfred Hitchcock died.

We all watched Mae Whitman run around the streets of NYC alongside George Clooney and Michelle Pfieffer in One Fine Day, play a Girl Scout on Friends, and grow up to portray Amber the rebellious teen on Parenthood, and guest on shows like Arrested Development, Good Girls and now on Up Here on Hulu! We discuss growing up in the industry and remaining sane, the importance of a good support system, changing industry standards, singing, sleepovers, her obsession with astrology and more!!!! Produced by Dear Media This episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.

MOVIE DISCUSSION: Melanie, Daniel, and Melvin talk Ladyhawke, Richard Donner's fantasy family film featuring Rutger Hauer, Michelle Pfieffer, and Matthew Broderick. Topics:(PATREON EXCLUSIVE) 35-minutes talking about two Disney animated science-fiction box-office failures, Lightyear and Strange World, their absurdly confusing marketing campaigns, and how their lack of success isn't a surprise for keen-eyed film fans (PATREON EXCLUSIVE)Melanie specifically wanted to hear what Melvin and Dan thought of Ladyhawke. Melvin, for some reason, initially thought Ladyhawke was a wrestling movie.Melvin shares his strange fixation on Matthew Broderick.Melanie has been thinking about “remakes” a lot, and apart from the nostalgic joy she has with Ladyhawke, she's been thinking about what would make for a good remake of this charismatic fantasy flick.For Melvin, a remake, reboot, or sequel doesn't necessarily need to be tied down to anything, it merely needs to be in conversation with its predecessor in some fashion. He also proposes practical, fun ideas for a theoretical remake of LadyHawke.For Daniel, remakes are only interesting if they adopt ideas or messages and re-adopt them with new information. In other words, how does a political thriller change when the world changes?Some movies, even as you watch them, feel like they need a remake. Melvin proposes a couple.Remakes, ironically, are also very final. It declares that the old canon is over and that a new canon is being established.Recommendations:The Little Shop of Horrors (1960) (Movie)Poltergeist (1982) (Movie)Knowing God by J.I. Packer (Book)Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review Social Links: Twitter Website Facebook Group

Guest Wendy Lee Szany and host Mark Ellis discuss the opening weekend of Marvel Studio's 'Ant-Man and the Wasp: Quantumania,' and talk about what happened with its rotten score, the movie's highlights, and those crazy post-credit scenes.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scott Lang and Hope Van Dyne, along with Hank Pym and Janet Van Dyne, explore the Quantum Realm, where they interact with strange creatures and embark on an adventure that goes beyond the limits of what they thought was possible. #AntManAndTheWasp #Quantamania Join the Watchers as we discuss the MCU's first film of Phase 5, Ant-Man and the Wasp: Quantamania. Let us know your thoughts in our live chat as we discuss! Ant-Man and the Wasp: Quantamania (2023) is an American superhero film based on the Marvel Comics character Ant-Man starring Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfieffer, Jonathan Majors, Kathryn Newton, Katy O'Brian, David Dastmalchain, Corey Stoll, and Bill Murray. Check out the latest pods from the MCU: MCU Rewatch: Ant-Man: https://www.youtube.com/live/uyt1kslwtMM?feature=share MCU Rewatch: Ant-Man and the Wasp: https://www.youtube.com/live/nslXNVBjaz8?feature=share Ranking the MCU ... all 30 films! pod: https://youtu.be/-d1F5Ns7Xv0 Check out the 2022 MCU Character Draft: https://youtu.be/JkdKcWk9QJg Subscribe, rate and review! Follow The Watchers in the Basement on social media! Use #WatchersBasement to comment about the show! facebook.com/watchersbasement twitter.com/WatchBasement instagram.com/watchersbasement

We're going GIANT SIZED to celebrate one of the smallest heroes of the Marvel Universe this week with a review of "Ant-Man", the four part mini series by Al Ewing & Tom Reilly to celebrate the 60th anniversary of the character. Plus our review of the latest MCU flick, Ant-Man & Wasp: Quantumania starring Paul Rudd, Michael Douglas, & Michelle Pfieffer! Host: Andy Larson  Co Hosts: Chad Smith & JA Scott

MOVIE DISCUSSION:  Daniel joins Melvin in discussing the second Rotten-rated film in the Marvel Cinematic Universe: Ant-Man and the Wasp: Quantumania! Critics have been critical, and fans have been mildly amused. But, what about us? Tune in to find out!  Topics: (PATREON EXCLUSIVE) 35-minutes discussing The Flash trailer, Ezra Miller's influential escapades, James Gunn's future changes for DC, and so much more! (PATREON EXCLUSIVE) Melvin wastes little time criticizing the outsized scope of the film, a borderline-Shakespearian world-ending character exploration flick written and directed by individuals whose previous work include bit-comedy, a functionally and fundamentally different style of storytelling. Ant-Man and the Wasp: Quuntamania is 125-minutes and barely anything happens. After two comedy-heist features, it feels weird for Ant-Man and the Wasp: Quantumania to take itself so seriously... and also not really be a heist movie. Melvin and Daniel agree that Ant-Man and the Wasp: Quantumania isn't particularly good, but they don't agree with the extreme distaste toward the film.  Daniel shares an epiphany he had during his theater experience, one surrounded by teens and nerdbros. Melvin complains about what he's calling the "Multiverse Narrative Confusion" that Marvel's Cinematic Universe is currently experiencing. Daniel elaborates further on the Multiverse problem. Talking M.O.D.O.K. Melvin and Daniel begin pitching various comedy bits and motifs for their version of Ant-Man and the Wasp: Quantumania, one that is more in tune with the comedy of it's previous films. Pondering the general diminishing return of the MCU. Recommendations: Marvel's M.O.D.O.K. (2021) (TV-Series) Insidious (2011) Movie CSB Experiencing God Bible Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review Social Links: Twitter Website Facebook Group

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Being married to a super-nerd like Kris, you might be surprised to know Jordie has NEVER seen a Batman film.No? You're not surprised?Well Kris has started her off on one he thinks she'll love.Mainly because it has Michelle Pfieffer in it...But, will Jordie even remember who Michelle Pfieffer is??

What's your expectation for the Steelers in 2023? What would be considered a success?Take it/Flush it - Michelle Pfieffer, card at the vending machine, car back-up camera, stopping for the anthem on TV. Colin is having a colonoscopy tomorrow. He was sent a video by UPMC to get him ready. We play the audio. TWITTER POLL: Will Pitt basketball make the tournament? What if the AFC Championship is at Acrisure Stadium? 

In this week's episode we are joined again by the wonderful Blake Howard of One Heat Minute Productions. His knowledge of Batman Returns runs deep, so deep he is tattooed with Michael Keaton! Together we chat the film itself, an array of tidbits and the which Nike Air Max's did Batman wear.

In this week's episode we return to Gotham City for part 1 of our deep dive into Batman Returns. Tim Burton's darker retelling of The Dark Knight stunned movie goers and critics alike and the journey to screen is equally as fascinating as the film itself. Listen in to hear about the film, its journey to screen and the fact that we almost didn't get Michelle Pfieffer as Catwoman and so much more.

In this week's episode, we take a look at Tim Burton's first superhero film. His 1989 feature of the Dark Knight is seen as one of the godfathers of modern superhero films and it does it all with a Prince soundtrack to boot. Tune in as we discuss the film's journey to screen, an overview of Batman in media and so much more.

In 1988, John Waters, the Sultan of Sleaze himself, released what might be called his sweetest movie, Hairspray. Starring Ricki Lake, Sonny Bono, and Divine, it was the first time a Waters character had a conscience, and set out to do the right thing. It retains a lot of his sensibilities, but it can easily be seen as his attempt at a Hollywood ending. It worked, because the film became a cult classic and eventually would be turned into a hit Broadway musical, and then of course, Hollywood adapted the musical for the screen in 2007. It polishes off some of the rougher edges, casts John Travolta as a woman, Michelle Pfieffer as a racist and Zac Efron as, what else, but a teen heartthrob. For the first time ever, we've paired a movie and it's remake to look at what makes each of them work and where they fall short. Matthew joins Brian as they discuss all this and more!

Let's take a dive into Scorsese's catalog to a movie with those signature crane shots and quick cuts, but with an extremely low body count. The exploration of love and longing within a rigid world is portrayed by epic performances from Daniel Day Lewis, Michelle Pfieffer, and Winona Ryder and camerawork that speaks as much as the characters. In this odd child of Scorsese's body of work, you're sure to find swoon-worthy dialogue, Oscar winning costumes, and a love story with more than what meets the eye.  Thank you to The Epic Mouthful for commissioning this podcast! You can get your very own custom commissioned podcast by visiting https://support.baldmove.com/. Join the discussion: Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter | Instagram | Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

After Joel Schumacher's Batman & Robin came and left the negative impression it did, it seemed that Warner Brothers was going to give up on the franchise. Though seven years later, we saw they had one more ace up their sleeve. Or was it a 4? Michelle Pfieffer's Catwoman was one of the few things that was almost universally about 1992's Batman Returns. So it was only a given that there would be a movie based on it. But after years of stumbling over script after script and actress after actress taking the role and eventually backing off, Warner Brothers settled on recent Oscar winning actress Halle Berry donning the leather and special effects artist Pitof the directing reigns. The result is one of the most notorious films of all time, as it is looked at in some circles as good/bad as 1995's Showgirls. Join Garrett, Matt, and Adam as they look at it with 2022 eyes, with Adam watching it for the very first time. Will the guys find it as bad as its reputation? Next week the Three Men and a Retrospective Podcast takes a break from DC and start their mini Predator series with 2004's Alien vs Predator!

It's Week 2 of #FanboySummer, and Dave, Mikey, and #TwitterlessDrEarl seek to improve the show by bringing on people better than all of us... and when its about music, when its about movie music, when its about movies about music but aren't musicals, what better person to bring in than Mississippi's Finest, guitar player and worship leader and podcast host and Discord Datcord fellow Matt Mink, aka, The Mink Panther. The fellas talk about Matt and where he's from, where he's going, and why he loves music. The discussion leads to some of the group's fave music influences, including some old country like The Statlers, Jamie Johnson, and more Kentucky Headhunters than any podcast has talked about in recent memory. And, of course, the Forrester Sisters, because of course. Then, the return of Birthday Movies, including the absolute murderer's row of films released in June 1987, then the Top Five movies about music, but are not actually musicals... films with the beloved Anna Kendrick and films with Pixar and films with a non Danielsan Ralph Macchio but not the early Britney Spears and films with Michelle Pfieffer on a piano and films with George Clooney lip syncing and a Fountains of Wayne shout out and d$ in touch with his heritage on a golf cart in Cancun and of course, Christopher Guest. And a ton more. Stick around in the aftershow segment to hear who gets #3 on FanboySummer! The movies discussed, and where streaming at the time of recording: Amadeus (for rental) The Commitments (for rental) Coco (Disney+) Control (TubiTV; FreeVee) Crazy Heart (for rental) Crossroads (the good one) (TubiTV) Crossroads (the crap one) (unavailable) The Fabulous Baker Boys (unavailable) La Bamba (Starz) A Mighty Wind (HBO Max) Nick & Nora's Infinite Playlist (HBO Max; TubiTV) O Brother Where Art Thou? (Amazon Prime) Once (for rental) Pitch Perfect (for rental) Sing Street (TubiTV) Teen Spirit (Hulu) That Thing You Do! (Starz) This is Spinal Tap (for purchase)

Derek tells Josh a way more messed up version of basically what happened to Michelle Pfieffer in that Aquaman movie.  It's our first of what will probably be many "horny fisherman" stories!Music:The Ice Giants by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5745-the-ice-giantsLicense: https://filmmusic.io/standard-license

New Bennifer engagement details. And, what happened when her ex-A-Rod got put on the spot about it? Then, Johnny Depp versus Amber Heard. Insider their nasty trial… filled with explosive testimony. Plus, Kaley Cuoco's thoughts on co-star Pete Davidson's new romance. Then, we're with Julia Roberts as she marks a “My Best Friend's Wedding” milestone. Plus, Michelle Pfieffer's long awaited return to TV. Her new TV series playing famous first Lady Betty Ford. And, Viola Davis' on her transformation into Michelle Obama. Then, how the Property Brothers are preparing for Drew's new bundle of joy. And, behind-the-scenes of the new horror movie “Titanic 666.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we are joined by one of my faves, actress Lucy Boynton!Believe it or not, Lucy started acting at the age of 12 alongside Renée Zellweger as a young Beatrix Potter in ‘Miss Potter' - god, that film made me sob, YOU? She then went on to star in Kenneth Brannagh's reboot of Poirot, ‘Murder on the Orient Express' next to Judi Dench, Olivia Colman, and Michelle Pfieffer. She then stole the scene as Astrid in my fave Netflix show, ‘The Politican' next to Gwyneth Paltrow, and played the girlfriend and soulmate of Freddie Mercury, Mary Austin in the Oscar winning ‘Bohemian Rhapsody' next to her real-life love, Rami Malek. ‘Bohemian Rhapsody' also became the highest grossing biopic movie of all time too, casual! Lucy is now starring as the stunning sixties spy, Jean, alongside Joe Cole in ‘The Ipcress File', the television remake of the classic Michael Kane Cold War movie of the same name, which is on ITV Hub. She's also starring alongside Will Poulter, Emma Thompson and Jim Broadbent as the sassy heiress turned amateur sleuth Frankie, in Hugh Laurie's adaptation of the Agatha Christie classic ‘Why Didn't They Ask Evans?' which is on BritBox. And if she wasn't busy enough, Lucy will be back on our cinema screens later this year playing Marie Antoinette in ‘Chevalier', a film about the composer, Chevalier de Saint-Georges, played by Kelvin Harrison Jr. Chevalier was the ‘illegitimate' son of an African slave and a French plantation owner who rose to the heights of French society as a violinist, composer and a champion fencer. But after an ill-fated love affair with a French noblewoman and a falling out with Marie Antoinette and her court, he suffered a downfall from favour. With all of that to talk about, Lucy joins me for a very open and honest conversation. In the episode Lucy talks about her journey with mental health, just how game changing going to therapy was for her and the lessons she has learnt from her therapist. It's advice I think we could all do with taking TBH! Lucy also talks about defining our self worth away from external sources of validation, and calls BS on outdated sexist stereotypes, namely the idea of the ‘angry woman,' who's with us?!? I hope you take just as much away from this episode as I did and I hope you continue to listen and find the power to Reign in your own lives. If you love this episode, please get in touch (follow me across social media @joshsmithhosts), I love hearing from you. Love, Josh xxxP.S I AM SO EXCITED THAT WE ARE PARTNERING WITH ONE OF MY FAVOURITE SKINCARE BRANDS, KIEHL'S, FOR THIS SERIES OF REIGN!I created Reign to celebrate women and start important conversations about equality and I am proud to partner with Kiehl's who have done the same for over 170 years by supporting local communities through multiple charity partnerships.In the spirit of feeling like our best selves, Kiehl's have introduced a new cream formulation of their best selling Midnight Recovery Oil! Say hello to the Midnight Recovery Omega Rich Cloud Cream, which will not only help your skin look plumped, nourished and radiant, it will empower you to feel FABULOUS and take on anything!It's rich in Omegas 3 and 6 which help replenish and rejuvenate skin, and with it only taking 7 nights to younger looking skin - I'll race you to the nearest Kiehl's store! Or you can shop on kiehls.co.uk

Zoe Kravitz showed off a pic of herself playing Catwoman in the new Batman movie.  Of the Following actresses....who has NOT played Batman...Michelle Pfieffer, Halle Barry or Meryl Streep?

We are once again talking about Michelle Pfieffer in her big budget novel adaptation THE DEEP END OF THE OCEAN with Jarett wieselman!We talk about some of the larger, and more hilarious misfires in this film's plot, and how some books are best left unadapted. Kenny tries to convince Phil and Jarett that the parent's reactions to their child's disappearance aren't as unrealistic as they seem. And, of course, we gush about Michelle Pfeiffer for most of the runtime.Find Jarett at: twitter.com/jarettsayPodcast Like It's 1999: podcasts.apple.com/us/podcast/podcast-like-its-1999Twitter: twitter.com/podcastlike1999Instagram: instagram.com/podcastlike1999Reddit: reddit.com/r/podcastlikeits See acast.com/privacy for privacy and opt-out information.

Spooky season is over, and it's time to go back to School with the underated sequel to Grease! We talk about our. mutual love for this movie, Michelle Pfieffer and superior songs! We are all gonna score tonight!Grease 2 is on Hulu!Email Us at TheMiseducationofDavidandGary@gmail.comFollow us on Instagram:@Gaspatchojones@Homewreckingwhore@The_Miseducation_of_DandG_PodIf you love the show check out our Teepublic shop!https://www.teepublic.com/user/gaspatchojones

In Episode Ten of True Believers, Andrew and Alana briefly walk into the world of "Fangs" by Sarah Anderson, and somehow devolve into a highly contentious quiz to determine which of them is chrs's REAL best friend.NOTES:Alana is the friend mentioned at the end of the show notes of Episode Five: Back to the Future State.The “furry” thing we keep referencing is actually not that bad. He's taking a nap in wolf form and starts wagging his tail when he opens his eye and sees that she's changing in front of him.This was not a tinder date. They just met in a bar because Jimmy heard Elsie say that she was a dog person.The True Blood thing was actually an entirely different white guy named Andrew that I went to school with. Apologies to Andrew, my co-host.https://www.instagram.com/p/pB58KrJXxD/?utm_source=ig_web_copy_linkIt's probably important to mention that Kirsten Dunst and Brad Pitt don't kiss romantically in “Interview With the Vampire”Campana is actually the Spanish word for Bell.Halle Berry is in the original X-Men trilogy, Michelle Pfieffer is in Ant-Man and The Wasp, Michael Keaton is in Spider-Man: Homecoming, and Ben Affleck is in Daredevil.The thing that makes the Constantine thing debatable is that he's a member of the Justice League. The THIRD paragraph on Alan Moore's wikipedia page starts off with “Moore is an occultist, ceremonial magician, and anarchist” - honestly wtf????Apparently Taylor Lautner has Dutch, French, and German ancestry, and has stated that he has "distant" Native American ancestry (specifically Odawa and Potawatomi, both Anishinaabe peoples) through his mother.Andrew meant to say that DC Comics Bombshells takes place in the 1940s, not the 1980s.Music: “Onion March” by Shane Ivers - www.silvermansound.com

Ali and Robbie are joined by Vin Diesel who talks about his new film Fast and Furious 9. They will also review Nick Broomfield's examination of the unsolved murders of hip-hop artists Biggie Smalls and Tupac Shakur; Another Round, Thomas Vinterberg's Oscar-winning story of four secondary school teachers who consume alcohol on a daily basis to see how it affects their social and professional lives; Michelle Pfieffer as an ageing Manhattan socialite in French Exit; Vince Vaughn & Kathryn Newton as a serial killer and a schoolgirl who swap bodies; Chris Pratt in actioner The Tomorrow War; Fear Street Part 1: 1994, the first in a trilogy based on the books by R.L.Stine about a circle of teenage friends who accidentally encounter the ancient evil responsible for a series of brutal murders that have plagued their town for over 300 years; and Robbie will also preview the Cannes Film Festival and they'll briefly review Fast and Furious 9. Ali and Robbie will also talk you through the best and worst films on subscription-free TV next week, and recommend a home entertainment purchase in DVD of the Week which this week features a Dad Joke Battle. Send us your sub 20 second instant reaction to any film attached to an email to mayo@bbc.co.uk for our feature ‘Lobby Correspondents'. 00:07:28 French Exit review 00:17:18 Celebrating Cinema 00:20:26 Digital Releases 00:25:55 Box Office Top 10 00:43:45 Last Man Standing review 00:53:51 Another Round review 01:08:42 Vin Diesel interview 01:18:11 F9 review 01:23:52 Fear Street Part 1: 1994 review 01:29:53 Cannes preview 01:34:52 Freaky review 01:41:48 TV Movies of the Week 01:46:54 The Tomorrow War review 01:56:16 DVD of the Week Download our podcast from the Baby Sea Clowns app. We welcome your contributions: Email: mayo@bbc.co.uk Twitter: @wittertainment

Welcome to Episode 205 of Broadcast Geeks! On this podcast we discuss all things pop culture provided that our DVR’s have space and our streaming accounts are paid up.  This week, the Geeks (Mitch, Jeff and Matt Orrin) are virtually together to discuss all things geek. We had a slightly higher level of nostalgia this episode, where we talked about 80's & 90's movies.  One in particular was Grease 2, not necessarily a major hit but impactful nonetheless.  And it had a young Michelle Pfieffer!  This lead us to talk about best sequel, not including Empire.  Do you have a pick? We couldn't go a week without mentioning Marvel, and even Ralph Bohner.  We focused on their current direction, specifically with Falcon & the Winter Soldier, now out on Disney+, and how that might end up.  Also, how can Sam catch the shield when he throws it?  Its made out of Vibranium and he isn't superpowered, like Cap or Bucky.  Guess we'll all have to watch and find out! You can send your feedback and show topic ideas to broadcastgeeks@gmail.com. Follow us on Twitter @broadcastgeeks and on Instagram @broadcast_geeks. Please remember to subscribe, and review us, on iTunes and anywhere else you listen! 

Maleficent star and mother of six Angelina Jolie gets candid about not being an untraditional mother, Michelle Pfeiffer explains why she never works with her spouse David E. Kelley and Bachelorette star Tayshia Adams joins the show to talk relocating to NY to be with fiance Zac Clark and weigh in on Clare Crowley & Dale Moss drama.

One of our favorite movies is The Witches of Eastwick, which pits three icons: Cher, Susan Sarandon and Michelle Pfieffer against the devil himself as they turn to witchcraft to manage their mid-life crisis. Today, San Francisco drag empresario Peaches Christ chats with us about opening up her vault of drag parodies for an internet viewing party of her show “The Witches of East Bay” where Peaches Christ, Coco Peru and Chad Michaels take a look at what happens when three drag legends get older in a world dominated by pesky young drag queens.

When you're a drag queen, you’re timeless, well at least until your wig starts to break down and your makeup starts to crack at the end of the night. But time comes for us all, even the most legendary drag queens, and that doesn't always have to be a scary thing.When you get older, you’re hopefully able to see things in a bigger perspective and conjure up a little magic to make things exciting.One of our favorite movies is The Witches of Eastwick, which pits three icons: Cher, Susan Sarandon and Michelle Pfieffer against the devil himself as they turn to witchcraft to manage their mid-life crisis.PEACHES CHRIST: www.peacheschrist.comToday, San Francisco drag empresario Peaches Christ chats with us about opening up her vault of drag parodies for an internet viewing party of her show “The Witches of East Bay” where Peaches Christ, Coco Peru and Chad Michaels take a look at what happens when three drag legends get older in a world dominated by pesky young drag queens.Don’t miss the viewing party on Oct 1 at at 6PM Pacific.https://peacheschrist.live/Plus,➤ Why do JK Rowling and other high profile queer celebrities come out aganist trans inclusion?➤ 80’s Gay icons that became TV commercial spokespersons.➤ A look at the amazing life of drag queen Peggy L’Eggs.

Jenna is joined by host, comedian, and #1 news article reader R. Eric Thomas (@oureric) to discuss Kenneth Braughan's flex on that ol' Agatha Christie chestnut Murder on the Orient Express! Eric reintroduces Jenna to the word "flibbertigibbet" and they question the engineering (and ethics) required to squeeze more than one person into a single train sleeping quarters. They celebrate Leslie Odom Jr., Josh Gad, and Michelle Pfieffer's agents, question Olivia Colman's agent, and think deeply about the exquisite camp this movie could have-should have-been. Eric's social media: @oureric https://rericthomas.com/ Purchase Here For It, or How to Save Your Soul in America: https://www.penguinrandomhouse.com/books/588517/here-for-it-by-r-eric-thomas/ Eric reads the news on Elle.com: https://www.elle.com/eric-reads-the-news/ Marsha P. Johnson Institute: marshap.org Jenna's social media: @lessthanamuffin jennakuerzi.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/deppimpact/support

Everyone wants to be the hero, but let's be honest, the villains get to have more fun and be more flamboyant. With the world in a toilet year, we decided to celebrate some evildoers by creating the Top 5 On Screen Comic Villains List! Whether you prefer Heath Ledger or Jack Nicholson, Michelle Pfieffer or Halle Berry, Gene Hackman or Jesse Eisenberg or Kevin Spacey, there's something in this episode for everyone. Don't worry, we take a break from all the villain talk to hear from some devilishly good, totally real sponsors, and play a wickedly fun game. This whole episode is devoted to the wrong side of the tracks. Harley Quinn may have been emancipated, but the High Five guys are about to break bad!

It’s Ian’s pick this week and he chose the romantic-comedy fantasy with a star studded cast, Stardust. And after talking about it amongst the other two. . . . . . He needs new friends.

Run yourself a nice bath, this week we reveal WHAT LIES BENEATH! A supernatural mystery starring Michelle Pfieffer as a woman who believes a ghost is trying to communicate with her, and Harrison Ford as her dismissive husband who is too busy fussing about his precious job. Ladies, lemme tell ya, if you tell your man your house is haunted by the ghost of the neighbor woman who mysteriously disappeared around the time her husband was seen moving body-shaped things wrapped in plastic, and he doesn't believe you, get a new man! James Remar is in this as well.This movie spooked us when we were younger, but does it hold up today?Listen to find out and don't forget to subscribe and rate us on Apple Podcasts, Spotify or Stitcher! Also, you can also support us by either contributing Patreon campaign, or by buying Rewatchability t-shirts from TeePublic. See acast.com/privacy for privacy and opt-out information.

We're back! This episode your four favorite movie fans tackle the epic middle chapter of Christopher Nolan's Batman trilogy. Then we get personal and figure out just who the best Batman really is? Much to talk about; Michelle Pfieffer, Morgan Freeman, bat nipples and more! New Episodes every Monday!

Jeff Goldblum co-stars with Michelle Pfieffer in a somewhat forgotten John Landis comedy-thriller, INTO THE NIGHT! Also featuring David Bowie and literally everybody who's ever made a movie in their entire lives!

  We kicked off Listener Request Month 2020 with a Patreon pick: Grease 2! We've got a wacky theme park stunt show, the stunt doubles for the original cast get to make a whole movie, Rizzo is inexplicably in her old high school, more cast members who hate each other, so many slow ballads, Cheer Up Charlie and bizarre high school timelines. All this and more!  Support us on Patreon! “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Keywords: Grease 2, Michelle Pfieffer, Christopher McDonald, Musical, Movie, Retro, 80s, Podcast, Eighties  

Ian Ferguson from Jaiya Inc. joins Mason today for a juicy chat about relationships, intimacy and sexuality. Ian works with his partner Jaiya to empower people to own their desires and express their true sexual nature. Ian believes an individual's relationship to their sexuality reveals how they live every aspect of their life. Tune in for a truly fascinating and grounded chat about the things many of us don't often address let alone talk about!   "having sex is natural, but making love is an art." - Ian Ferguson   Mason and Ian explore: The challenges couple's face postpartum, how having a child can interfere with intimacy and sex drive and what to do about it. The erotic language of arousal, discovering what turns you and your partner on and learning how to communicate it. The limerence period. The lack of communication and awareness around sexuality in general. The five sexual blueprint types - the energetic, the sensual, the sexual, the kinky, and the shapeshifter. The Erotic Breakthrough Course; how to embody, heal and expand your sexual blueprint type. Sexuality as a common thread amongst us all - "Where did we all come from... We all came from sex." Ian Ferguson   Who is Ian Ferguso ? The consummate Renaissance Man and a lifelong student of Human Potential, Ian Ferguson has been featured on Good Morning America, Anderson Live, VH1, and in Details magazine. From his youth as tap dance king of Ohio to directing and performing in Off-Broadway theatre in New York; from building a seven-figure design business serving celebrity clients like Drew Barrymore, Ashton Kutcher and Michelle Pfieffer to co-creating Jaiya Inc., an international company with the mission of uplifting sexuality as something to be openly and honestly discussed, celebrated and enjoyed, Ian has been driven by his desire to create a world with freedom of expression for all, a world where people are more connected to the truth of their bodies and each other through authentic, honest communication, and love. In 2007, Ian partnered with Jaiya, an internationally recognized, award-winning sexologist and best-selling author to co-found Jaiya, Inc., spreading the word about Jaiya’s revolutionary framework, the Erotic Blueprint Breakthrough™, designed to radically transform how we talk about and experience sex.   Resources: Ian's Website Erotic Breakthrough Quiz Ian's Facebook Youtube   Q: How Can I Support The SuperFeast Podcast?   A: Tell all your friends and family and share online! We’d also love it if you could subscribe and review this podcast on iTunes. Or check us out on Stitcher :)! Plus we're on Spotify!   Check Out The Transcript Here:   Mason: (00:00) Ian, thanks so much for being on with me, man.   Ian Ferguson: (00:02) I'm excited. This is good. Good thing we have a bit of an Australian crew down there from some other podcasters, we've got some coaches down in Australia.   Mason: (00:12) Cool.   Ian Ferguson: (00:12) So the people who know the work that we're up to, it's the U.S., Canada and Australia is third on the list of the most people who have taken our quiz and dropped into what we're up to.   Mason: (00:24) Yeah, I can imagine. It's interesting because Jaiya, your partner... And it's been interesting because I didn't realise when I heard about her back when that you were working side by side, or just how intimately your working and partnering side by side, which is cool because I want to ask a couple of questions in terms of working together that intimately because Tahnee and I, I feel like we do a really good job. Tahnee's the GM of SuperFeast and we're working like every day. You've got a kid as well. How old is your...   Ian Ferguson: (00:57) 10.   Mason: (01:00) Wow, you've got a proper child, not just a three-year-old wobbly child.   Ian Ferguson: (01:06) You're in a three year old zone?   Mason: (01:09) I'm in it. I'm bloody in it, man.   Ian Ferguson: (01:12) Well you're, you're starting to hit that place where it's... Well, in my experience it started to get a little bit easier. The first two years? Whew.   Mason: (01:21) Yeah, it's going like in both directions. It's a tonne of fun. It's really getting interesting and it's wild having all these conversations, but no, I don't doubt that there's a lot of people following both of your guys' work and like a lot of Jaiya's work, which is, we're realising now, is a lot of your work as well, which is fun.   Ian Ferguson: (01:44) Right. I didn't really start taking on more of the front face role until about five years ago. I partnered with Jaiya just romantically and was supporting the work in some ways financially, producing some of the film work, and also being a test subject because everything that we talk about is stuff that has either played a really fundamental role in our life, in terms of improving our sex life and our connection. After our child was born, we had a major crash in our relationship. We had about a year and a half of the blissful limerence stage, we're in love just can't keep our hands off of each other, all the passion is alive. We had a child, the economy crashed and I moved from a place that I had become really entrenched into, into this cohabiting domestic lifestyle.   Ian Ferguson: (02:41) From stress and just total hormone imbalance I crashed, my libido tanked, my confidence in the relationship started tanking. Jaiya is a sex educator, our sex life falls off the map from going from like 100% down to 10%. So she's a sex ed educator, has all the sex techniques in the world at our disposal and we can't figure it out, like many couples who are in that situation of either just that period after you've been really deeply connected and all of a sudden it's not working the same or these big life circumstances come up and it's all different.   Ian Ferguson: (03:17) So we had a three year period where we were deeply, deeply struggling and in that period and our commitment to each other, we just started to really reconfigure how we were relating to each other because it wasn't working. So we went through an intense experimentation stage and that's where I really started to get much more deeply invested in the work because I saw the turnaround in our relationship and I'd always wanted to dive more deeply into the work of helping people live their fully expressed lives, feeling fully alive, and it just seemed like a complete perfect dovetail and a new transition for me. So three, four years into the relationship, I really took a deep dive into it. Then the last five years I've been basically just on the front lines with her in terms of everything from teaching, enhancing the models and frameworks that we're working with, and then building our coach community and just getting the word out there.   Mason: (04:20) And going through those three years to get there and sticking it out obviously then... Because that's all with like you know, when you're going through something, when you're really going through it and you're like you're kinda like... It's like, "All right, cool." A lot of people just don't hold on or a lot of people just won't go deeper in order to find their way out of that maze. Obviously for you guys that period would have created a knowing and loving of each other that's allowed you to work together I assume, but was it so... So was it... Because you're not running off endorphins anymore, you've got a child in the house. I was talking to Tahnee about how she heard Jaiya's, like a bit of her postpartum, what was going on, like having a tear and needing the internal massage, which Tahnee asked me to ask you if there are any details on that, because we've got a lot of mumma's that tune into the podcast who might be interested on that level.   Mason: (05:15) So maybe we should stop there and just talk about that, but what I was just wanting to know is was it that experimentation and looking in for different shades that you could bring into the relationship? Was it trying to get to know yourself and then you couldn't just take for granted that, "Oh yeah, I know myself on more of a surface level and that's enough," but "Holy shit, if I'm going to have this deep a relationship and this new life that's seemingly domestic... As you say, which seems like there's shackles, which it's just an external thing to rebel against. It's nothing... You don't really know yourself and know what you want it's not going to be that satisfying.   Mason: (05:56) So I just want know more of the details of postpartum and for you as well, what you went through during that time to really keep you bolstered and then coming out of it, was it that that experimentation and really getting to know yourself that led the way?   Ian Ferguson: (06:12) So there was the perfect confluence of events, working both angles here. One was the perfect confluence of events that was leading us down the dark tunnel, which was at the edge of us separating our relationship and figuring out how to co-parent as separately and then riding and in tandem with that was our dedication also to, "That's not how we want things to go. We know we love each other. It's just the passion is not there, the connection has dropped off," and being committed to figuring out how to reinvigorate that and along that line, Jaiya in her work as a sexological body worker and at that point, being fully in this work for over 12 years working with thousands of clients, she started to recognise the patterns in people's sexuality where she would be working with one client and she would get turn-on with a certain kind of technique or a certain kind of approach to their arousal or the way that they could drop in with someone.   Ian Ferguson: (07:19) Then she would use that same technique on another person and it'd just be a flat line, there'd be nothing. This is where the Erotic Blueprints really started to crystallize for her and start to download. So he started to see these patterns and then she started to experiment in her client sessions with these ways of approaching people in the arousal patterns and the sexuality and their ways of bonding with someone else, and it started to crystallize and form into the framework that has now become the Erotic Blueprints. Part of the experimentation that I talk about, it was us experimenting in our own sex life with each other, and what we discovered, and I'm sure we can drop into the blueprints and really dial that in for your audience of what the hell I'm talking about, but it's basically your erotic language of arousal.   Ian Ferguson: (08:11) Once you understand what you're turned on by, how you're turned on and what you're not turned on by and what turns you off, then you start to be able to have this language of articulation, of being able to share with your partner and know. What we discovered was, at the time, Jaiya was primarily sexual, partially because that was very front and center in her biochemical makeup, in her desire pattern was her sexual blueprint and secondary was energetic. So sexual, she was craving sex, was starving for sex. My libido had tanked on a biochemical front, testosterone was down, we were doing co-sleeping with our child, which was also boosting oxytocin and bonding chemical, which is just like bonding but not sex drive and sexual, as we discovered later, was basically zero on my blueprint map. So she's a sexual energetic, I'm a sensual kinky.   Ian Ferguson: (09:13) So she was coming to bed at night and she was grabbing my crotch and she was trying to seduce me by going and taking strip classes and coming home and getting in a g-string and doing sexual moves in front of me and trying to get me turned on that way. At one point that's exactly what she did, and my comment to her was, "You don't need to do that. That's so obvious," and that was not the right thing to say, and it spoke to a truth for me, which at the time that was not something that was going to get to my arousal. I was coming to bed at night and I would slide up next to her and I would start to cuddle and want to relax and have this transition moment and then discover what unfolded in our eroticism through that connection and bonding.   Ian Ferguson: (10:03) When I came in and cuddled with her, she was like, "Oh great, another night we're going to roll over, we're going to go to sleep. I'm not going to get laid tonight." So she's just like moving into depression, rolling over, crying herself to sleep. I want to connect. I want to have that kind of intimacy with her. I had already been married once and our sex life was one of the fail points in that relationship. So I started to spin and go into like, "Okay, here we go again. I don't know what to do. I don't have the confidence to step up and be present with my partner in a way that's going to satisfy her." So it was like Jaiya was speaking American English and I'm over here trying to speak French, and we think because we speak this different language that, "Oh, we must not be in love with each other."   Ian Ferguson: (10:54) Once we started to discover the blueprints, then we can start to actually communicate to each other in the way that the other was going to be turned on. That's when the deeper experimentation in our own relationship started to move into our own expansion of, "Okay, how can I expand and meet my partner in her sexual and her energetic approach to sexuality and how can she start to discover more about the sensual and the kinky approach to sex?" That's where that started to come together. The whole piece around the vaginal tear and the biochemistry end, we can talk about that in a minute, but that's where the blueprints started to take formation.   Mason: (11:33) What's it's really interesting in that there's this obviousness, in say, in certain instances where someone just wants on, and the other is feeling like they need a little bit more, like they need some cuddling and then going in many different directions. However, it's so blatantly obvious to you a lot of the time, which is one of the... When it's happened to me I know that Tahnee would want something else and I'd theoretically know how to approach it, but just have this block of languaging and just couldn't do it, which it feels sadistic in the sense of like, "Who am I? I know that I need to just approach it in a little bit of a different way. Why aren't I doing it? Why can't I do it?" There's that huge block.   Mason: (12:27) The blueprints I actually heard about probably about five years ago when Tahns and I were first starting out and we'd just have these conversations. Obviously, just early on in the relationship it's just like, "Oh that's interesting, and that's interesting." It's not like.. There wasn't too much on the line then because it was just flowing up, moving into when there is a child in the mix, all of a sudden, I think what becomes really highlighted, as you said, is like jewel blueprints that come up, which is something that happens in relationships, just like, "Hang on, you are super sexual and now you need something else, like energetic. What is that?" and there's no... All of a sudden it's like, "Why aren't you the same," and, "What's wrong with me? What's happened here?"   Mason: (13:16) So that's one thing I really, really, like it's always stuck with me about the blueprints and I've got to get in again and take the... Is it a quiz because we got a [inaudible 00:13:29] book.   Ian Ferguson: (13:29) There's an assessment. There's a full assessment. So you take the quiz and then the quiz kicks out what type you are. It also gives you a rating of percentages. So it's not just your primary because you use secondary, tertiary, your quaternary, I don't know what that is, and your fifth because there's five of them all together.   Mason: (13:46) I've had a bunch of friends really sing its praises and I dialed in. Without doing the quiz I just dialed into knowing myself because I always have a hard time doing quizzes and things. Even though there's no problem like, "Don't label me," I'm always worried that I'll change my mind and that it won't get reflected in the quiz results.   Mason: (14:06) Anyway, it's kind of... I've known a bunch of people who are grounded and know their shit who have really just... it's made for a really good talking point and understanding of themselves. Therefore a way to communicate with their lovers.   Ian Ferguson: (14:20) For sure. There's several threads coming up from me as we talk about just this, the context here. One is the piece of new to relationship, most people revert to the sexual way of relating. You're in that limerence phase, there's all this turn on, your hormones are pumping and we revert to sexual. So then we abandoned or just forget about those aspects of our sexuality, which may actually be more our primary drivers.   Ian Ferguson: (14:50) So as the limerence period, which is that first flush of romance zone, which lasts six months to two years fades, it's just like what most of us do in so many other aspects of entering into a romantic relationship. Let's say you're the type who was going to yoga five times a week and you have your dance thing on Thursday nights and you hang out with your buddies on Saturdays. You're now in your relationship and a lot of time and dedication and focus goes into this new romance, you drop away, maybe you get to yoga once a week and you hang out with your buddies every four weeks and all these elements that were really nurturing to you start to drop away. Then six months, two years in, you start to go, "Well wait, where am I in this relationship?"   Ian Ferguson: (15:38) So we've set up this expectation with each other that this is how it is. We're sexual, we get together all the time, we're spending all of our time together, and then the satisfaction of that, the intimacy gets too close and then it becomes the sort of like sense of a trap. That's where starting to utilize the language of the blueprints gives you the empowerment and the language to bridge the gap.   Ian Ferguson: (16:02) So the other aspect of this, which the thread that popped to me when you're talking about your progression in your relationship is this problem with sexuality in general, which is people don't talk about it. Like we do to some degree in our intimate relationships. I know people, because of our clients, who have been in relationship for 20 years and they never talked about sex. It's supposed to be automatic, it's supposed to be natural. Yes, it's natural. So having sex is natural, but making love is an art.   Ian Ferguson: (16:35) So being able to articulate how you make love gets into all the fine detail of what pencil you're using or brush you're using or the type of paint or the way you're mixing the colors together, and you don't have the facility in any Western culture that I'm aware of where you're given a deep language of how to express and articulate needs, desires, hopes, wishes, turn-ons, turn-offs in a way that is rich and actually truly descriptive and or not triggering.   Ian Ferguson: (17:13) So if I'm a sexual and I'm used to speaking overtly sexually about how I like my partner's breasts and her ass and my language, that's the limit of my language, and then my partner turns out to be an energetic sensual or kinky and that's my language, it's very likely just to shut that person's system down and just cut, cut off the communication.   Mason: (17:42) Well, I relate exactly to that scenario and at times obviously it changes, and that's where I think it's going to be, I'd like to jump in a little bit more in and do some of the blueprints because it's like, "All right, great, we know that at times your energetic and what that means. However, I'm over here sexual," because I feel like that's like the quagmire.   Mason: (18:06) That's why I love how thoroughly you and Jaiya are going through this. It's not just like, "Here's your sexual blueprint. Now have fun everyone." It's like, "Well now what? I've got my needs over here, saying I'm feeling really sexual and you've got your needs. I just want to pull some hair and go for it and you need to energetically feel me." It's like how do we bridge that? So is it as simple, in your approach, is it just like, "Let's communicate. Let's talk about our needs?"   Ian Ferguson: (18:49) So the blueprints are the introduction to a pretty broad framework. It that has the blueprints, it has your stages of sexuality and it also has the four pathways or blocks to sexual health and vitality. So there's an ecosystem that's working here and just like anything that is really rewarding, it's a 360 degree panoramic, full spectrum look at who we are and to add another complexity, our sexuality is shifting. You're without a kid, without your domestic needs and all those things weighing on you, your sexuality may be in a very different place than when you've got a newborn and you're dealing with all of the things that come up there or aging or an accident or a breakup in a relationship. There's so many things that can affect our stage of sexuality.   Ian Ferguson: (19:54) One of the routes to this, to you, anybody listening, is a willingness, right? So if there's a willingness to start to get into the other person's world, then there's a deep hope that you can really start to expand into that person's blueprint and feel it and understand it. So it's the ability, more than communication, to get to this empathetic convergence where you can really start to, even if it's not your turn-on, you can start to feel the person's turn-on through that approach and give spaciousness to it. I feel like it'd probably be better for everybody listening for us to dive into just articulating what the blueprints are at this point a little bit.   Mason: (20:42) Yeah, it sounds good.   Ian Ferguson: (20:43) Great. So there's five blueprint types. There's the energetic, the sensual, the sexual, the kinky, and the shapeshifter.   Ian Ferguson: (20:52) The energetic really thrives and tends to get turned on by anticipation and tease and distance. They tend to also look at sexuality in more of a spiritual or transcendent way of connecting with another person. So those are some of the positives and the superpowers of the energetic. They could orgasm by not being even touched, by me standing across the room from Jaiya 20 feet away, I can play with her energetically and she can start moving into orgasmic experience. Really a mind bender for somebody who's not energetic, "What's going on? I don't even know how to relate to that." So those are the superpowers of the energetic and the shadow of the energetic can be too much closeness, too fast, can completely shut the energetic down. So you move into the collapsing of the space ends their arousal. The anticipation of the kiss of like I'm inches away and we're holding that space is where the juice is, and then when I move in for the kiss, perhaps an energetic might be like, "Oh, fuck. It all just went away."   Ian Ferguson: (22:12) This is a generality, not always true, but often an energetic can have a history with sexual trauma and that is where that collapse of space and where that breaking of the boundary is the thing that shuts down their sexuality. An energetic may also give over their boundaries too quickly. They may have very little sense of their own container and what they need. So they'll acquiesce to their lover and that will just reinforce their shutdown and their lack of boundary and they'll do this because they're so energetically connected to their lover that if they disappoint them, they'll feel that disappointment deeply. So that can be some of the things that can be challenging for the energetic type.   Ian Ferguson: (23:00) Essential type.   Mason: (23:01) Makes sense.   Ian Ferguson: (23:03) Yeah, and if you have any questions about it, just interrupt me.   Mason: (23:06) No, like it's so on. Honestly I know it's just on point. Anyway...   Ian Ferguson: (23:14) Perfect, and the thing about when people hear about the energetic, we get a lot of commentary is like, "Oh my god, I didn't even know this existed. I've been feeling broken, wrong, like I don't even know who I am," their entire life and then they hear this spoken and they're like, "Oh my god, that's me. I had no idea."   Mason: (23:33) That's so full on. We haven't really brought it up, but a huge context of just us having this conversation is seeing within the flow of your life, seeing your libido in a level where you can be like almost, I don't know, yourself, proud of yourself. The libido is who you are and your sexuality as a part of who you are. We go into that conversation with the herbs consistently. That's why, when you want to have conversations like these, to see like how do we actually... Yes, you've got like good herbs in like the Jing herbs in there, but that's just starting or just helping something along, but this, it's quite often a... And that was what it was like for me, the biggest penny dropping. I haven't really gone and done my blueprint yet.   Mason: (24:26) I feel like I've been, I don't know, a little bit apprehensive, it's probably... And to know myself but I don't feel that at all anymore in that area. I'm really, really happy to go there, but just in that nature of that energetic, that existing and that possibly that could come forth rather than another blueprint could come forward, this is very game changing stuff. This is what I like. As you said, and then that leads to you being able to have a smooth lifestyle where libido can actually flourish rather than trying to like, "If I take his herb, I'll have a libido. If I get rid of my estrogen dominance, then I'll have libido." It's like that's going to get so far, but you need a dialogue going forth, right?   Ian Ferguson: (25:07) For sure. Yeah. Yeah. My mind starts to go off into all the places I could go on that, on a tangent.   Mason: (25:14) I know and then I'm taking you off course. Let's stop with a distracted, we'll go back to the blueprint.   Ian Ferguson: (25:19) Cool, and out of that I think we'll be able to touch on some of the things that you're addressing there. So the sensual blueprint, they bring the artistry to sexuality. Their sensual is all about the senses being ignited. So sensual could have a strawberry and eat that strawberry and go into orgasmic states. Sensual is the kind of person when they're eating, you just hear them like, "Hmm, Oh." They like the textures of the clothes, they need the environment to be really dialed in for their system to relax and for them to open. So a sensual type needs the... We talked about an energetic already. So the sensual type typically needs to relax to open to their sexuality. So they can get down regulated and then they can connect. Superpowers of the sensual is they can have full body orgasms, like when they're in their body, they're connected fully.   Ian Ferguson: (26:19) The challenges or the shadows for the sensual are when the environment or the atmosphere is off, music is too loud, the lights aren't right, they've got the interior brain chatter of, "Oh my god, I didn't return that call. There's a sock on the floor. Oh, that means I got to do the laundry. I got to do this thing." So the disconnect goes into the brain and completely disassociating from their environment. Smells, in terms of receiving from a lover and they can be like, "Oh, they're down there so long, their neck must be getting uncomfortable. Do I smell down there? I don't know if bathed." So they just get lost in all of that minutia and then they can't connect and they can't drop in.   Mason: (27:01) It's one obvious shadow for sensual, for me anyway, in thinking about it. That's super interesting.   Ian Ferguson: (27:10) It's not an obvious shadow.   Mason: (27:11) No, not for me, not in my perspective on that. I'm like, "Oh wow." I just like, "Yeah," but it makes sense that it's like that, "Brrr," chatter is in stark contrast from the sensuality. I guess it's like the balancing act of that blueprint.   Ian Ferguson: (27:26) For sure.   Mason: (27:27) So it makes sense on that level.   Ian Ferguson: (27:29) Yeah, and then a comparative between energetic and sensual would be the type of touch that they enjoy. I know some people may be watching this and some people may be listening, so the energetic, again in that spaciousness, they can feel those energies off the body. So the hairs on the skin, the very edge of the fascia, just like that outer layer of the epidermis, that can be a total turn on with very light and very slow touch. They can feel that energy six inches, 20 feet away. For the sensual, the touch tends to be contouring, more like massage into the tissue. Also still slow and really feeling, feeling everything deeply, but much more physically connected. So the sensual really likes to collapse that space, get into the cuddling and the nuzzling and the deep connection.   Mason: (28:24) All right, yeah.   Ian Ferguson: (28:27) All making sense is it?   Mason: (28:28) Yeah, it's definitely crystal when can... Hey, I just started thinking because I'm an overthinker, so it's just got me thinking as well.   Ian Ferguson: (28:39) Cool. Then the sexual is what the Western stereotype is about sex and sexuality. They love genitals, they love nudity, they love getting right to business. Sexual superpowers, they can go from zero to 60 in one second flat. It's just like, "Oh we're on, this is sex, we're going to have an orgasm." They want everybody who's involved in the situation typically to have an orgasm, that means success, "We've had a sexual encounter I've had an orgasm, we're good." In opposition to like the sensual, the sexual needs to have sex to relax. Sex is like life itself. If I'm not having sex, I'm not living, I'm don't feel fulfilled.   Ian Ferguson: (29:26) The sexual who's really sexually fulfilled tends to feel really empowered in work, really feels bold and emboldened and seen. They really need to be seen for their eroticism and accepted for their high libido, for their high desire to just have sex to feel accepted, to feel wanted. So those are superpowers for the sexual and they bring the fun to sex. Like there's not all the story, there's not all the busy work, there's not all the confusion. It doesn't matter if the lights are too bright or the music is, "We're going to fuck, this is good." So they're just like all in.   Mason: (29:59) And that's super like it's perpetuated... Is it like in the West, teenage boys, that's like you click into the association of that because we've all got an element of these blueprints inside of us and so that either brings like you're a dominant alpha because that is where you thrive and that's just commonly like, "Well that's what sex is in the West." Then there's the other part of it, just like you're a male especially, , just from my perspective and you're energetic and those sensual aspects of yourself are not quite up there, that's very confusing, right? That's like, "Well, I'm just no good at sex."   Ian Ferguson: (30:46) Right.   Mason: (30:47) But then that's also what's present at the beginning of relationships, as you were saying, right, that sensual nature, it's a little bit easier for everyone to connect on that level because it's a common commentary on sex and then boom, all of a sudden things change. That must be one of the most common things I'm assuming, but that must be one of the most common things that occur, is a relationship six months in or a year in, and then all of a sudden you almost need to enter into a completely new relationship and it creates these hectic speed-bumps trying to just move past just that whole expectation and just be like, "Oh great. Yeah, cool. Let's do it as we always did, let's just fuck. What happened? Why don't we do that anymore?"   Ian Ferguson: (31:27) "What happened. Why is it not working?" It's like driving blind, right? Again, back to that language piece, it's not something that people talk openly about, it's not something people... Usually our mentors are anything from our peers, parents, porn, religion, the mentorship that is available to anyone around this realm of sexuality is not only often full of shame and suppression, but sometimes it's downright full of misinformation.   Mason: (32:02) Yeah.   Ian Ferguson: (32:02) You're given some tools and you're given a hammer to do something that you need to accomplish with a screwdriver, and it's just because there hasn't been this open dialogue and even with people who have an open dialogue, they don't have the distinctions to really dive in to the full range of human sexuality. It even happens within the communities that congregate around sex and sexuality.   Ian Ferguson: (32:28) So one of the things that I'm most proud of about what we offer in our community, in our courses, is this full range of sexual expression and acceptance. Nobody listening is broken, wrong in your sexuality. We walk around, many of us, feeling broken, wrong, unseen, ashamed of who we are and this creates more of this hiding, more of this separating and silo-ing and, "I'm just going to suffer here alone in my silence." And back to the community thing, it's like there are great tantra communities, there are great BDSM, kink communities, they're great swinger communities and they also tend to silo. They also tend to be like, "We're this type of person and we're going to hang and we don't understand the kink person over there."   Ian Ferguson: (33:27) So what happens is the people who've got a kinky person and an energetic person, the energetics typically going to be more guided towards like a tantra community, the kink person's going to be walking into the tantra community and go like, "What is this weird stuff? I'm not into this. No turn on here from me." More disharmony within the relationship and the connection, the kinky is going to take the energetic to the kink environment and they're going to be horrified, likely full of judgment of like, "Wait, sex is supposed to be spiritual and connecting and slow and full of this energetic connection to God," and they're going to look at the kink community and think, "What are these people doing?"   Ian Ferguson: (34:10) This is what happened with Jaiya and I. I haven't talked about kinky yet, but because of her tantra and energetic background, had really big misconceptions and judgments about the kink community. She had 15 years of being immersed in the tantra community. and sex was about enlightenment and spiritual connection, and this is another shadow of the energetic, where they can be judgmental or have a sense of superiority about their sexuality versus all the other types of sexuality. So that that can then cut them off from this wider expression and wider acceptance of all that's out there to play with.   Ian Ferguson: (34:52) So the silo-ing of communities goes to reinforce this disconnection between people because they're not seeing, they're not having other people representing in their relationship, these other blueprint types. So that's one of the things I'm most proud about with our community is that we're speaking to everybody's sexuality under one roof, right? We all be all get to play.   Mason: (35:17) And in a way that isn't... Because I think another common thread if you're just watching Western culture, like media and that kind of thing, the next flow is when it stagnates, "Let's go try something. Let's go out and try some kink. I want to.. I brought home a tantra book," or maybe it's like, "Okay, oh, we're going to go to a swingers party." It's a little bit shooting in the dark, which sometimes gets you there, but when you don't know about the thing that might tickle you in the right place, I really like that, "Well let's just... Those things are all well and good then let's go and do them. They're at our disposal," but you start a little bit closer to home and get a little bit of light on the situation so then you can make... You don't need to seek as much.   Mason: (36:05) You can like know a little bit more. I really appreciate that because-   Ian Ferguson: (36:09) Yeah, that's good. I like that too. Not throwing spaghetti at the wall, but yeah-   Mason: (36:14) Because that's stressful. If you have a kid and you have a job and all these things and maybe a hobby or whatever it is, and your own health stuff going on, you don't have that much time. Maybe in early 20s it's just like, "Hey, cool, I'm going to go try this style of tantra. Then I'm going to do a bit of Taoist sexuality. I'm going to try this. I'll be poly.. Polyamorous for a little bit now." It's just like there's so much time and that's not realistic on a broad scale and you just said, as having these kinds of conversations, it doesn't really happen too much.   Mason: (36:49) We have like the talk, the sexual talk, which I don't know if that happens. I think it's more of an American thing, like having the talk around sexuality, but we definitely are the same here in Australia. It's definitely an uncomfortable conversation, which is interesting to be like, what we're really uncomfortable with is exploring the fact that we have nuance because these blueprints are going to show, not just being relating to sexuality, right? It's just relating to different other aspects of ourselves that lead to our happiness and our ability to connect. What's so taboo about that? It's hard to admit that this is a new area for us.   Ian Ferguson: (37:36) For sure. What we've found now that the blueprints have been out there and with a massively expanding community and more people being exposed to the blueprints, is people are finding that this stuff translates into all the aspects of their life, right? How they set their environment, how they relate to their kids, to the people in their workspace and gives them more empowerment, not just in sexuality, but to really own who they are and what they need to thrive any situation. So that's, that's an unintended consequence of this.   Mason: (38:15) Happy accident.   Ian Ferguson: (38:17) People who've talked about how they now get to understand their children better because they got one kid who's highly energetic and they've been forcing hugs on them for 10 years and they realise this and they go, "Oh my god, what have I done? I've been invading my child's boundaries and their sense of autonomy." Now they're able to create a relationship of respect and say, "Would you like a hug?" and when the kids says, "No," they say, "Great, thank you." And they've got the sensual kid who just really needs to be held and needs their room in a delicious, beautiful designs so that they really feel like they have their space.   Ian Ferguson: (39:02) So they do translate all throughout the threads of life.   Mason: (39:07) So good.   Ian Ferguson: (39:07) Where were we?   Mason: (39:08) On set rule?   Ian Ferguson: (39:09) Yeah.   Mason: (39:09) I think we're finishing the-   Ian Ferguson: (39:10) The sexual.   Mason: (39:11) Sexual, yeah.   Ian Ferguson: (39:13) So the shadow sides of the sexual, one, especially if you're a vulva bodied person, can be the sense of shame because the typical is that the man is the sexual, that's the stereotype and that the penis body people are the sexual and they're overt about it and always driven by it and that the vulva bodied folks are more going to be sensuals or maybe energetics. So a sexual-   Mason: (39:41) We need to think about penis bodied and vulva bodied?   Ian Ferguson: (39:46) Yeah.   Mason: (39:46) What do you mean by that?   Ian Ferguson: (39:48) So we're taking genitals away from gender and we're taking genitals away from your sexual identification.   Mason: (39:56) Yeah.   Ian Ferguson: (39:57) So this is for anybody who's trans, bi, non-binary, there's I think... I get this number wrong frequently, but it's somewhere between 63 and 67 gender identifications currently out there. So one of the things also in our community that we're working to do is obviously make it open and accepting to the multitude of consensual relationship styles, your sexual identity and your gender identity. So that when I speak to the penis bodied, let's say there's a bisexual person who's got a penis, they identify as feminine in their energy, they don't really relate to being called a man, but maybe they're going non-binary, but I can speak to the genitals and I can speak to the stereotype that's usually associated with those genitals, right?   Ian Ferguson: (40:55) So a person with a cock is going to be typically identified as male. They may not present as male or they may present as male, but identify as female or identify as a trans or whatever. Wherever you find yourself we are here to honor you in that place of self identification. So I choose to say penis bodied or vulva bodied simply to speak to the genitals and the stereotypes associated to them.   Mason: (41:28) I didn't realise it was a literal penis bodied. I didn't realise that or if it was just like a body shape kind of thing. Anyway, I got it. I love it. So the shadow side of the sexual self...   Ian Ferguson: (41:49) So for the vulva bodied, typically a highly sexual vulva bodied person will come up against being slut shamed. It's just not acceptable, right? So shame can be an aspect of it. Another version, which I didn't realise until about two and a half years ago when we were doing some of our own work around erotic personas, was the layers of sexual shame that I was dealing with. So for the vulva bodied and this thing of being overtly sexual can end up in a place of shame, slut-shaming, being shamed for their overt sexuality. On the opposite, I just realised about two and a half years ago, this was running for me, as a penis bodied person, I identified basically a cisgendered male, my is with my genitals, I had the good boy complex, right?   Ian Ferguson: (42:49) So in relationship to women, if I presented my desire for them, that was me being a jerk. This is how I associated to it. I associated the guys who are the alpha male as dangerous, threatening. So there was a different layer of shame for me being a cock bodied person that then had me shut down those energies in myself and not be able to put them out in the world. So that's a really interesting growth edge for me, in how I relate to my sexuality and being able to, once I got a handle on this and I played with an erotic persona that was overtly sexual, I started to be able to re-own aspects of my sexuality and my sexual started to go up in my blueprint percentages.   Mason: (43:40) Right. So you can see you're tuning in like on a yearly level and just seeing these alterations. It makes sense. You've got this garden of sexuality and you've got to start somewhere in watering some of the pioneer sexual plants for you and then that's going to help everything else grow.   Ian Ferguson: (44:00) For sure. That's the zone we call expansion, and that's where you start to be able to get the turn-ons of your lovers or other blueprint types and actually integrate them. So you're not just doing something in service to somebody, but you actually can like tune in to that aspect of your sexuality.   Mason: (44:20) Cool. Yeah, and that's a nice little caveat that I want to talk about, because that's what quite often what stops me, just I think more as an excuse rather than anything, is that I don't want to be pigeonholed. I don't want to completely go, "This is who I am and this is what I want to try," and then now realise, "Actually no, it's something else." I don't like being pegged down, but which is just a silly little bypass of...   Ian Ferguson: (44:43) I think it's the common thing for people. An example and we'll talk about it next is the kinky blueprint. So I think a lot of people who will take the assessment, it's your mind answering the questions and the circumstance of the quiz. So you're reading these questions, there may be a lack of relatedness to say like the kinky frame or there may be some kind of subconscious shame running around, "Oh well, that's wrong," or, "I shouldn't be turned on by that," or, "That's strange and I'm not going to answer that question with my true response to it," or "I don't even know what that feels like in my body.   Mason: (45:22) Yeah, right.   Ian Ferguson: (45:24) "I've never tried it. So, nope, I don't know." So he first layer is doing the quiz, which is this mental exercise, but where the rubber really hits the road is in the body because these tools came out of somatic practices and it's of the body practices, so when we start to test them in the body, sometimes you get very different results than what comes forward in the quiz.   Ian Ferguson: (45:53) So somebody who says they don't like spanking either never experienced it, they're ashamed to say it or write it on quiz, and then they get on the table or they start playing around with it with a lover and you do that slap to the inner thigh and they're like, "Ooh!" they just light up like, "Aww-grr!" That's exciting and sometimes unnerving for people because they're just like, "Wait, I don't want to be that kinky person," and yet their body says they're turned on by it.   Mason: (46:24) Yeah.   Ian Ferguson: (46:26) Then just one other piece on the shadow side of the sexual, which the sexual may never really be aware of, is that they are missing out. There's a lack of relatedness to all of the other turn-ons that are present. They'll get impatient with the sensual, they have no understanding of the energetic, the kinky is weird and, "Why do we need to do all of this strange thing with scenes and gear and psychological game play?" So they can be very myopically focused and this is a complaint for sexual lovers that we'll often hear from the lover of a sexual, is that they feel like they're a piece of meat. They're just being used for their partner's sexual gratification.   Ian Ferguson: (47:21) The shadow aspect there is just in the ability to really relate with their partner and and see their partner. The other aspect there too is also the sexual wants to be seen for their libido, their eroticism, their turn on and accepted for that, and when they're not, they can sometimes collapse into a lack of confidence or indignance like, "Wait, we need to be having more sex and we're not and you don't love me," and that kind of spin can-   Mason: (47:50) Spinning a good story.   Ian Ferguson: (47:54) Spinning in the story. So kinky. This actually really is my personal fastest access to turn on, is the kinky realm. A lot of people have associated kinky with that has dungeons and leather and chains and the kink realm just sort of busts that myth. It includes that, but the kinky realm is a vast ocean of possibility of expression.   Mason: (48:26) Did you support Jaiya to write a book about kink?   Ian Ferguson: (48:30) Oh yeah. So we went deep, deep, deep into the kink realm.   Mason: (48:33) Is this when 40 days, 40 days of submission?   Ian Ferguson: (48:36) Yeah.   Mason: (48:37) Yeah, I remember hearing that story from Jaiya. Okay. Yeah, maybe you could like... I think it's a good story if you want to share your perspective.   Ian Ferguson: (48:47) For sure. So Jaiya has several books out on the market. The publisher did 40 Shades [inaudible 00:48:57] and kink was starting to come up in the cultural conversation.   Mason: (49:01) Yeah, right.   Ian Ferguson: (49:02) Funny enough, Jaiya, when she first formulated the blueprints, there was energetic, sensual, sexual and shapeshifter. Kinky didn't exist. This is how much she didn't have it on her radar as like, "Oh, that's a whole category for people's arousal." So the publishers came and said, "Hey, we really want to get you in on this wave and you're a perfect person to go in and write the book," but she didn't know anything about kink. So we made a deal with each other, which we were going to do 40 days where Jaiya was dominating me and I was submissive to her. Then we were going to do the reverse where I was 40 days dominating Jaiya and she was submissive to me and Jaiya goes whole hog whenever she does anything.   Ian Ferguson: (49:50) So I got to be the guinea pig in this experiment and realise the depth of my kink. Like it was there in surface expression, little bit of cuffs and some light bondage gear and that sort of thing that I had in my repertoire, but we hired experts, we hired trainers, we went deep into multiple modalities of the kink experiment, learned incredible amounts about our own range of what turns us on and what doesn't. Kink is still a way low and Jaiya's chart, but now she has a much deeper understanding and has some access to kink where she didn't have it really at all before. Then in the kink experimentation... I had a thought that passed. I'm going to let it pass because I'm not going to catch it at the moment. It'll come back.   Mason: (50:49) [inaudible 00:50:49] maybe. That'd be fine.   Ian Ferguson: (50:50) What's that?   Mason: (50:51) I was just talking to the idea. You know the ideas and the thoughts come in, you just like it's all kind of it's own little adventure and maybe in another podcast for right now until we've got a little bit of extra room for it.   Ian Ferguson: (51:02) That's right. It didn't need its space quite yet. It was an amazing opportunity for me to be seen fully for who I was and honored in our relationship.   Mason: (51:14) I can imagine.   Ian Ferguson: (51:15) It was also pretty wild because when I was in the submissive role, for a cisgendered male, penis bodied person, I definitely had like shame challenges coming up. Like, "Wait, why am I turned on by this?" Or we would experiment with shaming language and I was like, "Oh, I'm not going to be turned on by being called a slut or derogatory terminology being used on me during a scene," but we came up with a list of vocabulary words and things to play with, really pushing the edge and we're doing this scene, she's using his words and I'm like, "Whew, my arousal is through the roof. I'm completely turned on by being put in this position where I'm having degrading language used about me," and I kept asking why.   Ian Ferguson: (52:05) Like I'm 30 days into this experiment of being in a submission. I just keep going like, "I don't have any history... These are misconceptions that are common around BDSM where I'm like, "I don't have any history of sexual abuse or trauma," like, "Why am I into all of this stuff?" and finally one of the BDSM practitioners we were studying with was just like, "Why don't you just stop asking why and enjoy yourself?" And it's like, "Ooh."   Mason: (52:39) That's right. It's an interesting one because I relate to the good boy and so in terms of... I mean I could probably relate of having it come towards me a little bit more, but I feel like I've just noticed recently and just growing up, parents divorced, mainly with my mum, really associating with being like, "I'm a good man," and a little bit of PC elements come in there. So in terms of dominating in that language, coming from myself, even now I can see that that's like, "Well that opens a river of sexual expression," opens something up and that's interesting point. Just, "Why don't you just enjoy that? That's an opening and leads..." You don't have to analyze that, but just watching that subconscious or that, "This is bad. You can't say those things. You can't say that to a woman," and everything that comes with it, very insidious for me.   Ian Ferguson: (53:44) For sure. Very much cuts one off from access to pleasure, access to honoring oneself, being able to see and seen first by oneself, let alone being able to present that to the outside world and have it be seen by someone else.   Mason: (54:00) That's so full on because that just opens up so much in the day to day just joy of being with a person, right? It can just create a whole dam and a relationship if there's these blockages, and just what you just said, that's often enough. It doesn't need to be analyzed.   Ian Ferguson: (54:18) Yeah. I've had some kinky partners since then and played very much in the dominant role. Jaiya, she can play psychological kink. There's two different types of kink as we frame it, there's the psychological kink in the physiological or sensation based kinky. I'll distinguish those in a second, but with Jaiya, she can play psychological kink, she can be submissive psychological kink. She's not so much going to be in the sensation based kink in terms of spankings or deep scratching or any kind of hitting or bondage, that kind of stuff.   Ian Ferguson: (55:00) So I've had some other partners who are very, very, very much in the kink and very much into the physiological and psychological and that place of ownership of being able to step into the dominant role. So kink can be an amazing place to practice for anyone who's looking to step into authority, but if you're looking to play a part and put on the role of authority, like, "You're going to get down on your knees and suck my cock," and play this role, the authenticity drops out and the actual connection and the turn on drops out because the receiver, let's say in that circumstance, if I'm going to put on this role, and that's what I did practically like 25-30 days into my dominance role with Jaiya, I was trying to put on this character who was dominant and it was a joke, like Jaiya was literally laughing at me at certain points. Like, "Phht, I'm so unconvinced by whatever you're doing."   Mason: (56:06) Yeah, I can see you putting on your officer's hat, but yeah, talk about that nuance because I'm sure that's like a block. I can definitely relate to that and especially even something that would help me in the future just hearing about it now. Like what was the nuance there?   Ian Ferguson: (56:26) Yeah, so there's a lot of nuances. One, just the discomfort of like I had the good boy thing. So being able to drop into what... So here's, here's the big shift that occurred. One of our instructors in this realm basically boiled it down to me that this is not about putting on that role. This is about an honest, authentic conversation about what turns you on and being really present with your partner because as a dominant there's so many different roles you can play in that. So you can play the role that you're submissive is a piece of furniture or a piece of meat, they're there to be used by you, but it's all within a container of a very, very clearly defined container that's consensual, has boundaries, has edges that you cannot go past and has rules that you must abide by.   Ian Ferguson: (57:29) So once you set your container, once you have full-on consent from every participant in the scene, you know what the game is that you're playing. Then within that game, the dominant is actually responsible for the wellbeing of the submissive. So some people will look at the BDSM world and they'll think, "That's just abuse. The person is hurting that person and they shouldn't be hurting that person," so all these judgements role. Inside of the context of a conscious kink scene, the submissive is the responsibility of the dom. So awareness needs to be heightened. If I'm in a dominant role, what's occurring for my submissive? How are they feeling? Are they getting turned on because we have an agreement of this is a scene that even if the stated thing is like, "This scene is from my pleasure and my pleasure, only as the dominant," they're in an agreement thing, so they're in their arousal, they're in their turn on within the context that we've set.   Ian Ferguson: (58:40) So there's this awareness, there's this presence that needs to take place to be dropped in to, "Oh, there's the subtlety of that thing that then turned into my turn on, on my pleasure because my submissive is turned on, or because the scene is going just as it's planned and I'm seeking for what really turns me on." I'm not playing at some role of like, "We're going to pull out the cop uniform and have you chained to the bed," and whatever the stereotype thing is that we think it's supposed to be-   Mason: (59:16) Which is often as far as people go.   Ian Ferguson: (59:18) Yes, right, but rather looking for like, "Oh, it really turns me on."   Mason: (59:25) What actually turns me on?   Ian Ferguson: (59:27) Yeah, what actually turns me on and where do I feel that connection to my own power? Then this where lifestyle kink, where people can start to go into lifestyle kink or really using the tools of kink domination and submission to create empowerment in their own life.   Ian Ferguson: (59:47) So let's say I'm in my workplace and I have a difficulty with being assertive and being authoritative. Well, start to look where the authentic core of what result you're trying to achieve in that situation, step into authentically claiming it and calling it out with the people who are either your subordinates or even with your boss, but really being in an authentic emotional connection with the outcome you're looking to create, whether it's in a BDSM scene or it's just in the conversation you're having with your boss.   Mason: (01:00:26) Yeah. I feel like you can't separate this from any other part of life, can you? To think that we can compartmentalize sex into this little like piece of the pie of who we are now. Well even just what we bring to sex and our own sexuality, it permeates everything. Shadow side?   Ian Ferguson: (01:00:51) Okay. Well the positive and superpower of the kink is wildly creative, just immense. I could be studying and doing really intense kink work for 10 years and really there'd be another 10 or 20 years to play in this realm. The superpowers are wildly, wildly creative. Often superpowers have to do with the authenticity of the conversations because you are talking about boundaries, consent, really diving deep into knowing your own turn-ons and the other person's turn-on, so you can create very conscious container for sexual play and sexual expression and superpowers for a kink is they also can have non-touch or let's say non-genital focused or non-touch orgasms because they move into subspace because they're being bound and spanked and the endorphins are rushing. So they can achieve orgasm without genital touch or without what typically is associated to what leads to orgasm.   Ian Ferguson: (01:01:55) Shadow sides. Biggest shadow side for the kink is shame, which we already have touched on here, "Why am I this way? Why am I turned on by this? I'm one of the weird people. I'm a kinky super freak. I don't want to be that," so that can be a downside. Then also a potential for... this is kind of a shadow potential for any blueprint type, but for kinky it can be very distinguishable, which is you can have a particular turn on, which becomes a rut, which becomes a sexual grave.   Ian Ferguson: (01:02:35) So let's say an example is like I'm only turned on by having sex in the yellow raincoat. "That's my kink, and that's the only way I'm turned on, and here I'm with my partner and that's really not doing it for my partner but that's it, that's all that turns me on and I can't get past it. So you can get into this rut that then becomes the grave of turn-on where there's no turn-on to be found elsewhere where you're going to lack sexual connection with your lover.   Ian Ferguson: (01:03:12) I want to state really clearly, if that works for you, whatever that turn on is and you're happy with it and your partner's happy with it, there's nothing wrong with it. It's all good, but often the sexual dissatisfaction, the sexual disconnection takes place to oneself or to others and you're in the grave.   Mason: (01:03:38) In the grave. And then shapeshifters, just shapeshifting in dominance throughout the different blueprints?   Ian Ferguson: (01:03:45) Yeah. Shapeshifter is everything. So the shapeshifter is like the high performance sports car of sexuality. They have the full range of expression. They're turned on by all of it. Superpowers for a shapeshifter are that they're turned on by all of it. They can be the ultimate lover for any lover because they have the full range, they're turned on by it, they know how to feed their lover in whatever blueprint they are.   Ian Ferguson: (01:04:14) On the flip side of it, the shapeshifter also can have a sense of shame because they're usually really big sexually. They're really expressed and they've been shut down as "You're too much, you're too loud, you're too big, you want too much. Why is this always so complicated?" So their sexuality can be shut down on that front.   Ian Ferguson: (01:04:35) Another shadow for them is that they can often live a life of sexual starvation because they'll fall into a relationship with somebody who's got a primary blueprint and they'll move into the people pleaser mode, turning on their lover in their blueprint, never being fed in their full sexuality, and they'll shut down and then that chain piece of, "I'm too much, I want too much, I'm too complicated," and they won't claim their needs or their desires because it'll rock the boat.   Mason: (01:05:08) Yeah, being a pleaser, that rears its head after a while, doesn't it or something like, "Well, I'm giving you everything you want," and just pretty much just become you can be, "[inaudible 01:05:17] under the skin.   Ian Ferguson: (01:05:17) Yeah.   Mason: (01:05:20) So good and thanks for going into that comprehensively. It's one of those things, especially like for a path of arousal because arousal's just like... You're aroused sexually, you can be aroused by life, you can be aroused by your job, you can be aroused my, everything. It's just it has so much to do with health and longevity. It's an interesting thing. Do you guys get into the Taoist herbs? I think I've heard Jaiya talk about his He Shou Wu and Eucommia.   Ian Ferguson: (01:05:46) Oh, for sure.   Mason: (01:05:47) You're on board. Yeah. it's an interesting thing. You can say these Jing Herbs, you got to watch out, you get pretty potent when you get onto the Jing Herbs, but when someone's like, "I'd like to have a little bit more libido." It's like, "Yeah, cool. That's all well and good, and yes, Jing Herb's and Schizandra are great, but what does your libido look like?" That's an interesting thing. That's why I wanted to do this podcast and have these chats as well, is just because we got to make sure we have other things in our awareness of yeah, like if you're going to have that potency being built with your lifestyle and with the herds, make sure that you actually can take it in different directions, it doesn't bottleneck in terms of you just mean you want to just be able to feel like you can just fuck like you did it in the first six months of the relationship.Maybe it's moved on now.   Mason: (01:06:39) It's so nice to be able to like... You must have it all day. I'm just feeling that empathy for those moments where it clicks and the awareness happens within it for someone with their own sexuality in their relationship and the pressure eases because they can like, "Oh, I can start relating to myself as who I really am," rather than the projection of just the cultural, like what I started identifying with, it's just really nice. So I'm glad everyone is going to get to listen and tune into your work. We've gone really down the rabbit hole with the blueprints, which is awesome because it impacts everything, but I really want to hear what's going on with the new work and your new course that's coming out.   Ian Ferguson: (01:07:23) Okay, perfect. Yeah. So you're going to post the quiz in your show notes.   Mason: (01:07:27) Yeah.   Ian Ferguson: (01:07:27) So that's sort of like the first step.   Mason: (01:07:29) So everyone, go and take that quiz.   Ian Ferguson: (01:07:33) For sure. So that's the first introduction. Just a recommendation, when you take the quiz, there's going to be a webpage that pops up. Scroll down the webpage because you'll see your primary blueprint type at the top of the page after you finish the quiz, but when you scroll down the page, you'll see your percentages so you'll see your primary and you'll see all the other blueprints and see where you stack in there. So fun to take with your lover so that you can compare notes like, "Oh Whoa, what's going on there?" This is either why we're rocking it or this is why we've got some disconnection.   Mason: (01:08:09) I did have that question actually. Obviously you're going to see compatibility emerging and non compatibility patterns, I guess, to an extent. Is it one of those things at times when you see like a, I don't know if there's two that are starkly in contrast to each other, where you go... Is it always possible to make it work as... Oh the will. That's what you were talking about, the willingness.   Ian Ferguson: (01:08:29) Willingness.   Mason: (01:08:29) Willingness before, and really I liked that you brought that up because in Taoism we talk about the Three Treasures, Jing, Qi, and Shen, but no one really talks about that fourth treasure Zhi which is will and it's not willpower, it's as you tonify and have your essence of your Jing, your geneti

Join us as we discuss the movie version of Stardust, starring Claire Danes, Charlie Cox, and Michelle Pfieffer! This is a very special episode. Not just because we get to briefly discuss Red Dwarf and thought of briefly having man-bits - but because we have our first guest! And she's awesome! It's Sunni from Book of Lies! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Do you do it for fashion, safety or just for fun? The girls slide into conversation about this second skin and how it stimulates pleasure receptors. Also, have you googled Michelle Pfieffer as Catwoman lately? We’ll wait.Spilt Milk: https://www.pinklabel.tv/on-demand/film/spilt-milk/Be sure to rate Girls on Porn 5-stars on Apple Podcast! Leave your favorite search term OR your porn star name in the review for a chance to have it read on-air.Follow Us on Social Media:Show: @girlsonprnLaura: @ramadeiRachel: @_rrratchetShow Credits:Producer: Amanda CTheme by Eli JanneyPodcast Art by Erin DreisMixed and Edited by Mike Comite

On this week's ScreenPicks movie podcast, Kit Bowen and Joel Amos discuss two sequels opening this weekend. First up is Disney's Maleficent: Mistress of Evil, starring Angelina Jolie, Elle Fanning and Michelle Pfieffer. Then they talk about Zombieland: Double Tap, starring Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Zoey Deutch and Rosario Dawson. Tune in!

Grab your silver bullets, this week we are transformed by WOLF, the 1994 film starring Jack Nicholson as a man who starts growing hair where there was no hair before! Directed by the great Mike Nichols and also featuring Michelle Pfieffer and James Spader, Wolf tackles aging, betrayal and why you should never hold a conversation at the urinal. This movie seemed wild when we were younger, but how does it hold up under the light of a full moon?  Listen to find out! Also subscribe and rate us on Apple Podcasts, Spotify or Stitcher. Also, follow us on Facebook or Twitter. And please consider supporting our Patreon campaign, or purchasing Rewatchability t-shirts at TeePublic!   

Aleks Paunovic was born in Winnipeg, Manitoba to a Croatian mother and Serbian father. The result of this remarkable blend of bloodlines is the 6'5" ruggedly handsome actor appearing on screens around the world at a rapidly escalating rate. In this episode Aleks chats with your favorite host Galaxy about Van Helsing and his new projects. Aleks is always a pleasure to have on Comic Con Radio. So please don't miss out on this extremely fun episode. Acting came to Aleks while he was onstage in his hometown playing in a heavy metal band, his livelihood since he was 16. Remarkably the role offered was one completely against type as it was that of Roddy McDowall's butler in the 1994 TV movie 'Heads'. Now bitten with the acting bug, Aleks combined his athleticism from his lifetime of boxing - he claims that he started boxing in the womb as all of the men in his family are boxers - and turned it into a very busy career as a stunt actor. In 2001 Aleks stopped in Vancouver on his way to Los Angeles with an impressive resume and ready to take on Hollywood when the most horrible event in America's recent history struck. 911 changed the way anyone could enter the states and so Aleks found himself a new home and career in busy Vancouver. Since coming to Vancouver Aleks has built an amazing resume with over 100 credits, most of which are lead and recurring roles like the one that he has on this hugely anticipated 4th season of 'Continuum'. Aleks credits three occurrences as the game-changers in his rocketing career: One was when the venerable acting coach Larry Moss called him out in front of 300 actors, telling him that he had massive talent and demanding to see his full range; another was when he respectfully declined an offer for a 4-episode-arc on a highly-rated TV series so that he could finish his run as 'Danny' in the play "Danny and the Deep Blue Sea" in a shaky old theatre to sold-out crowds. But the biggest catalyst in Aleks's career was when he fought three rounds of casting throughout all of Los Angeles and Vancouver to win the role of 'Tom', a developmentally disabled man accused of murder in 'Personal Effects' starring Ashton Kutcher, Michelle Pfieffer, and Kathy Bates. Aleks put on 65 pounds to perform the role, which was one of the most challenging and rewarding roles of his career so far. When you meet Aleks, or you watch him perform these difficult roles, you just know that with all of that leading man charisma there's star power in this man, and that you will be seeing a lot more of Aleks Paunovic.   For more amazing episodes go to: www.ComicCon-Radio.com   Follow us on Instagram  @ComicConRadio   Please subscribe to Comic Con Radio Always give us 5 stars. Say Hi when you can. Always #WatchLive Please share this episode with the world!   We love you all… Thank you for loving us back!  

On today’s episode of Tarot for the Wild Soul, we have the amazing, brilliant, and divine Jack Ferver as our embodiment of Queen of Wands! Jack Ferver is a New York based writer, choreographer, and director, and the co-host of the podcast, “Dance and Stuff.” His genre defying performances, which have been called “so extreme that they sometimes look and feel like exorcisms” (The New Yorker), explore the tragicomedy of the human psyche. Jack’s works have been presented in New York City at the New Museum; The Kitchen; The French Institute Alliance Française, as part of Crossing the Line; Abrons Arts Center; Gibney Dance, and Performance Space 122, to name a few. His work in film and TV includes “Outside Providence,” “Gayby,” and “Strangers with Candy,” among many other credits. Queen of Wands is the witch of the deck. Ruled by fire and water, this being is the embodiment of alchemy, creating magic, ceremony, ritual and channeled medicine wherever they walk. When we embody Queen of Wands, life becomes ceremony, and we allow ourselves to be a living vessel for Divine to come through us, regardless of what medium or method we are practicing with. As the creator of such fierce and intense channeled works, Jack is truly a witch before all else, desiring for their work, writing, and theatrical pieces to be of highest service. Jack also has a beautiful embodiment with The Magician, Seven of Cups, and Knight of Wands. The Magician because of Jack’s creative, channeling process — how he brings things that are within him, out of him into the world; Seven of Cups because of Jack’s amazing ability to rest in the deep dream space, allowing ideas to form from different varieties of media and medium; Knight of Wands, because Jack truly is a living embodiment of moving through the world as yourself, in a way that only you can. Topics in this episode: • How Jack connected with Michelle Pfieffer’s performance of Catwoman in his most recent theatrical piece • Jack’s process of creation, and allowing the muses to come in • How his experience training in Martha Graham technique opened his eyes to the kind of work he wanted to create • The kind of self care he needs to utilize before his immense performances • Psychic dramaturgy • How Jack’s experience of being an abused, bullied kid has inspired him to create work that helps and heals, and so much more! Find full show notes for this episode: https://wildsoulpodcast.com/blog/queen-of-wands-jack-ferver Jack’s website: http://www.jackferver.org Jack’s Instagram: @jackferver Dance and Stuff Podcast website: https://www.danceandstuff.com Dance and Stuff Instagram: @withdanceandstuff Sign up for Tarot for the Wild Soul here!: https://tarotforthewildsoul.com ABOUT THE PODCAST Hosted by intuitive tarot reader, holistic counselor and teacher, Lindsay Mack, Tarot for the Wild Soul is a weaving of deep conversations with folks who use Tarot in their lives, channeled energetic offerings, intuitive readings on the months ahead, and mini Tarot lessons. ABOUT LINDSAY Lindsay is an intuitive tarot reader, holistic counselor, teacher and writer based in Brooklyn, NY. She is the founder of Wild Soul Healing and Tarot for the Wild Soul, as well as the host of this podcast. She has been studying and reading Tarot for over 20 years. As a joyful and healthy survivor of childhood abuse & PTSD, Lindsay is passionately dedicated to honoring and helping to bring space, light and healing to those who are experiencing mental, emotional or physical suffering. It is an organic part of her healing work with the Tarot, and she is honored to be sharing these offerings to those who feel called to them. WEBSITE: www.lindsaymack.com INSTAGRAM: @wildsoulhealing PODCAST ART: Chelsea Iris Granger

It's time for another Podcast crossover! As we conclude our Halloween 'Season of the Wolf' we're joined by Phil Better of The Phil Better Show and Rory Spence from Doghair Presents to discuss 'Wolf' - a 1994 romantic horror starring Jack Nicholson, James Spader and Michelle Pfieffer.  Now, if any actor was born to play a werewolf, it's probably Jack Nicholson. But while he certainly looked the part, we found this movie slightly lacking in bite. Fortunately there were enough weird and wonderful moments to keep us engaged - not least the dated effects, bizarrely inappropriate jazz saxophone score and the frequently terrible use of body doubles.  Made for a surprisingly pricey $70 million, Wolf just about turned a profit on release, but despite the starry cast is largely forgotten today. Can we make the case for a belated sequel? Tune into this week's episode to find out... ----- Every week on Beyond the Box Set, we take a classic standalone movie and compete to pitch fantasy sequel, prequel or spin-off ideas to bring them back to the big screen. Sometimes alone, sometimes with special guests, we're putting a fresh spin on the Hollywood canon.  If you enjoy the show, please hit subscribe to receive a new episode every Friday morning. You can also leave us a review on your preferred podcatcher, or become a VIP listener on our Patreon page to gain access to a wealth of exclusive bonus content.  beyondtheboxset.com patreon.com/beyondtheboxset twitter.com/beyondtheboxset facebook.com/beyondtheboxset instagram.com/beyondtheboxset 00.00: Somebody wasn't even trying with the body doubles... 42.20: Wolf Drinking Games 54.50: Wolf 2019 1.03.55: Wolf 2: Old Dog, New Tricks 1.15.30: Wolf 2: The Hunt 1.22.45: Listener Submissions & Episode 89 Preview

Weapons master Anthony DeLongis. Dustin and Jeff traveled to Rancho Indalo, a weapons training, and horse riding school nestled in the mountains outside of Los Angeles. The ranch is owned and operated by Anthony DeLongis and his wife, and Anthony joins the show to talk about his career and show off his skills. Anthony started as a stage actor and has shared the stage with Charlton Heston and Placido Domingo. He is also a weapons master, award-winning martial artist, and swordsman. He has worked as a stuntman and stunt choreographer on many films and TV shows including teaching Michelle Pfieffer how to be comfortable with a whip for her role as Catwoman in Batman Returns. He has worked with Harrison Ford, Frank Langella, Patrick Swayze, and Charlize Theron. Anthony has also appeared in front of the camera many times including movies like Roadhouse and Masters of the Universe, TV shows like Highlander and Magnum P.I., and he fought Jet Li with swords in Fearless. He is also a voice actor for many popular video games and an accomplished weapons instructor at his ranch. Hear about all this and so much more on this jam-packed episode 92 with Anthony DeLongis as he takes us throughout his career and shows off some of his incredible skills. Check out Rancho Indalo at delongis.com/indalo Check out the weekly companion show along with more audio, video, links and transcript at deathwishcoffee.com/delongis

Nick is joined by special guest Jackie Devivies for a side winding discussion on Ant Man, Michelle Pfieffer, parenthood and more nerd stuff and some car stuff. Its just fun. Its just fiction. Enjoy    Rate and review the show on iTunes. Don't have iTunes? Find us on www.stitcher.com and www.spotify.com Feedback? Why not email? comicconspodcast@gmail.com Check us out on www.facebook.com/comicconspodcast and our home at www.comicconspodcast.podbean.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On this episode of Talking Terror, the boys turn to The Ghoul of Geek Keith for the film pick of the week. He decided he wants to discuss some modern horror with the 2017 film; "Mother!" directed by Darren Aronofsky. They know what your're thinking. The director of Requiem for a Dream made a movie based on the Danzig song of the same name?? Nope! In fact, "Mother!" is a film starring Jennifer Lawrence, Javier Bardem, Ed Harris, and Michelle Pfieffer! It centers around a couple that have their relationship tested when strangers arrive at their home and shake some shit up! Is it a horror movie, a thriller, or maybe even a "divine" comedy? Well there's only one way to find out. You need to tune in! Join the boys as they discuss all things horror and the movie pick of the week!  

Episode 108 of One Week Only, and this is phenomenal week of films! Our key film this week is "The Rider" (31:00) We also review "Where is Kyra?" starring Michelle Pfieffer (1:45); the Argentine colonial drama "Zama" (10:50); and the Palestinian documentary "The Judge" (22:00). Hosted by Carlos Aguilar & Conor Holt. Music by Kevin MacLeod at www.incompetech.com

In the first part of our special Halloween-themed trilogy, Harry and John revisit one of the most deliciously camp horror-comedies of the 80s - The Witches of Eastwick.  Starring Jack Nicholson as Satan and Cher, Susan Sarandon and Michelle Pfieffer as a coven of impeccably styled single mothers, George "Mad Max" Miller's adaptation of the acclaimed John Updike novel is the supernatural smash hit that's been keeping drag queens in fabulous costumes and witty one-liners for the past thirty years.  Join us as discuss perm symmetry, sexual lounging, church freakouts and much more. Along the way, we also come up with some positively sinful drinking games, and of course pitch our own fantasy sequels to this iconic movie, including a gender swapped remake with a twist, and a sequel that ushers in a new generation of bad-ass witches.  Each week on Beyond The Box Set, we watch a classic standalone movie and get together to pitch ridiculous sequel, prequel and remake ideas to bring them back to the big screen. Our podcast is available on all major platforms, including iTunes, Stitcher, aCast, Podbean, Google Play and more. Hit subscribe on your preferred app to get a new episode direct to your inbox every Friday morning.  Got a film you'd love to see us cover? Or maybe you have a sequel idea for a film we've already done? We love to hear from our listeners, so please reach out to us on all forms of social media. If you really like the show, please also consider leaving us an iTunes review - it really helps us to attract new listeners.  beyondtheboxset.com twitter.com/beyondtheboxset facebook.com/beyondtheboxset instagram.com/beyondtheboxset 00.00: Total eclipse of the perm 15.40: The Witches of Eastwick Drinking Game  25.45: Alternative Readings - Everyone's Hungry For The 'D' 26.45 The Witches of Eastwick: Wizards of Wakefield 40.30 The Witches of Eastwick 2: F*ck Men!  52.00 Listener Submissions + Episode 36 Preview

Ross and Jessie discuss the magic of Michelle Pfieffer, and talk about the age old question why people aren't doing what they love and whether or not it is ultimately good for them.

Elizabeth Guest joins me to watch One Fine Day and discuss Michelle Pfieffer's talented consistency through the years plus we both discover we loved watching Grease 2 over Grease when growing up - it's sexier. IMDB: http://www.imdb.com/title/tt0117247/?ref_=nv_sr_1 Directed by: Michael Hoffman Written by: Terrel Seltzer and Ellen Simon Starring: Michelle Pfeiffer, George Clooney, Mae Whitman, Charles Durning, Anna Maria Horsford, Alex D. Linz Movie Trailer: https://www.youtube.com/watch?v=BJjj_v33mTs Wikipedia: https://en.wikipedia.org/wiki/One_Fine_Day_(film) Rotten Tomatoes: https://www.rottentomatoes.com/m/1074374_one_fine_day Roger Ebert Review: http://www.rogerebert.com/reviews/one-fine-day-1996 Buy on Amazon.com: https://www.amazon.com/One-Fine-Day-Michelle-Pfeiffer/dp/B00006ZXSN/ref=sr_1_1?ie=UTF8&qid=1495558526&sr=8-1&keywords=One+Fine+Day If you are enjoying I Will Watch Anything Once, please subscribe, rate and review on iTunes, like it on Facebook and follow IWWAO on Twitter, Instagram, Snapchat and Tumblr. Additional Links: Elizabeth Guest - Twitter: https://twitter.com/LizzGuest Guest Appearances Web Series: http://guestappearanceswebseries.com #DVDDown  See acast.com/privacy for privacy and opt-out information.

This week on The Free Cheese: We meet our biggest, like, fan. Joe, Marc, and Dashe are here to share all of the details on how many orbs it takes to get your favorite hero in Fire Emblem Heroes. Make no butts about it, we love NieR: Automata. Joe finds Michelle Pfieffer's claws in Let It Die as he passes the twentieth floor. Dashe dresses his character up in new outfits as he murders demons in Tales of Berseria. Marc visits Y'ALL MART on his way north in Death Road to Canada. Finally, we talk about the absolutely abhorrent nonsense that plagues GameStop employees this week, curious to see what will come next.

Grab your pencil case, it's back to school with Rewatchability! Your first lesson is DANGEROUS MINDS, the 1995 drama in which Michelle Pfieffer as an ex-marine faces her toughest foes yet; a diverse class of underprivileged teenagers. Also featuring Courtney B. Vance, Renoly Santiago, Bruklin Harris and introducing that Coolio song as "The Lingering Sense of Unavoidable Tragedy and Doom", we were inspired by the song when we were younger, but how does the film hold up now? Listen below to find out. Also, Subscribe on iTunes or Stitcher. Also, follow us on Twitter and please consider supporting our Patreon campaign. WARNING: this podcast contains strong language and immature subject matter, please be advised.

Episode #42: Cybill - “Regarding Henry” Original Release Date: March 8, 2016 Cybill Shepherd bounced back onto the television landscape in 1995 with her CBS sitcom, Cybill; which followed the lives of struggling actress Cybill Sheridan and her rich, martini-swilling best friend, Maryann Thorp. Together, they navigated the streets of Hollywood looking for their next big break. In this episode of A Very Special Podcast, Patrick and Kat watch the season four premier entitled, “Regarding Henry.” This is the one where Cybill has recurring sex dreams of Maryann's fiancé and reverts to seeing a past life regression therapist to determine if her lust for her BFFs boyfriend-thing are connected to another life. Plus, the sisterhood of Deedee and Michelle Pfieffer, weird dreams about Tiffani Amber-Thiessen, and Christine Baranski's fashion choices in Cybill are very Riddler-esque from Batman: The Animated Series. We have some great stuff coming up, so don't forget to subscribe, rate, and review us on iTunes. Website: http://averyspecialpodcast.tumblr.com Twitter: @VeryPodcast Starring: Patrick M. Dunn and Kat Halstead

Christmas movies right and left! This week, we watch BATMAN RETURNS, directed by Tim Burton and starring Michael Keaton, Danny DeVito, Michelle Pfieffer, and Christopher Walken!The Bat.  The Cat.  The Penguin.  The Podcast.Prepare to commit MASS MOVIECIDE!

In this episode, you’re going to learn about a time when actress Michelle Pfieffer accidentally joined a cult and how she was roped into it without realizing. [TRANSCRIPT] Don’t miss future episodes of this podcast, subscribe here: iTunes | RSS/XML You can also find more episodes by going here: Daily Knowledge Podcast The post Podcast Episode #376: Accidentally Joining a Cult appeared first on Today I Found Out.

Featured TopicIf your cat gets sick, you get blasted with 97+ degree heat, and then your shin gets bruised up and bleeding (it looked better after being iced) of course you still have a lot to be grateful for, right?(Pictured: MAKENA on the August 2007 cover of Australian magazine LOTL)More links to pictures:Thank you to Lilian and Theresa who made and sent 2 types of keychains, see them here and hereWho Did You Think Was Hot?  The Listeners Said...Audrey Hepburn, Natalie Portman, Halle Berry, Katharine Hepburn, Kate Winslet, Jennifer Beals, Laura Harring, Angeline Jolie, Salma Hayek, Eva Longoria, Catherine Zeta-Jones, Zhang ZiYi, Kate Hudson, Naomi Watts, Padma Lakshmi, Honolua Surf Co. Girl, David's Wife, Salma Hayek, Kate Moennig, Piper Perabo, Mila Jovovich, Michelle Pfieffer, Miss Kitty,  Hilary Swank, Sarah Jane Potts, Spashley, Clea Duvall, Jill Hennesy, Keira Knightley, China Chow, Stacy Kamano, Greer Garson, Diane, Kathy's Wife, Gina Gershon, Jodie Foster, Jane Seymour, Lynn Chen, Leisha Hailey, Emily Deschanel, Isabella Leong, Bonnie's Wife Karen, Demi Moore, Kate Beckinsale, Jennifer Connelly, Geraldine Chaplain, Julie Christie, Jennifer Garner, Gong Li, Karin Anna Cheung, Grace Park, Rachel Ward, Kristen Davis, The Curl Girls, Michelle Yeoh, Dana Delaney, Alyssa Milano, Carmen Electra, Vanessa Marcil, Jessica Alba, Eva Longoria = and = Cary Grant, Jess in Gilmore Girls, Dean in Gilmore Girls, Goran Visnjic, Hugh Jackman, Richard Chamberlain, Frank the Chiropractor, Danny Bonnie's Brother, Gale Harold, Chow Yun Fat, George Clooney, T.R. Knight, David Boreanaz, Apollo Anton Ono, Lance Bass, Shia LeBeouf, Brad Pitt, Johnny Damon, Will Smith, Leonardo DiCaprio, Antonio Banderas, Hugh Grant, Josh Hartnett, Johnny Depp, Andrew McCarthy, Rick Springfield, Milo, Benjamin BrattCongratulations to David, the winner of "The Hot Contest!"  New ContestThe Prize: the latest issue of Yogi Times, a great magazine here in CA (L.A. and San Fran) we think you'll enjoy, even if you don't do yoga at all!Enter By: simply emailing us at mail at girlmeetsgirlpodcast.com.  We'll do a random drawing.Links in this EpLOTL magazine with MAKENA on the coverSteven EspaniolaSteven on MySpaceTreePeopleE Hula MauLGBTQ Fashion Show presented by Womynz Brunch BunchIsland PrideL.A. County FairLei's Hawaiian BBQMerrie Monarch FestivalSiena's shin looked much better after being icedkeychain photo one and twoJoin MAKENA's email list hereIt's a new month and you can vote for GMG at PodcastAlley again :)If you enter a "comment" and it looks like you need to enter the "code" twice, go ahead and enter it.  Your comment should show up only once.  IF it shows up twice, we'll delete the second one for you so you don't look overly insistent.