Podcasts about mister hyde

Al estilo de Doctor Jekyll y Mister Hyde, Marcos convive con una fuerza interior que lo empuja a la maldad. Los elogios desmedidos de sus padres a un vecino y la bondad sin límites del otro, parecen darle argumentos suficientes para apretar manos y dientes y actuar de la peor forma posible. Este cuento escrito por la argentina María Angélica Bosco salió publicado en la antología Veintidós cuentistas (Centurión, 1963). ++++++++++++++++++++++++++++++++++ Pre producción y voz: CECILIA BONA Editó este episodio: DANY FERNÁNDEZ (@danyrap.f) para @activandoproducciones.proyecto ⚙️ Producción: XIMENA GONZALEZ @ximegonzal3z ¡Ayudanos a crecer! Patrociná POR QUÉ LEER: https://porqueleer.com/patrocina Nuestras redes sociales: ⚡https://instagram.com/porqueleerok ⚡https://twitter.com/porqueleerok ⚡https://www.facebook.com/porqueleerok/

Temu et Shein, deux plateformes Chinoises d'e-commerce représentent aujourd'hui 22% des colis livrés par La Poste, décortiquons ce chiffre dingue donné par la Poste en France. Car son PDG a été auditionné par les parlementaires français et il a dit quelque chose qui intéressera également les auditeurs belges. Il a reconnu que deux plateformes chinoises bien connues des consommateurs, à savoir Temu et Shein, représentent aujourd'hui 22% des colis de la Poste, contre 5% seulement il y a cinq ans à peine. 22% des colis, c'est 1% de plus qu'Amazon qui est aussi par ailleurs le premier concurrent de La Poste. Je cite ce chiffre de 22% car la France n'est pas une exception et les autres pays européens, dont la Belgique, doivent avoir à peu près les mêmes chiffres. Mais nous ne disposons pas de leurs chiffres pour la simple raison que leurs PDG n'ont pas eu la chance d'être auditionnés par leur parlementaire respectif. Quand on dit que deux plates-formes chinoises, Temu et Shein représentent 22% des colis gérés par la poste, il y a plusieurs leçons à en tirer. La première, c'est que le consommateur dit et répète à l'envi qu'il aime sa planète et qu'il est concerné par le réchauffement climatique. Mais en réalité, ce qui le guide, c'est la fin du mois et pas du tout la fin du monde. Et ce chiffre de 22% montre aussi à quel point la thématique du pouvoir d'achat reste centrale pour les consommateurs. Ils n'achètent pas seulement un produit, ils achètent avant tout, surtout un prix. Et puis ça en dit long aussi sur la transformation de nos entreprises privées ou publiques. La Poste ne vit plus de l'envoi de lettres. Le souci avec cette révélation du patron de la Poste, il est double… Mots-Clés : élections américaines, sondages, réalité, urnes, chiffre d'affaires, acheminement, lettres, e-commerce, mœurs, homme politique belge, égarement, interdire, le commerce, Chine, baisser, coûts de production, inonder, monde, produits, voitures électriques, hausse, droits de douane, marques automobiles chinoises, prix, consommateurs, dingue, fou, observateurs, industrie automobile européenne, risque, calvaire, sidérurgie, souci, piètre qualité des produits livrés, jouets enfants, normes, sécurité européenne, mode à petit prix, résultat, non-respect, normes sociales, environnementales, dérive, pouvoir d'achat, citoyen, consommateur, leçon, Docteur Jekyll, Mister Hyde, schizophrénie. --- La chronique économique d'Amid Faljaoui, tous les jours à 8h30 et à 17h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment i: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer Belgique Retrouvez tous les épisodes de La chronique économique sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/802 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

Today we talk about Calvin Zabo, better known as the villain Mister Hyde, made a potion to become his favorite book character: Mister Hyde, and made everything everyone else's problem. Today's mentioned & relevant media: -Journey Into Mystery (1952) #99-100, 105-106, 110-111, 635 -Fantastic Four Annual (1963) #3 -Daredevil (1964) #30-32, 142-143, 153-154, 235, 353-357 -Captain America (1968) #150-152, 182, 251-252, 291, 340, 365-367, 434-436 -Thor (1966) #293, 394, 418 -Peter Parker, the Spectacular Spider-Man (1976) #46, 88 -The Amazing Spider-Man (1963) #231-232, 433 -Avengers (1963) #273-276, 285, Annual #21 -Iron Man (1968) #228 -Avengers Spotlight (1989) #26 -Incredible Hulk (1962) #368, 418, 458 -Ghost Rider (1990) #4, 36, 51, 55 -Alpha Flight (1983) #106 -Captain America (1998) #15, 50 -Iron Man (1998) #43 -Spider-Man: Get Kraven (2002) #1 -Daredevil (1998) #35, 65 -Avengers (1998) #57 -Captain America (2002) #29, 31 -New Avengers (2004) #2, 4, 35, 56 -Toxin (2005) #1 -Young Avengers (2005) #7-8 -The Sensational Spider-Man (2006) #36-37 -The Irredeemable Ant-Man (2006) #8 -Thunderbolts: Reason in Madness (2008) #1 -Avengers: The Initiative (2007) #13 -Punisher (2009) #5 -Dark Reign: Lethal Legion (2009) #1-3 -Captain America: Who Will Wield the Shield? (2009) #1 -Hawkeye: Blindspot (2011) #1 -Thunderbolts (2006) #155-167, 169-170, 172-174 -Moon Knight (2011) #1 -Dark Avengers (2012) #176-183 -Superior Spider-Man Team-Up (2013) #6 -All-New Ghost Rider (2014) #2-7, 9-10 -S.H.I.E.L.D. (2014) #7 -Avengers Standoff: Assault on Pleasant Hill Alpha (2016) #1 -Howling Commandos of S.H.I.E.L.D. (2015) #6 -Captain America: Steve Rogers (2016) #13, 17 -Secret Empire (2017) #0 -Secret Warriors (2017) #2-5 -Incredible Hulk: Last Call (2019) #1 -Magnificent Ms. Marvel (2019) #9-11 -Ruins of Ravencroft: Dracula (2020) #1 -Ravencroft (2020) #1, 3-4 -King in Black: Thunderbolts (2021) #2-3 -Morbius: Bond of Blood (2021) #1 -Deadpool Infinity Comic (2021) #2 -Ben Reilly: Spider-Man (2022) #4-5 -Strange Tales: Thor & Jane Foster Infinity Comic (2022) #1 -Wasp (2023) #4 -Punisher (2023) #1 -Daredevil (2023) #5 -Daredevil: Black Armor (2023) #3-4 -The Amazing Spider-Man (2022) #45-46 -Absolute Batman (2024) #1 Preview Edition -Briar's best boy from the Hatsune Miku rhythym game, and the second-best boy -My Adventures With Superman (2024) #1 -ShortBox comics fair!! Thanks to Victoria Watkins for our icon! Support Capes and Japes by: Checking out our Patreon or donating to the Tip jar Find out more on the Capes and Japes website.

The idea of the Doppelgänger, particular in the film and literature, is seen as a cosmic occurrence when things are going wrong and nature needs to correct itself. Another self is seen, it is a mirrored image, with one being evil and one being good. Various films such as 'Another Me', and 'Doctor Jekyll and Mister Hyde' present this idea with a more theatrical quality with either nature (secret twins with spirits) or science (experiments with potions) being the catalyst behind the fight of good and evil. Copyright to Two Takes

Im Kinderzimmer hat er schon früh der Bontempi-Orgel Klänge entlockt. Hat die Schallplatten der Eltern und viel Radio gehört. Mit 19 Jahren ist Alexander Klaws dann selbst im Radio zu hören. Er gewinnt die erste Staffel DSDS und startet seine Karriere. Die führt ihn zum Musical. Er spielt die Hauptrollen in Jesus Christ Superstar, Saturday Night Fever und Dr. Jekyll & Mister Hyde. In diese Rolle steigert er sich rein, „will nicht böse spielen, sondern böse sein“. Phil Collins sucht ihn für die Rolle des Tarzan aus. Klaws trainiert sich ein Ten-Pack an, lernt das Fliegen über die Bühne und nebenbei in der Jane seine heutige Frau kennen. Das dritte Kind kommt bald. Im Sonntagstalk mit Bärbel Schäfer nimmt er uns mit in die Musical-Welt, seine Karriere und verrät, warum er sich seit vielen Jahren für die „Stiftung Deutsche Schlaganfall-Hilfe“ engagiert.

Episode 16 - Murdock and Marvel: 1978 This week Marvel starts to steady the ship, even as the Distinguished Competition is kneecapped by their corporate overlords.  Prices go up!  Prices go down!  Great new companies sprout up!  Established companies die!  And as usual there are predictions about the impending death of comics.  Welcome to 1978, everyone.  Preshow Listener Mail from Zach Duane at Fan Fusion (https://www.phoenixfanfusion.com/) The Year in Comics  Notable and Newsworthy Dr. Strange TV Movie: https://archive.org/details/dr.-strange-1978-movie Industry Trends Eagle Awards The Year in Marvel Chaos continues and a big name leaves...again. Events & Happenings New Titles New Characters Series Ending Who's in the Bullpen Marvel Comics in the 1970s by Eliot Borenstein (https://www.cornellpress.cornell.edu/book/9781501769368/marvel-comics-in-the-1970s/) ROOKIE OF THE YEAR: Frank Miller The Year in Daredevil  Appearances: Daredevil #150-155, Marvel Two-In-One #37-39, Human Fly #9, Thor #271, Marvel Team-Up #73 and Fantastic Four Annual #13  Writing credits: Jim Shooter (150), Roger McKenzie/Shooter/Kane (151), McKenzie (152-155)  Pencilers:  Carmine Infantino (150, 152), Gil Kane (151), Gene Colan (153-154), Frank Robbins (155)  The year begins with Daredevil looking for Killgrave. Meanwhile, another of New York's elite that was manipulated by Killgrave hires the Paladin to hunt down Killgrave as well. Eventually Daredevil and Paladin meet, briefly fight and part ways.   After a bad dream, Murdock decides to come clean to Heather Glenn about his Daredevil secret and tell her that Maxwell Glenn is innocent and he's working to find the person responsible. While waiting for Heather to come home, he answers her phone and learns Maxwell Glenn has committed suicide in prison. When she arrives, he still comes clean and Heather blames Daredevil/Matt for everything including Maxwell Glenn's death. She then disappears.  In the Marvel Two-In-One, Matt Murdock is called on to represent Ben Grimm as he's trial for causing too much damage in New York but leads to Daredevil briefly working for the Mad Thinker whom is out to get Grimm. However, with the Help of Vision and Yellowjacket, they are able to take down the villain.  Knowing he can't fix his relationship with Heather, Daredevil orchestrates an intervention/meet-up between Debbie Harris and Foggy Nelson in Central Park – which leads to them deciding they are going to get married again. While in Central Park, Daredevil has another run-in with the Paladin.  Next Daredevil is lured into a trap with Heather Glenn as the bait by Mister Hyde and Cobra. After a lengthy battle that includes the Billy Club being destroyed (again) and Hyde and Daredevil falling from the 12th floor of Glenn's apartment complex, Daredevil is captured.  That leads to an epic final show-down in which Daredevil must take on the Jester, Gladiator, Hyde, Cobra (and briefly Paladin) who are under the influence of Killgrave. This will be our spotlight story for the week.  The year ends with Daredevil experiencing mysterious headaches which is causing him trouble with his radar sense. We also learn Death-Stalker is working on a plan to get Daredevil.  At the Storefront, Murdock interviews and hires a new assistant. During the walk to dinner, Murdock learns Black Widow is in town with the Avengers so he bails on Becky Blake and Foggy. As Daredevil, he invades Avengers mansion taking down Beast and Captain America and calls out Black Widow saying “She'll pay dearly”  New Powers, Toys or Places New Supporting Characters New Villains This Week's Spotlight: Daredevil #154 September 1978 "Arena" Recap Why We Picked This Story The Takeaway The Strange Case of Jack Kirby Questions or comments We'd love to hear from you!  Email us at questions@comicsovertime.com or find us on Twitter @comicsoftime. ------------------ THANKS TO THE FOLLOWING CREATORS AND RESOURCES  Music: Our theme music is by the very talented Lesfm.  You can find more about them and their music at https://pixabay.com/users/lesfm-22579021/.  The Grand Comics Database: Dan uses custom queries against a downloadable copy of the GCD to construct his publisher, title and creator charts.  Comichron: Our source for comic book sales data.  Man Without Fear: Kuljit Mithra's Daredevil site contains a staggering collection of resources about our hero, including news, interviews and comic details.    The American Comic Book Chronicles: Published by TwoMorrows, these volumes provide an excellent analysis of American comics through the years.  Because these volumes break down comic history by year and decade they are a great place to get a basic orientation on what is happening across the comic industry at a particular point in time.  Joshua and Jamie Do Daredevil: A fantastic podcast that does a deep-dive into Daredevil comics.  This ran from 2018-2020, and covered most of the first volume of Daredevil, and was a fun way to get an in-depth look at each issue of Daredevil from 1-377.  My Marvelous Year: This is a reading-club style podcast where Dave Buesing and friends chose important or interesting books from a particular year to read and discuss.  This helped me remember some fun and crazy stories, and would be a great companion piece to Murdock and Marvel for those who want more comic-story-specific coverage.  BOOKLIST  The following books have been frequently used as reference while preparing summaries of the comic history segments of our show.  Each and every one comes recommended by Dan for fans wanting to read more about it!  Licari, Fabio and Marco Rizzo.  Marvel: The First 80 Years: The True Story of a Pop-Culture Phenomenon.  London: Titan Books, 2020.  This book is sort of a mess, as the print quality is terrible, and Titan doesn't even credit the authors unless you check the fine print.  It's like this was published by Marvel in the early 60s! But the information is good, and it is presented in an entertaining fashion.  So its decent, but I would recommend you see if you can just borrow it from the library instead of purchasing.  Wells, John.  American Comic Book Chronicles: 1960-1964.  Raleigh: Two Morrows, 2015.  Not cheap, but a fantastic series that is informative and fun to read.  Wright, Bradford.  Comic Book Nation: The Transformation of Youth Culture in America.  Baltimore: Johns Hopkins University Press, 2001.  This is the revised edition.  Marvel Year By Year: A Visual History.  New York: DK Publishing, 2022.  The academic in my rails at using information from any work that doesn't have an author credit, but this is a decent (if very surface) look at each year in the history of Timely / Marvel from 1939 to 2021.    Cowsill, Alan et al.  DC Comics Year by Year: A Visual History.  New York: DK Publishing, 2010.  Because its nice to occasionally take a peek at what the Distinguished Competition is up to.  Dauber, Jeremy.  American Comics: A History.  New York, W.W. Norton & Company, 2022.  An excellent, relatively compact history of the domestic comic industry from its 19th century origins through to recent 21st century developments.  An excellent successor to Bradford Wright's Comic Book Nation. 

Rouben Mamoulian, c'est qui ça?C'est un peu ce que nous nous sommes dit quand on a reçu la commande d'une émission à son sujet via notre Tipeee.Il nous aura quand même fallu 3 ans pour honorer la commande de notre tippeur bienfaiteur Xavier Pelletange (à qui cette émission est évidemment dédiée)... Mais ça nous aura permis de mettre la main sur une spécialiste du sujet, Kiliane Niel, autrice d'un mémoire sur Docteur Jekyll et Mister Hyde, dont la thématique du double éclaire parfaitement la filmographie très éclectique du monsieur. C'est à se demander si elle n'a pas choisi ce sujet juste pour pouvoir passer dans l'émission.Commandez nous d'autres émissions sur notre Tipeee, et rendez-vous dans 3 ans pour voir le résultat. Ou donnez nous juste quelques euros, si vous êtes moins patient que Xavier.A vos agendas !Dimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.La Convention cinéphile au Cinéma Arvor va être merveilleuse. Save the date ! 

Rouben Mamoulian, c'est qui ça?C'est un peu ce que nous nous sommes dit quand on a reçu la commande d'une émission à son sujet via notre Tipeee.Il nous aura quand même fallu 3 ans pour honorer la commande de notre tippeur bienfaiteur Xavier Pelletange (à qui cette émission est évidemment dédiée)... Mais ça nous aura permis de mettre la main sur une spécialiste du sujet, Kiliane Niel, autrice d'un mémoire sur Docteur Jekyll et Mister Hyde, dont la thématique du double éclaire parfaitement la filmographie très éclectique du monsieur. C'est à se demander si elle n'a pas choisi ce sujet juste pour pouvoir passer dans l'émission.Commandez nous d'autres émissions sur notre Tipeee, et rendez-vous dans 3 ans pour voir le résultat. Ou donnez nous juste quelques euros, si vous êtes moins patient que Xavier.A vos agendas !Dimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.La Convention cinéphile au Cinéma Arvor va être merveilleuse. Save the date ! 

Rouben Mamoulian, c'est qui ça?C'est un peu ce que nous nous sommes dit quand on a reçu la commande d'une émission à son sujet via notre Tipeee.Il nous aura quand même fallu 3 ans pour honorer la commande de notre tippeur bienfaiteur Xavier Pelletange (à qui cette émission est évidemment dédiée)... Mais ça nous aura permis de mettre la main sur une spécialiste du sujet, Kiliane Niel, autrice d'un mémoire sur Docteur Jekyll et Mister Hyde, dont la thématique du double éclaire parfaitement la filmographie très éclectique du monsieur. C'est à se demander si elle n'a pas choisi ce sujet juste pour pouvoir passer dans l'émission.Commandez nous d'autres émissions sur notre Tipeee, et rendez-vous dans 3 ans pour voir le résultat. Ou donnez nous juste quelques euros, si vous êtes moins patient que Xavier.A vos agendas !Dimanche 31 mars à 20h15 : Le Film du Dimanche Soir : The Big Lebowski des frères Coen.La Convention cinéphile au Cinéma Arvor va être merveilleuse. Save the date !

- On sam mówił, że jest jak doktor Jekyll i mister Hyde, czyli że jest w nim sprzeczność, że jednocześnie jest na dwóch biegunach, na dwóch antypodach. I to jest jego jakiś wyznacznik jego osobowości, zarówno twórczej, jak i tej prywatnej - tak o Wojciechu Kilarze mówiła autorka jego biografii Maria Wilczek-Krupa.

Marvel Tales Ep #43: Ghost Rider - Vengeance Reborn Welcome back to Marvel Tales! In this episode, Phil and Justin review Ghost Rider #1-#4 (May-August 1990) featuring the birth of a new Ghost Rider as Danny Ketch becomes the Spirit of Vengeance, the first appearances of classic Ghost Rider villains Deathwatch and Blackout and a battle with Mr Hyde. PLUS: a bonus review of What If? volume 2 #45 (January 1993) “What If…Barbara Ketch Became the Ghost Rider?”   Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!     Marvel Tales Links  → Twitter http://www.twitter.com/MarvelTalesPod → Instagram https://www.instagram.com/capeslunatics/ → Facebook facebook.com/MarvelTalesPod → YouTube https://www.youtube.com/c/CapesandLunatics   ==================  

NFL is back, Aaron Rodgers, Barbie, Danny Masterson and so much more!

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Analizamos todo lo ocurrido en la segunda semana de la vuelta a España. Entradilla 00:00 Presentación 01:20 Gran Premio de Quebec 12:05 Gran Premio de Montreal 18:00 GP Fourmies 27:07 Tour Of Britain 29:41 Simac Ladies Tour 58:30 Vuelta a España 01:10:50 Notisiario 02:44:38 Menú Semanal 03:17:00 Comentarios 03:20:00 También repasamos el resto de ciclismo que ha habido, que no es poco, Clásicas canadienses, Simac Ladies Tour, Tour Of Britain... La última carrera de Annemiek Van Vleuten. Y por supuesto nuestro notisiario para que estés al día de toda la actualidad ciclista. Enlaces de interés:

durée : 01:34:42 - Blockbusters - En 1962, Stan Lee et Jack Kirby inventent des super-héros à tour de bras pour les éditions Marvel. Parmi eux, un monstre gris, incarnation de la peur naissante du nucléaire, relecture en BD du mythe du docteur Jekyll et Mister Hyde : l'incroyable Hulk !

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

- PANINI COMICS · La Edad Oscura · Inferno · Daredevil de Mark Waid (Marvel Saga) · Reckless · Caballero Luna (Marvel Saga) · Crossover 1 · Imperio Secreto · Caballero Luna (Biblioteca Marvel) · La Imposible Patrulla X 8. La Caída de los Mutantes · El Inmortal Hulk · La Caída de los Mutantes. Los Nuevos Mutantes 4 · The Golden Age Locke and Key · Amanecer de X 1 · Alpha Flight (Biblioteca Marvel) · Estela Plateada (Must-Have) · Thor Diosa del Trueno. La muerte de Thor · What If? Imagina · La Imposible Patrulla X 9. Inferno · Spiderman Toda Una Vida (Integral) · Los Nuevos Vengadores 1 (Integral) · Providence (Integral) · Los Cuatro Fantásticos. Círculo Cerrado · Hulka 1. Empezar de Cero · Spiderwoman de Hopeless y Rodríguez · Excalibur 1 · Motorista Fantasma. Autopista al Infierno (Must-Have) · Caballero Luna de Warren Ellis · Demon Days · Doctor Extraño y los Hechiceros Supremos · Caballero Luna. Blanco, Negro y Sangre · Amanzing Fantasy · Caballero Luna 1. La Misión Medianoche · Los Vengadores, La Patrulla-X, Los Eternos. V.X.E.: El Día del Juicio · Los Vengadores: Sin Rendición (Marvel Now! Deluxe) · El Increíble Hulk de Peter David 3: Dentro del Panteón · Los Cuatro Fantásticos (Biblioteca Marvel) · Amazing Fantasy Presenta: Spiderman 1000 · X-Statix 1 (Marvel Omnibus) · Abara 1. Master Edition · Biomega 1. Master Edition · Aposimz 1 - NORMA EDITORIAL · El Departamento de la Verdad · Los Borgia. Integral · Bouncer. Integral · In the Pines · Comiendo con miedo (Astronave) · In. · Leonard Cohen · La Mazmorra. Integral 3 · Blanco Alrededor · Los Escorpiones del Desierto · Plástico · Las Leyendas de Hoy · Goomer · Neon Genesis Evangelion 1 · Gentlemind · La Pirámide Inmortal · Decorum · La Ciencia Ficción · Upgrade Soul · Paco Manos Rojas · The Umbrella Academy (Integral) · Underground · A Brazo Partido · Radiant Black 1 · Arconte · Zar Accidental. Vida y Mentiras de Vladimir Putin · Jonna y los Megamonstruos 1 (Astronave) · El Asesino 1 (Integral) · El Asombroso Cabeza de Tornillo y Otros Objetos Extraños (20 Aniversario) - ECC · John Constantine: Hellblazer · El Misterio Religioso · Strange Adventure · Sector Lejano · Deadman. Amor después de la muerte · Superman. Las cuatro estaciones · Supergirl. La mujer del mañana · Rorschach · Wonder Woman. Historia de las Amazonas · Batman Ego · ADN (Biblioteca Fernando de Felipe) · Pesadillas Ex Machina · El Soldador Submarino · Batman: La Maldición del Caballero Blanco · Historia del Universo DC · American Vampire 1 · Superman Red and Blue · El Hombre que Ríe (Biblioteca Fernando de Felipe) · Planetary. La Saga Completa · Catwoman. Ciudad Solitaria 1 · Nightwing 10 · Wonder Woman. Black and Gold · Diario Felino de Junji Ito. Yon y Mu · Universo Sandman. Lucifer · Batman. Black and White 5 · 52 · Daytripper · Fábulas. La Saga Completa 1 · La Cosa del Pantano. Génesis Oscura · Question 1 · The Nice House on the Lake 1 · Flinch. Antología de Terror · Museum (Biblioteca Fernando de Felipe) · La Cosa del Pantano 1. Devenir · Blue in Green · Blanco Humano 1 · La muerte de la Liga de la Justicia · La Chica Que Quería Ser Muerte · Sweet Tooth. La Saga Completa · The Wild Storm 1 - PLANETA CÓMIC · Severed · Opus 1 · Backhome 1 · Los Malditos 2 · Regreso al mar · Happy Hour · Madman 1 · Los Proyectos Manhattan 1 · Seraphim ·266613336Wings· · El Libro de los Insectos Humanos · Chew 1 · Solo los Encontramos Cuando Están Muertos 1 · Mitos Nórdicos 1 · We Live · Nemo (Integral) · Enigma (Edición Definitiva) · H.P. Lovecraft. La Sombra sobre Innsmouth · El Eternauta · The Highest House · Team Phoenix 1 · Saga 10 · Kaiju8 Nº 1 · Mujirushi: El Signo de los Sueños - NUEVO NUEVE · El Paciente · Morgana · Vatermilch · Soy La Malinche · El Espíritu de Lewis · Natasha · El Corazón de Hojalata - ASTIBERRI · Kent State · Jolgorio · Kaya · Calavera Lunar · Calvin y Hobbes · Versiones · El Extraño Caso del Doctor Jekyll y Mister Hyde · Revientacráneos+Chico Esqueleto - DOLMEN · Genio · Baños Pleamar · Mytek El Poderoso 1 · Revival Compendium 4 - CARTEM CÓMICS · Mimbreños · El Exiliado · Frente al Muro 1 · Mundo Laberinto - LA CÚPULA · Ranx (Edición Integral) - CÓSMICA EDITORIAL · Gilgamesh - LUMEN · Maldita Alejandra - YERMO EDICIONES · Elecboy · Elric · La Cara Oculta de la Luna - ALETA · Joan Boix Antología - CASCABORRA · Goya Saturnalia - FULGENCIO PIMENTEL · Zona Crítica - TENGU EDICIONES · Kids with Guns · La Máscara de Fudo 1 - RESERVOIR BOOKS · Hierba · Grito Nocturno · Diez Mil Elefantes - MOZTROS · El Zorro de Alex Toth · Ninjak · Ice Cream Man. El Heladero 1 - REINO DE CORDELIA · ¡La Bestia ha Muerto! - BASE · La Bestia - TEBEOX · Grind - SPACEMAN PROJECT · Moon Eaters - SALLYBOOKS · Corazón de Espinas · Hijo de Nadie - GARBUIX BOOKS · Cuando el Trabajo Mata - GP EDICIONES · Lo que más miedo te dé - DESFILADERO EDICIONES · Lugosi · Chaplin en América - DISTRITO MANGA · Old Boy 1 · El Incidente Darwin 1 - IVREA · Slam Dunk 1 · Homunculus 1 - HÉROES DE PAPEL · Breve Historia del Robosapiens PONENT MON · Cuerpo Extraños Mundo Skrull, ¡la Invasión Secreta ha comenzado! Nuestra misión es analizar y probar todas las formas de ocio y entretenimiento de vuestro planeta y tratar de entender vuestra sociedad y vuestra cultura. El cómic, la literatura, el cine, los videojuegos… tendrán su análisis y su crítica, siempre desde el cariño, humor y el corazón de los numerosos miembros de nuestra tripulación. Abrimos los canales de comunicación con vosotros. Ahora podéis hacer llegar a esta nave vuestras opiniones, consejos y recomendaciones. Esperamos que disfrutéis de este viaje, más cercano y más personal con todos vosotros e invitaros a participar en los siguientes directos. Muchas gracias por estar ahí y por todo el apoyo recibido Skrulazos!!!! Puedes seguirnos en: ✅ Twitter ➜ @MundoSkrull ✅ Instagram ➜ https://www.instagram.com/mundoskrull/ ✅ Facebook ➜ https://www.facebook.com/MundoSkrull ✅ Youtube ➜ youtube.com/c/MundoSkrull ✅ Twitch ➜ twitch.tv/mundoskrull ✅ Contacto ➜ mundoskrull@gmail.com ¡Que se oigan nuestras voces! Y tú… ¿En quién confías?

The Devil You Know Ep #46: Daredevil #356-#358 & #4 (NEW) Welcome back to The Devil You Know: The Daredevil Podcast! In this episode Phil and Lilith review Daredevil #356-#358  (September-November 1996) featuring the trial of Mister Hyde, Daredevil vs the Enforcers and the (slippery) Eel, and another Mysterio scam. PLUS: review of NEW issue Daredevil #4 (#653). Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!    The Devil You Know's Links  → Twitter https://www.twitter.com/Daredevilpod → Instagram https://www.instagram.com/capeslunatics/ → Facebook https://www.facebook.com/DaredevilPod → YouTube https://www.youtube.com/c/CapesandLunatics ==================

durée : 01:34:44 - Blockbusters - En 1962, Stan Lee et Jack Kirby inventent des super-héros à tour de bras pour les éditions Marvel. Parmi eux, un monstre gris, incarnation de la peur naissante du nucléaire, relecture en BD du mythe du docteur Jekyll et Mister Hyde : l'incroyable Hulk !

Lo scrittore è Dottor Jekyll e le sue opere sono Mister Hyde?

Welcome to Issue 116 of Critical Encounters, a podcast about Marvel Champions, a Living Card Game by Fantasy Flight Games. Here we take a good look at that most critical piece of the game, the Encounter Sets. We'll discuss those poorly understood characters, unfairly labeled Villains, and their various plans to shape humanity and benefit the planet, as well as those so-called heroes intent on thwarting them. In this issue we look at the modular set Mister Hyde from the Hood Pack. We also reveal our Sinister Motives Campaing Box Winner, thank you to Board Game Lawyer! Check out his YouTube: https://www.youtube.com/channel/UCsXjUBzL6vm5TxFWEn9fFag You can find us on Discord as: Vardaen, bigfomlof,  and WanderingTook  Email us at: criticalencounterspod@gmail.com Follow us on Facebook at: https://www.facebook.com/criticalencounterspod/ Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCg-r6-EooHoJGa1RRsH7i3w You can also find our Discord Channel on the Marvel Champions Monthly Discord Server. “I bacame what I always wanted!" - Calvin Zabo / Mister Hyde

Compositeur engagé et à la croisée des genres, Olivier Calmel vient de concocter un album où jazz fusionne avec musique classique et culture cinématographique, où John Williams côtoie Dr Jekyll et Mister Hyde. Quatre œuvres écrites pour quatre formations différentes inspirées aussi bien de la littérature fantastique que des musiques traditionnelles d'Afrique du Nord réunis dans son dernier album Rites. Rencontre avec le compositeur avant le concert de la sortie de son album ce soir, à Paris. L'album Rites d'Olivier Calmel sort ce vendredi 22 avril chez Klarthé Records. La  Rhapsodie fantasmagorique sur Docteur Jekyll et Mister Hyde est en création ce soir à la Salle Colonne à Paris où une collecte de fonds est organisée au profit des compositrices et compositeurs ukrainiens.

Voici la troisième et ultime de l'épisode de « **Tu L'As Vu ?** » consacré aux films des années 1930, avec au menu non pas un mais deux films, à savoir le film choisi par Casa « **M le Maudit** » de Fritz Lang ( 1931 ) ; https://www.allocine.fr/film/fichefilm_gen_cfilm=418.html ) ainsi que celui d'un de nos auditeurs, Simon, qui nous parlera de « **Furie** » ( Vers 44 minutes d'épisode ; toujours de Fritz Lang ; 1936 ; https://www.allocine.fr/film/fichefilm_gen_cfilm=31179.html ). Nous vous souhaitons une bonne écoute sur deux films majeurs dans la carrière de leur réalisateur mais aussi dans l'histoire du cinéma. Films évoqués durant l'épisode : « Metropolis** » de Fritz Lang ( 1927 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=240.html « La femme sur la Lune** » ( 1929 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=3667.html « Du rififi chez les hommes** » de Jules Dassin ( 1955 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=3682.html « Le Trou** » de Jacques Becker ( 1960 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=1101.html « Le Cercle Rouge** » de Jean-Pierre Melville ( 1970 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=2358.html « The Chaser** » de Na Hong-Jin ( 2008 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=134711.html « La Tendresse des Loups** » d'Ulli Lommel ( 1973 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=32355.html « L'Homme qui en savait trop** » d'Alfred Hitchcock ( 1934 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=6812.html « Agent Secret (Sabotage)** » d'Alfred Hitchcock ( 1936 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=108775.html “Le Faucon Maltais**” de John Huston ( 1941 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=1809.html « Casablanca** » de Michael Curtiz ( 1942 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=2645.html « Arsenic et vieilles dentelles** » de Frank Capra ( 1944 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=1343.html « 20.000 lieues sous les mers** » de Richard Fleischer ( 1954 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=5040.html « Les mains d'Orlac** » de Robert Wiene ( 1924 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=175762.html « Les mains d'Orlac** » de Karl Freund ( 1935 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=125154.html « La Poursuite Impitoyable** » d'Arthur Penn ( 1966 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=407.html « Gone Girl** » de David Fincher ( 2014 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=217882.html “L'Étrange Incident**” de William A.Wellman ( 1943 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=3947.html Mini-série « M le Maudit** » d'Evi Romen et de David Schalko ( 2019 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=23044.html « M » de Joseph Losey ( 1951 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=10354.html “Monsieur Klein**” de Joseph Losey ( 1976 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=68249.html « The Servant** » de Joseph Losey ( 1963 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=619.html “La Servante**” de Kim Ki-Young ( 1960 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=8615.html Musique diffusée durant l'épisode : Générique « Loud Pop » ( Gravlax ) Claude Samard « Desert Tension » / « Dark Side » Éric Volpatti « Blunted Scalpel » Oded Fried-Gaon « Stumbling In The Heat » Thomas Richard Balmforth & Sam Taylor : “Prime Suspect” / “Tough Choice” / “Crack The Code” Bob Bradley & Philip Guyler “Moments Remain” Aurélien Riviere : “Nothing to Lose” / “Deep Questionning” Marc Aaron Jacobs “Finding Your Way” J.C. Lemay “Storm Chasers” Eric Heber Suffrin : “Investigative Office” / “Truth Hunter” Thomas Richard Balmforth & Bob Bradley : “Steady Movement” / “City Atmosphere” Arnaud Gauthier “Fake News” David Bagatelle, Charles Breteville & Jean Villa “Time Stood Still” Franz Waxman ( B.O. de « Dcteur Jekyll et Mister Hyde », 1941 ) : « Main Title » / « First Experiment/First Failure/In The Laboratory » / “Ivy's Room” / “Work Montage/Albert Hall/Mr. Higgins Died” / “Hyde's Escape/Trapped” / “The Museum” / “Piano Improvisation” Michel Michelet “Humouresque, Op.6” Jon Brooks “Dijon” Merci à Chris du podcast “Keski D'Vient**” ( https://www.podcastics.com/podcast/keski-dvient-le-podcast/ ) pour son autorisation à inclure l'extrait de l'émission sur James Cameron avec Casa en bonus :https://www.podcastics.com/podcast/episode/on-vous-parle-de-james-cameron-106750/ Liens :Chaîne YouTube TLV Podcast :https://www.youtube.com/channel/UCoLK73hPXzMYGnZEYVRvAEQ Lien Twitter : https://twitter.com/TLVPodcast Page Facebook : https://www.facebook.com/M.Gravlax Page du podcast : https://podcloud.fr/podcast/tu-las-vu Page Sens Critique avec tous les films traités dans le podcast :https://www.senscritique.com/liste/Tous_les_films_traites_dans_notre_podcast_Tu_l_as_vu_venez_n/2716388

C'est l'heure du du-du-du-duel !  Prépublié entre 1996 et 2004, le manga Yu-Gi-Oh! de Kazuki Takahashi a marqué une génération de lecteurs tout en imposant un merchandising diablement efficace. Le dessin animé a popularisé massivement la série et a propulsé le fameux jeu de cartes Duel Monsters dans les cours d'école. Les monstres comme le Dragon Blanc aux Yeux Bleus, le Magicien Sombre ou encore Exodia Le Maudit ont presque réussi l'exploit d'occulter le manga. Au Japon, le jeu de cartes Yu-Gi-Oh! rejoint les cartes Magic The Gathering ou Pokemon dans le cœur des collectionneurs. Yu-Gi-Oh! est une œuvre de science-fantasy, un genre très présent dans de nombreux œuvres japonaises. On retrouve un zeste d'anticipation avec une réalité virtuelle à tous les étages qui ferait pâlir le metaverse de Mark Zuckerberg mais aussi de la fantasy et du fantastique, notamment avec des objets magiques égyptiens. Après avoir longtemps tâtonné d'un point de vue narratif, la franchise a pu a se démarquer grâce à son jeu de cartes et à ses multiples duels mais aussi par la qualité de son personnage principal. Le duo Yugi-Pharaon, sorte de Docteur Jekyll et Mister Hyde inversé, porte littéralement la série.

Scooby Doo, Where Are You! Season 2, Episode 1: “Nowhere to Hyde” As the gang drive home from The Malt Shop, they discover the Ghost of Mister Hyde in the back of the Mystery Machine. They follow him through a marsh and to a spooky house. The house turns out to be the home of Dr. Jekyll, who is the great-grandson of the original Dr. Jekyll, and he confesses to them that he fears he may be transforming into the Ghost of Hyde. Originally recorded on 06 November 2021. Subscription-exclusive release on 01 December 2021. Music: “Dark Science” by David Hilowitz “The Truth Is What We Make of It” by The Agrarians You can find links for basically everything I Want To Rewatch related here: I Want To Rewatch | Linktree Thank you for your support!

Sometimes I feel like the proverbial Doctor Jekyll and Mister Hyde, torn between two natures, two personalities, two ways of being. I love roleplaying games. I have loved them ever since I was very small. And yet, because of these two seemingly opposed natures, I feel constantly conflicted. How I can I reconcile these two characters within my one limited self? The answer, I believe, comes from embracing them both and bringing them into cooperation.Roleplay Rescue Details:Roleplay Rescue Theme Song and incidental music by TJ Drennon.Voice Message: anchor.fm/rpgrescue/messageEmail: hello@rpgrescue.comPatreon: patreon.com/rpgrescue Blog: roleplayrescue.com MeWe Group: mewe.com/join/roleplayrescue (or search "Roleplay Rescue")Buy Che Webster a Coffee: ko-fi.com/cwebster Hosted on Acast. See acast.com/privacy for more information.

Sometimes I feel like the proverbial Doctor Jekyll and Mister Hyde, torn between two natures, two personalities, two ways of being. I love roleplaying games. I have loved them ever since I was very small. And yet, because of these two seemingly opposed natures, I feel constantly conflicted. How I can I reconcile these two characters within my one limited self? The answer, I believe, comes from embracing them both and bringing them into cooperation. Roleplay Rescue Details: Roleplay Rescue Theme Song and incidental music by TJ Drennon. Voice Message: anchor.fm/rpgrescue/message Email: hello@rpgrescue.com Patreon: patreon.com/rpgrescue Blog: roleplayrescue.com MeWe Group: mewe.com/join/roleplayrescue (or search "Roleplay Rescue") Buy Che Webster a Coffee: ko-fi.com/cwebster

One of Italy´s serial killers got nicknamed Mr. Hyde. Join me to learn about this true crime story. Insta: @lulu.moli

L'attaquant français, auteur d'un triplé face à Barcelone (1-4), a tiré la quintessence de son jeu pour permettre au PSG de prendre une option sur la qualification. Un match qui confirme qu'au fil des mois, et parfois de manière subtile, le champion du monde a fait évoluer sa palette. Il y a le Mbappé explosif, vif, et un autre Mbappé, devenu plus fin dans le jeu de combinaisons, en témoignent quelques bonnes dernières passes face à Barcelone, encore. Si le Docteur Jekyll qui sommeille en lui s'apparente à un athlète taillé pour le foot et les buts, le Mister Hyde créatif et lucide se développe au rythme des matchs, des animations et surtout des adaptations. Alors quelles facettes de son jeu Kylian Mbappé a-t-il fait progresser ? Comment le match face au Barça en Ligue des champions a mis en lumière ses autres atouts ? Sans nul doute, l'évolution de Kylian Mbappé regorge encore de surprises, que seules les expérimentations, qu'elles viennent de lui-même ou de ses entraîneurs, permettront de dévoiler. Big five s'interroge sur les qualités qu'il peut encore améliorer, les défauts à gommer et tente de briser les quelques stéréotypes qui accompagnent son début de carrière. Comment se caractérisent les relations techniques entre lui et ses coéquipiers ? De quelle façon peut-il exprimer tout son potentiel ? Animé par Marie-Amélie Motte, avec Damien Degorre, Vincent Duluc et Dan Perez. Réalisé par Antoine Bourlon.

Dietro le righe i pregiudizi scompaiono. A nostro agio fra le righe ovvero: dietro alle righe i pregiudizi svaniscono..“Quando scrivo sono finalmente libero, anche di sbagliare”..Cosa fanno cinque scrittori esordienti - tra le altre cose utenti dei CSM, Centri Salute Mentale di Bologna e Casalecchio di Reno – con lo scrittore Wu Ming 2, ovvero Giovanni Cattabriga, membro del collettivo di scrittori Wu Ming**..Parlano di scrittura, di se stessi, della fatica e bellezza di vivere, nell’incontro - “A nostro agio fra le righe” – ideato da Federico Mascagni e Concetta Pietrobattista, del sito Sogni e Bisogni, sito realizzato dal Dipartimento di Salute Mentale di Bologna e dalle tante Associazioni di utenti e familiari che con la salute mentale lavorano (e anche da Psicoradio!)...Luca Gioacchino De Sandoli, Simone Piscitelli, Fabio Tolomelli, Francesco Valgimigli e Paolo Veronesi si sono raccontati, hanno descritto la loro esperienza di pazienti, persone con una sofferenza psichica, che però non li definisce, perché ci sono anche molte altre cose nella loro vita, anche la scrittura; e hanno chiesto consigli ad uno scrittore professionista come Wu Ming 2..Durante l'incontro gli attori della compagnia teatrale Arte e Salute ragazzi, diretti dalla regista Daniela Micioni, hanno letto racconti, brani di libri e poesie dei cinque scrittori. Per esempio, il bizzarro caso del Dottor Gechi, una rivisitazione del Dottor Jekill e Mister Hyde ideata da Fabio Tolomelli, ex redattore e amico di Psicoradio: “Il mio nome è Enrico Gechi, sono un bravo medico. Cerco sempre di essere premuroso, attento, preparato e aggiornato, in due parole perfettamente empatico. Ma tra impegno e realtà c'è molta differenza.” Racconta Fabio: “Quando mi sono ammalato era come se nel cervello, anziché le strutture nervose, ci fosse acqua. Era molto difficile per me contenere questi pensieri liquidi. La fase acuta è terribile; fino all'episodio clou grossi problemi non ne avevo, ma dopo che mi sono ammalato non riuscivo più a capire chi ero io.”..Simone Piscitelli scrive racconti, ma soprattutto poesie. Simone ora ha una casa, una ragazza, un lavoro. Non è sempre stato così, però. “Fino a diciotto anni ho avuto una vita normale, anche se esageravo con alcool e sostanze stupefacenti. Tutto questo un giorno è scaturito in un'esplosione che viene chiamata psicosi: da un minuto all'altro tutto è cambiato, ho perso il filo della mia vita per circa tre anni. Solo grazie alla scrittura ho capito chi ero: scrivo perché è bello farlo, mi arricchisce culturalmente ed è anche una grandissima valvola di sfogo”...Giovanni Cattabriga, in arte Wu Ming 2, dopo un lungo dialogo con ciascuno dei cinque scrittori, ha chiuso A nostro agio fra le righe con qualche considerazione: “La scrittura è uno strumento utile proprio per superare lo stigma. L'autore viene conosciuto dietro e attraverso le righe, e la scrittura garantisce quella sorta di anonimato che non è però l'anonimato delle idee; in qualche modo dietro le righe i pregiudizi svaniscono. Questo è un aspetto della scrittura che la rende insostituibile nel creare un rapporto con le persone.” ..A nostro agio fra le righe è visibile integralmente sul canale YouTube della Casa della Conoscenza di Casalecchio di Reno.

Dietro le righe i pregiudizi scompaiono. A nostro agio fra le righe ovvero: dietro alle righe i pregiudizi svaniscono..“Quando scrivo sono finalmente libero, anche di sbagliare”..Cosa fanno cinque scrittori esordienti - tra le altre cose utenti dei CSM, Centri Salute Mentale di Bologna e Casalecchio di Reno – con lo scrittore Wu Ming 2, ovvero Giovanni Cattabriga, membro del collettivo di scrittori Wu Ming**..Parlano di scrittura, di se stessi, della fatica e bellezza di vivere, nell'incontro - “A nostro agio fra le righe” – ideato da Federico Mascagni e Concetta Pietrobattista, del sito Sogni e Bisogni, sito realizzato dal Dipartimento di Salute Mentale di Bologna e dalle tante Associazioni di utenti e familiari che con la salute mentale lavorano (e anche da Psicoradio!)...Luca Gioacchino De Sandoli, Simone Piscitelli, Fabio Tolomelli, Francesco Valgimigli e Paolo Veronesi si sono raccontati, hanno descritto la loro esperienza di pazienti, persone con una sofferenza psichica, che però non li definisce, perché ci sono anche molte altre cose nella loro vita, anche la scrittura; e hanno chiesto consigli ad uno scrittore professionista come Wu Ming 2..Durante l'incontro gli attori della compagnia teatrale Arte e Salute ragazzi, diretti dalla regista Daniela Micioni, hanno letto racconti, brani di libri e poesie dei cinque scrittori. Per esempio, il bizzarro caso del Dottor Gechi, una rivisitazione del Dottor Jekill e Mister Hyde ideata da Fabio Tolomelli, ex redattore e amico di Psicoradio: “Il mio nome è Enrico Gechi, sono un bravo medico. Cerco sempre di essere premuroso, attento, preparato e aggiornato, in due parole perfettamente empatico. Ma tra impegno e realtà c'è molta differenza.” Racconta Fabio: “Quando mi sono ammalato era come se nel cervello, anziché le strutture nervose, ci fosse acqua. Era molto difficile per me contenere questi pensieri liquidi. La fase acuta è terribile; fino all'episodio clou grossi problemi non ne avevo, ma dopo che mi sono ammalato non riuscivo più a capire chi ero io.”..Simone Piscitelli scrive racconti, ma soprattutto poesie. Simone ora ha una casa, una ragazza, un lavoro. Non è sempre stato così, però. “Fino a diciotto anni ho avuto una vita normale, anche se esageravo con alcool e sostanze stupefacenti. Tutto questo un giorno è scaturito in un'esplosione che viene chiamata psicosi: da un minuto all'altro tutto è cambiato, ho perso il filo della mia vita per circa tre anni. Solo grazie alla scrittura ho capito chi ero: scrivo perché è bello farlo, mi arricchisce culturalmente ed è anche una grandissima valvola di sfogo”...Giovanni Cattabriga, in arte Wu Ming 2, dopo un lungo dialogo con ciascuno dei cinque scrittori, ha chiuso A nostro agio fra le righe con qualche considerazione: “La scrittura è uno strumento utile proprio per superare lo stigma. L'autore viene conosciuto dietro e attraverso le righe, e la scrittura garantisce quella sorta di anonimato che non è però l'anonimato delle idee; in qualche modo dietro le righe i pregiudizi svaniscono. Questo è un aspetto della scrittura che la rende insostituibile nel creare un rapporto con le persone.” ..A nostro agio fra le righe è visibile integralmente sul canale YouTube della Casa della Conoscenza di Casalecchio di Reno.

Cette semaine on part pour la sympathique époque victorienne, accompagné par tous les héros cultes de la littérature victorienne avec La ligue des gentlemen extraordinaires de l’immense Alan Moore et du talentueux Kevin O’neil que vous pouvez retrouver chez Panini Comics. Mais comme d’habitude on commence avec les news de la semaine :- La fameuse et tant attendue BATNEWS- Le sketchbook des dessins de confinement de Mike Mignola- Une série disney + pour Nick Fury- Une première image pour US Agent- Poison Ivy change de nomEt bien sur une checklist des sorties de la semaine par la sémillante Faye. Puis on passe au comics de la semaine : La ligue des gentlemen extraordinairesDans cette émission on parle d’un comics culte d’un des meilleures scénaristes du 9éme art et dans ses heures perdues magicien, chaman et anarchiste Alan Moore accompagné de l’habitué de l’éditeur 2000 AD : Kevin O’neil.Nous allons suivre dans La ligue des gentlemen extraordinaires les aventures de Nina Murray l’ex de Dracula, Allan Quatermain le grand chasseur blanc, un homme invisible très coquin, le capitaine Nemo et Hul….Dr Jekyll et Mister Hyde dans des missions pour défendre l’empire britannique. Comme toujours nous, vous invitons à partager avec nous votre avis sur le titre ou bien encore sur les news. Vous pouvez également nous encourager en nous laissant des commentaires sur Itunes ou en nous mettant 5 étoiles.Si vous habitez sur Montpellier, que vous êtes disponible le mardi de 18H à 19h , n'hésitez pas à nous contacter à: contact@comicsdiscovery.fr peut être rejoindrez-vous notre équipe. Vous pouvez nous retrouver sur nos réseaux sociaux :Facebook : https://www.facebook.com/ComicsDiscovery/Twitter : https://twitter.com/comicsdiscoveryInstagram : https://www.instagram.com/comicsdiscovery/ Vous pouvez nous écouter sur :Spotify : https://spoti.fi/2Qb8ffDAusha : https://podcast.ausha.co/comicsdiscoveryItunes : https://apple.co/2zw9H1QDeezer : https://www.deezer.com/fr/show/55279 Sans oublier le replay en vidéo sur :Youtube : https://www.youtube.com/c/ComicsDiscovery Si vous voulez nous soutenir vous pouvez le faire sur :Tipeee:https://fr.tipeee.com/james-et-faye Et pour retrouver tout notre contenu vous avez notre site web :Le site de James & Faye : https://jamesetfaye.fr/

Dentro di noi sembra spesso che convivono due nature: l'una ottenebrata, involuta, capricciosa; l'altra luminosa, protesa verso il bene e l'evoluzione. Quando agiamo o rispondiamo agli eventi che ci accadono, interroghiamoci con quale di queste due nature stiamo operando. Siamo Dottor Jekyll o Mister Hyde? Per ascoltare l'opera completa clicca qui: https://bit.ly/3hYyVtL

HofnarrGiaccomo liest den urheberrechtsfreien Klassiker.Die spannende und gruselige Geschichte von "Doctor Jekyll & Mister Hyde"von  ARTHUR CONAN DOYLEDas Buch (und viele andere Klassiker) könnt ihr übrigens alle kostenlos bei Amazon mit Kindle der gratis Kindle-App oder im Browser lesen direkt unter AMAZON.DEOder einfach im YouTube Kanal mitlesen!  Or read along in my YouTube Channel. Jedes Feedback ist willkommen...Every feedback ist appreciated. Und danke für den Support! Thanx for the support!Support my work Meine Stimme für dein Buch, deine Geschichte, deinen Text? hofnarrgiaccomo(at)web.deSupport the show (https://www.tipeeestream.com/hofnarrgiaccomo/donation)

Se dico alter ego vi viengono subito in mente Dottor Jekyll e Mister Hyde? Non sbagliate ma sappiate che anche nel panorama musicale giapponese anche un'artista l'ha ragionata così.

Il est temps d'aller se faire ausculter. Pour patienter, Julien, Boris et Jordan vont faire ce qu'ils peuvent pour tuer le temps avant que leur tour arrive. Entre Loanna, les méchants de Disney, des médecins psychopathes et Jekill & Mister Hyde... vous allez patienter en vous marrant, peut être ...

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Título: El extraño caso del Dr Jekyll y Mr Hyde Autor: Robert Louis Stevenson Narración: Francisco Fernández https://www.youtube.com/@audiolibrosencastellano Gracias por leer.

Dentro di noi sembra spesso che convivono due nature: l'una ottenebrata, involuta, capricciosa; l'altra luminosa, protesa verso il bene e l'evoluzione. Quando agiamo o rispondiamo agli eventi che ci accadono, interroghiamoci con quale di queste due nature stiamo operando. Siamo Dottor Jekyll o Mister Hyde? Per ascoltare l'opera completa clicca qui: https://bit.ly/2UbpKwA

In this episode, I finish the cliffhanger of Mister Hyde and Batroc holding all of New York hostage, and talk about Mark Waid and Ron Garney's first run on Captain America! --- Support this podcast: https://anchor.fm/SentinelOfLiberty/support

I discuss Captain America (vol 1) #251, where Cap is traded as ransom to Mister Hyde and Batroc the Leaper. Plus, I talk about my crazy idea of an action figure line based on Mark Gruenwald's Cap run --- Support this podcast: https://anchor.fm/SentinelOfLiberty/support

Temp (II) Perturbar el descanso de los muertos, nunca ha sido buena idea. El Relato de hoy nos hablará de esto mismo. Además de aterradora Historia, Supersticiones, Robos, Dinero, Miedos y Envidias… LADRONES DE CADAVERES de Robert Louis Stevenson. Nacido en 1850, Edimburgo, Escocia, siempre tuvo mala salud. Su niñera, a la que llamaba Cummy, le inculca el conocimiento y la ilusión por la lectura. Entre sus novelas más destacables, nos dejó… - La Isla del Tesoro. - El Extraño caso del Doctor Jekyll y el Mister Hyde. - La Flecha Negra - La mujer errante. - Jardín de Versos Para Niños - En Los Mares del Sur - El ladrón de cadáveres… - El embarcamiento inmaduro - EL LADRON DE CADAVERES, nos hablará de una realidad ocurrida en el siglo XIX. En muchos países de Europa, se donaban los cuerpos a la ciencia, de vagabundos o prostitutas que aparecían muertos en las frías calles, y que nadie reclamaba. En el Reino Unido, no era así. Cómo conseguía la ciencia cadáveres para poder diseccionarlos y estudiarlos, los jóvenes estudiantes de medicina?... GRACIAS ESPECIALES.- A Don Luis Luis, por la Cuña tan original que oiremos no pocas veces… GRACIAS FENÓMENO. CONTACTA: MAIL- llamadadelaluna@gmail.com TWITTER- @llamadadelaluna FACEBOOK- La Llamada De La Luna HAZTE MECENAS. A día de hoy, aunque no lo creas, me cuesta el dinero mantener LLDLL. Me gustaría invertir más tiempo en este Podcast. Me gustaría que creciéramos…dedicarle todo mi tiempo… Me gustaría tener mejor equipo de sonido y poder yo donar a las páginas que me dejan la música y los bancos de sonido. Muchos me habláis de Contratos de Radio, pero la realidad es otra…ellos están en otra cosa o simplemente ni me conocen. Una cuota mensual al mes, la que puedas y obtendrás ventajas. Recuerda, que lo primero que hacen para el olvido…siempre fue quemar libros… No dejes que la Cultura Muera… No dejes que nuestra Biblioteca Arda. MUSICA: ARUM, IGOR LONGHI, GOVANNON, LE CHOIX D'ATROPOS, NiGiD, IVAN TREGUB, PETITE VIKING, THE GLASS CHILS. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Finbarr Doyle is an actor, writer, and founding member of Sickle Moon Productions. For Sickle Moon, he has co-written the one-act plays TRYST, Spectres, Tactics, and Slippers. He also co-adapted Jekyll and Hyde and co-wrote the short pieces Pitcher, Presentation, Trinkets and Strobing Effects, and the short film Chimneys. As an actor for the company, he has performed in TRYST, Cirque Des Reves, Pitcher, Presentation, Spectres, Tactics, Strange Case of Doctor Jekyll and Mister Hyde, Conversation With a Cupboard Man and Chimneys. As a freelance performer, he appeared most recently in The Grimm Tale of Cinderella at Smock Alley Theatre. Theatre includes: We Are The Monsters for Bram Stoker Festival 2017, Birdy at The Peacock for Dublin Fringe Fest 2017 (Winner - Best Ensemble at Dublin Fringe Awards), The Rivals for Smock Alley, The 24 Hour Plays 2017 at the Abbey Theatre, Hamlet for AC Productions, a national tour of The Poor Little Boy With No Arms for One Duck, Peruvian Voodoo for Bitter Like a Lemon, Small Box Psychosis at Theatre Upstairs, Macbeth for Fast Intent, Macbeth for Mill Productions, 60 Minutes in Dublin and The Curious Case of The Stoneybatter Strangler for Maylin Productions, Foreign Bodies (tour) and Delta Phase for Polish Theatre Ireland, Romeo and Juliet , Peter Pan and The Merchant of Venice for Devise+Conquer, Stones in His Pockets (tour) for CAS, and The Tempest for Fortune's Fool.  Finbarr frequently performs with Dreamgun Film Reads.

GianLuca Bonetta presenta una nuova puntata di SCAFFALI ANIMATI. Questa settimana: Dottor Disney e Mister Hyde. Il crimine nelle favole. L'articolo Dottor Disney e Mister Hyde. Il crimine nelle favole proviene da RadioAnimati.

Star Trek: Voyager pays off the end of “Blood Fever” by showing us a colony of former Borg in “Unity”. Then, in “Darkling”, the show pays nothing off by giving us a terrible riff on Doctor Jekyll and Mister Hyde. iTunes Google Play RSS

Once Upon A Time 604 | Strange Case Recap In “Strange Case”, the third episode of Once Upon a Time Season 6, we dive into the history of Doctor Jekyll and Mister Hyde. While the Storybrooke team deals with Hyde’s team up with the Evil Queen we see that the origin of Hyde holds some secrets about Jekyll. Of course Rumplestilskin is wrapped up in their tragic past and that puts Belle in the crossfire. We also get the introduction of Jasmine as she joins Snow White in the start of a new school year. Check out the podcast below and show notes after the jump We love to hear from you. Join the discussion on our Facebook group https://www.facebook.com/groups/utternerdsense/ You can leave us e-mail feedback through feedback@utternerdsense.com You can find all our shows at http://utternerdsense.com/ Follow us on twitter Updates: @utternerdsense (https://twitter.com/utternerdsense). Jay: @dreamjae (https://twitter.com/dreamjae) Matt @emmafrost8 (https://twitter.com/emmafrost8) Help us out! If you enjoyed the show, you can really help us by subscribing and giving us a rate and review on iTunes. You can find our Once Upon a Time podcast at our iTunes feed https://itunes.apple.com/us/podcast/happily-ever-after-once-upon/id981785085?mt=2 You can also find our Marvel’s Agents of SHIELD podcast on iTunes at https://itunes.apple.com/us/podcast/agents-steranko-agents-shield/id981784888?mt=2 You can also check out our UtterNerdsense Network feed that includes Once Upon a Time as well as our other podcasts, such as Agents of Shield, at https://itunes.apple.com/us/podcast/utter-nerdsense/id955625598?mt=2 Once Upon a Time stars Ginnifer Goodwin as Snow White/Mary Margaret, Jennifer Morrison as Emma Swan, Lana Parrilla as the Evil Queen/Regina, Josh Dallas as Prince Charming/David, Emilie de Ravin as Belle, Colin O’Donoghue as Hook, Jared S. Gilmore as Henry Mills, Sean Maguire as Robin Hood, Rebecca Mader as the Wicked Witch/Zelena and Robert Carlyle as Rumplestiltskin/Mr. Gold. Season 6 of Once Upon a Time airs Sundays 8/9c on ABC.

Once Upon a Time 601 | The Savior Recap We are back with our Happily Ever After podcast to discuss the Season 6 premier of Once Upon a Time, “The Savior”. Last season left us with Mr. Hyde in Storybrooke and Regina splitting herself from the Evil Queen and we have a lot happening as we start the new season. Mr. Hyde is trying to take over Storybrooke and a flying balloon full of people with untold stories have crashed in the forest. But the bigger problem might be Emma and the tole the role of The Savior is taking on her. With the Underworld story wrapped up, it’s time to pivot towards Season 6. Henry is on a mission with Violet to destroy magic. We also visited the land of Untold Stories where we met Doctor Jekyll and Mister Hyde. But the big story was Regina coming to grips with the Evil Queen inside her, and the very questionable way she, with the help of Emma and Snow, tries to deal with that darkness. Check out the podcast below and show notes after the jump We love to hear from you. Join the discussion on our Facebook group https://www.facebook.com/groups/utternerdsense/ You can leave us e-mail feedback through feedback@utternerdsense.com You can find all our shows at http://utternerdsense.com/ Follow us on twitter Updates: @utternerdsense (https://twitter.com/utternerdsense). Jay: @dreamjae (https://twitter.com/dreamjae) Matt @emmafrost8 (https://twitter.com/emmafrost8) Help us out! If you enjoyed the show, you can really help us by subscribing and giving us a rate and review on iTunes. You can find our Once Upon a Time podcast at our iTunes feed https://itunes.apple.com/us/podcast/happily-ever-after-once-upon/id981785085?mt=2 You can also find our Marvel’s Agents of SHIELD podcast on iTunes at https://itunes.apple.com/us/podcast/agents-steranko-agents-shield/id981784888?mt=2 You can also check out our UtterNerdsense Network feed that includes Once Upon a Time as well as our other podcasts, such as Agents of Shield, at https://itunes.apple.com/us/podcast/utter-nerdsense/id955625598?mt=2 Once Upon a Time stars Ginnifer Goodwin as Snow White/Mary Margaret, Jennifer Morrison as Emma Swan, Lana Parrilla as the Evil Queen/Regina, Josh Dallas as Prince Charming/David, Emilie de Ravin as Belle, Colin O’Donoghue as Hook, Jared S. Gilmore as Henry Mills, Sean Maguire as Robin Hood, Rebecca Mader as the Wicked Witch/Zelena and Robert Carlyle as Rumplestiltskin/Mr. Gold. Season 5 of Once Upon a Time airs Sundays 8/9c on ABC.

Once Upon a Time 522-523 | Only You & An Untold Story Finale Recap This week on our Happily Ever After podcast we discuss the Season 5 finale of Once Upon a Time, episodes 522 and 523, “Only You” and “An Untold Story”. With the Underworld story wrapped up, it’s time to pivot towards Season 6. Henry is on a mission with Violet to destroy magic. We also visited the land of Untold Stories where we met Doctor Jekyll and Mister Hyde. But the big story was Regina coming to grips with the Evil Queen inside her, and the very questionable way she, with the help of Emma and Snow, tries to deal with that darkness. Check out the podcast below and show notes after the jump We love to hear from you. Join the discussion on our Facebook group https://www.facebook.com/groups/utternerdsense/ You can leave us e-mail feedback through feedback@utternerdsense.com You can find all our shows at http://utternerdsense.com/ Follow us on twitter Updates: @utternerdsense (https://twitter.com/utternerdsense). Jay: @dreamjae (https://twitter.com/dreamjae) Matt @emmafrost8 (https://twitter.com/emmafrost8) Help us out! If you enjoyed the show, you can really help us by subscribing and giving us a rate and review on iTunes. You can find our Once Upon a Time podcast at our iTunes feed https://itunes.apple.com/us/podcast/happily-ever-after-once-upon/id981785085?mt=2 You can also find our Marvel’s Agents of SHIELD podcast on iTunes at https://itunes.apple.com/us/podcast/agents-steranko-agents-shield/id981784888?mt=2 You can also check out our UtterNerdsense Network feed that includes Once Upon a Time as well as our other podcasts, such as Agents of Shield, at https://itunes.apple.com/us/podcast/utter-nerdsense/id955625598?mt=2 Once Upon a Time stars Ginnifer Goodwin as Snow White/Mary Margaret, Jennifer Morrison as Emma Swan, Lana Parrilla as the Evil Queen/Regina, Josh Dallas as Prince Charming/David, Emilie de Ravin as Belle, Colin O’Donoghue as Hook, Jared S. Gilmore as Henry Mills, Sean Maguire as Robin Hood, Rebecca Mader as the Wicked Witch/Zelena and Robert Carlyle as Rumplestiltskin/Mr. Gold. Season 5 of Once Upon a Time airs Sundays 8/9c on ABC.

"Burning Court" The City of the Dead... Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Burning Court" The City of the Dead... Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Apache Peak" on Tales of The Texas Rangers Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Apache Peak" on Tales of The Texas Rangers Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Markhams Story" Dr Jekyll & Mr Hide Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure,  Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Markhams Story" Dr Jekyll & Mr Hide Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure,  Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Colonel Warburtons Madness" Sherlock Holmes, "Old Time Radio" on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"Colonel Warburtons Madness" Sherlock Holmes, "Old Time Radio" on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

X-1 The Moon Be Still And Bright... Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

X-1 The Moon Be Still And Bright... Old Time Radio on American Preppers Radio!Listen and Chat go to: http://prepperbroadcasting.com/listen-chat/Welcome to Adventure, Suspense & Horror  Old Time Radio brought to you by the Prepper Broadcasting Network every evening  at 8:00 pm/Pacific time. Remember Dr. Jekyll and Mister Hyde, or Sherlock Holmes, how about Tales of the Texas Rangers, another old time radio sci-fi classic X-one, or City of The Dead?  There are those I’ve mentioned and many others brought to you every evening by Prepper Broadcasting It’s not all Old Time Radio. Visit us at Prepper Broadcasting.com for over 45 live and pre-recorded shows of the most popular podcasters on the planet, how to better prepare for what lies ahead. From gardening, long term food preservation and storage, hunting and fishing, disaster preparedness to living off the land. Visit us at prepper broadcasting .com and hear what you’ve been missing. Tags: Adventure, Suspense, Horror, Old Time Radio, Stories

"I like that we live in an age that's increasingly curious about this dark side, and not merely in terms of its pure darkness, but of how seemingly ordinary or normal people can commit atrocities." Daniel Levine joins us to talk about his debut novel, HYDE, an inventive and gorgeous retelling of The Strange Case of Dr. Jekyll and Mr. Hyde. It's a fun conversation about our public and private selves, the ways we define evil, the mechanics of storytelling, the luck of human evolution, and more! Give it a listen!

Formula 1 - La rinascita di Mark Webber. Intervista al campione ritrovato reduce dalla seconda vittoria sul circuito di Montecarlo. A pari punti alla vigilia del Gran Premio del Canada con il compagno di squadra Sebastian Vettel nella classifica mondiale. Nel servizio, l’usuale giro di pista per ripassare le geometrie del percorso. Formula 1 - Casa, dolce casa. Nella sede storica del team a Grove in Gran Bretagna, Frank Williams festeggia il podio di Pastor Maldonado, primo nel Gran Premio di Spagna. Campionato Italiano Rally - “Repetita iuvant”. Nuovo successo di Paolo Andreucci - Peugeot 207 Super 2000 nel Rally dell’Adriatico, davanti a Umberto Scandola su Fabia Skoda S 2000 Subaru WRX STI - Dott. Jekyll e Mister Hyde nel mondo dei motori. La prova “ragionata” della berlina quattro porte per uso famigliare. Detto con ironia, naturalmente. Basta non fare il solletico all’acceleratore e ignorare la presenza dell’alettone aerodinamico nella parte posteriore. Stile vecchia Impreza. E per concludere: le pillole di Autolink: - Toyota Yaris Hybrid - BMW a Lipsia con importanti novità - Kia da record anche negli USA - Peugeot 208 si aggiudica la 25 Ore di Magione - Volvo V40

Dott. Jekyll e Mister Hyde nel mondo dei motori. La prova “ragionata” della berlina quattro porte per uso famigliare. Detto con ironia, naturalmente. Basta non fare il solletico all’acceleratore e ignorare la presenza dell’alettone aerodinamico nella parte posteriore. Stile vecchia Impreza.

Formula 1 - La rinascita di Mark Webber. Intervista al campione ritrovato reduce dalla seconda vittoria sul circuito di Montecarlo. A pari punti alla vigilia del Gran Premio del Canada con il compagno di squadra Sebastian Vettel nella classifica mondiale. Nel servizio, l’usuale giro di pista per ripassare le geometrie del percorso. Formula 1 - Casa, dolce casa. Nella sede storica del team a Grove in Gran Bretagna, Frank Williams festeggia il podio di Pastor Maldonado, primo nel Gran Premio di Spagna. Campionato Italiano Rally - “Repetita iuvant”. Nuovo successo di Paolo Andreucci - Peugeot 207 Super 2000 nel Rally dell’Adriatico, davanti a Umberto Scandola su Fabia Skoda S 2000 Subaru WRX STI - Dott. Jekyll e Mister Hyde nel mondo dei motori. La prova “ragionata” della berlina quattro porte per uso famigliare. Detto con ironia, naturalmente. Basta non fare il solletico all’acceleratore e ignorare la presenza dell’alettone aerodinamico nella parte posteriore. Stile vecchia Impreza. E per concludere: le pillole di Autolink: - Toyota Yaris Hybrid - BMW a Lipsia con importanti novità - Kia da record anche negli USA - Peugeot 208 si aggiudica la 25 Ore di Magione - Volvo V40

Doctor Jekyll y Mister Hyde, eso este Atleti con dos personalidades, una en la Liga (que no gusta a nadie) y otra en la Europa League que ilusiona y nos hace preguntarnos cuales serían las posibilidades reales de este equipo si siempre jugase con esa actitud y ganas. Ganamos al Valencia por 4 a 2 demostrando ser muy superiores a los che (y a todos los otros equipos) en la Europa League y presentando la candidatura a esta copa, pese a que le dimos vida al Valencia en los últimos minutos de ambas partes concediendo goles a balón parado que hacen que la renta no sea tan amplia como debiera. Hoy hablamos sobre el partido con Mohit, Álvaro, Fernando Mariano y Jorge.

Doctor Jekyll y Mister Hyde, eso este Atleti con dos personalidades, una en la Liga (que no gusta a nadie) y otra en la Europa League que ilusiona y nos hace preguntarnos cuales serían las posibilidades reales de este equipo si siempre jugase con esa actitud y ganas. Ganamos al Valencia por 4 a 2 demostrando ser muy superiores a los che (y a todos los otros equipos) en la Europa League y presentando la candidatura a esta copa, pese a que le dimos vida al Valencia en los últimos minutos de ambas partes concediendo goles a balón parado que hacen que la renta no sea tan amplia como debiera. Hoy hablamos sobre el partido con Mohit, Álvaro, Fernando Mariano y Jorge.

Doctor Jekyll y Mister Hyde, eso este Atleti con dos personalidades, una en la Liga (que no gusta a nadie) y otra en la Europa League que ilusiona y nos hace preguntarnos cuales serían las posibilidades reales de este equipo si siempre jugase con esa actitud y ganas. Ganamos al Valencia por 4 a 2 demostrando ser muy superiores a los che (y a todos los otros equipos) en la Europa League y presentando la candidatura a esta copa, pese a que le dimos vida al Valencia en los últimos minutos de ambas partes concediendo goles a balón parado que hacen que la renta no sea tan amplia como debiera. Hoy hablamos sobre el partido con Mohit, Álvaro, Fernando Mariano y Jorge.

Doctor Jekyll y Mister Hyde, eso este Atleti con dos personalidades, una en la Liga (que no gusta a nadie) y otra en la Europa League que ilusiona y nos hace preguntarnos cuales serían las posibilidades reales de este equipo si siempre jugase con esa actitud y ganas. Ganamos al Valencia por 4 a 2 demostrando ser muy superiores a los che (y a todos los otros equipos) en la Europa League y presentando la candidatura a esta copa, pese a que le dimos vida al Valencia en los últimos minutos de ambas partes concediendo goles a balón parado que hacen que la renta no sea tan amplia como debiera. Hoy hablamos sobre el partido con Mohit, Álvaro, Fernando Mariano y Jorge.

Docteur Jekyll et Mister Hyde: Le personnage de Stevenson est-il devenu, en l espace d un siecle, le monstre le plus important de l histoire du cinema? Mister Hyde est-il la figure monstrueuse emblematique de notre epoque? Survol des adaptations, des films inspires du roman et nos recommandations.

Docteur Jekyll et Mister Hyde: Le personnage de Stevenson est-il devenu, en l espace d un siecle, le monstre le plus important de l histoire du cinema? Mister Hyde est-il la figure monstrueuse emblematique de notre epoque? Survol des adaptations, des films inspires du roman et nos recommandations.