Podcasts about mpaa

This week, Patreon supporter Matt Bates, the Black Country Vlogger, brings us Innocent Blood (1992) for our Pain and Pleasure theme -- a film that revels in the push and pull between the two. Innocent Blood (1992) came about in a roundabout way, which is fitting for a film that defies easy categorisation. John Landis had originally been developing a vampire project called Red Sleep -- a wild premise about Las Vegas being run by vampires -- before Warner Bros. passed and handed him a first-time script by Michael Wolk. The film had an entirely different trajectory before Landis came aboard -- Jack Sholder had been set to direct with Lara Flynn Boyle and Dennis Hopper in the leads before creative differences saw all three replaced. Landis cast French actress Anne Parillaud fresh off La Femme Nikita, and filmed primarily in Pittsburgh's Little Italy neighbourhood after a location visit changed his original plan to shoot in Philadelphia. The MPAA initially slapped it with an NC-17, forcing further cuts to secure an R rating. Landis described his vision as "a Hammer film directed by Scorsese." It opened in September 1992 to a modest domestic gross but has since built a devoted cult following among fans of horror-comedy and 90s vampire films.Find Matt here - https://www.youtube.com/c/blackcountryvloggerTRAILER GUY PLOT SYNOPSISIn a world where the streets of Pittsburgh run red... one woman has a code. She is Marie. She is beautiful. She is deadly. And she only eats bad people.But one night she makes a mistake. She doesn't finish the job. And now the most dangerous mob boss in the city isn't just angry... he is immortal.Sal Macelli is back from the dead and building a vampire army from organised crime. Marie has no choice but to team up with one increasingly bewildered cop. Because you cannot arrest something that cannot die. And you cannot plea bargain with a monster in an Armani suit.FUN FACTS ABOUT INNOCENT BLOOD (1992)Despite revolving around vampires, the word "vampire" is never once spoken in the filmDario Argento, Sam Raimi, Frank Oz, Tom Savini, and Steve Johnson all have cameosScream Queen Linnea Quigley appears as a nurse alongside her then-husband Steve JohnsonLandis hid his recurring "See You Next Wednesday" joke on a marquee in the filmThe glowing vampire eyes used reflective contact lenses combined with a beam-splitter techniqueA POV flying shot was lifted directly from Dario Argento's Opera -- who also has a cameoChazz Palminteri appears in a supporting role -- a Godfather reunion crossed with The SopranosBy 1992, Landis hadn't directed horror since An American Werewolf in London -- an eleven year gapSUPPORT THE SHOWSupport the Show If you enjoy the show and would like to support us, we have a Patreon ⁠⁠⁠here⁠⁠⁠. If you're listening on Apple Podcasts or Spotify, leaving us a 5-star review (and a short comment) really helps more people discover the show. It's quick, free, and makes a huge difference. Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

Lords: Andrew https://kittenm4ster.neocities.org/ Noel https://noelcody.itch.io/ Topics: Moss Moss design & process Being gaslit by an open-source 3D physics engine ACME products Splinter by Carl Sandburg https://allpoetry.com/poem/14327262-Splinter-by-Carl-Sandburg Microtopics: Blippo+ Wearing merch for a TV show in the Blippo+ cosmology. The bureau where you keep your cotton. Mossing the world and finding secrets. Designing for mystery and discovery. A platformer with no skill checks. The standard puzzle game playbook. Designing your game to offer one question per screen. Pig Farm. Discovering your way through a story. What to show and what to hide Collecting leaves that grow a vine up to something at the top. Cats or rabbits or turnips or something. An underrated comment on the Pico-8 BBS. A secret at the end of the game that you try to be okay with most players not finding. Play testing with your local game dev scene. Various Pico-8 data compression strategies. Code golfing until you can't stand it. Ending every project in a nightmare slog. PARENS-8. How Pico-8 makes constraints feel real and not like some arbitrary bullshit you decided to do. Forking Pico-8 and expanding the token limit to 8193. 50 years of game designs to draw examples from. Spikes. Bounding your understanding of the space. The satisfying feeling of playing a good XAMWWSKH. Lions sculpted out of hedges that want to give you a big hug. Creatures in the game world just going about your business in a way that can aid or hinder you. Just lil dudes, just hanging out. The feeling of being outside the bounds of a game world. Lunacid. Games that don't know you're playing them. The pickup truck you can just barely spot in Pokemon Red. Interpreting data as a compressed Pokemon. Trying to make an N64 game because Pyrite 64 came out Testing on your Summer Cart. Choosing the physics engine that only supports cubes. Lateral friction. Reading about video game car physics on the Internet and getting so desperate that you start asking the LLMs. Four wheels all applying different forces in different conditions. What Google indexes now rather than text on the Internet. A heavily abbreviated transcript. Nearly 20,000 microtopics. microtopics_ebooks. An ebook written by many uncredited people. Collecting 30,000 Bug Mars Work Visa signatures. Informing your users that you are collecting their personal information but only in order to improve the contents of your wallet. Zenith Electronics Is. The game developers who broke off of Activision to form Accolade looking in the dictionary to find a name that's come earlier than Activision in alphabetical listings, and then the game developers who broke off from Accolade to form Acclaim doing the same thing. Going to a movie theater in the 1930s because that's how you see the memes. Hanna-Barbera inventing a new animation technique where they give everybody a collar so they can animate their head and body separately. Disney replacing animators with photocopiers in the 1950s. A medium's technical limitations eventually becoming an art style. How often did they make the Looney Tunes? How many Looney Tunes are there? Shorts that play before the main feature. The DJ in the projection booth deciding what Looney Tune will drive the crowd wildest. How many movies are made each year. When the MPAA was established. Which Looney Tunes did they play in front of the R-rated movies? A splinter of singing. If you say hello a thousand times, is the thousandth time actually a goodbye? Eating the last grilled cheese sandwich of your life, and either being aware of it or not aware of it. Crickets going extinct every winter and re-evolving in the spring. Crickets becoming locusts in the winter and seeing how many divine plagues they can enact before springtime. Entomology Blog: you're totally full of shit. Walking towards a cricket and it stops chirping and you're like "how am I supposed to hunt you down and eat you now?" The science weighs in: we won't be able to visit the aliens, but we will be able to send them a plague of locusts.

Friday night's a good night for slashing, so here comes Part 4 of our meandering trip through the Friday the 13th franchise. Al is in the house again as we check out Friday the 13th Part VII: The New Blood (1988), directed by John Carl Buechler, and then we delve into the inevitable Platinum Dunes remake effort, Friday the 13th (2009), directed by Marcus Nispel. Is it a misunderstood gem? And how could Part VII ever recover from its (ironic) evisceration at the rapacious hands of the MPAA? Let's just say, plot is not really the reason to watch either of these films. so we won't be announcing a Spoiler Territory section for either of them. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp "Night Train" by The Kills

An aspiring animator clashes with his abusive father. Join us as we discuss a Brat Packer who seems to have skipped his 30s, a hand-me-down LeBaron, and how the MPAA made this movie better. Then we see if Freddy Got Fingered stands the Test of Time.

Movie of the Year: 1971Sweet Sweetback's Baadasssss SongThe Sweet Sweetback's Baadasssss Song PodcastThe Sweet Sweetback's Baadasssss Song podcast brings Ryan, Mike, and Greg to one of 1971's most radical and uncompromising films. Melvin Van Peebles wrote, directed, produced, scored, edited, and starred in this landmark independent work — entirely outside the Hollywood system. The result is a film unlike any other in the bracket. Above all, it challenges every assumption about who gets to make movies, and why.This week, the Taste Buds dig into three major threads: the film as a revolutionary political act, its polarizing form and style, and its complex treatment of sex and gender. Furthermore, they induct a film into the PopFilter Hall of Fame and take on Recast the Podcast. It is a wide-ranging, debate-heavy episode from first minute to last. The Movie of the Year 1971 bracket has produced bold conversations — and this one may be the boldest yet.About the FilmSweet Sweetback's Baadasssss Song follows Sweetback (Van Peebles), a Black sex-show performer raised in a brothel. When police use him as a convenient patsy, he fights back — killing two racist cops and becoming a fugitive. He runs south toward the Mexican border. Along the way, the Black community shelters him. Bikers, revolutionaries, and sex workers cross his path. Consequently, the film becomes less a conventional chase narrative and more an odyssey of Black survival and defiance.Van Peebles privately funded the film after walking away from a studio deal at Columbia Pictures. He served as one-man auteur across every department. The film opened in just two theaters in March 1971 — Detroit and Atlanta. Nevertheless, it broke box office records on opening night and went on to gross over $15 million. The MPAA assigned it an X rating. Van Peebles turned that into the defiant tagline: "Rated X by an all-white jury." The Black Panther Party declared it required viewing for all members.Learn more at the Wikipedia entry for Sweet Sweetback's Baadasssss Song and the IMDb listing. The Criterion Collection has released a definitive edition of the film — explore it at Criterion.com. The American Film Institute has also recognized the film's landmark status — read the AFI Movie Club entry here.A Movie Revolution: Van Peebles and the Politics of IndependenceVan Peebles did not simply make a film — he staged a full act of defiance. Studio backing, the ratings system, and traditional distribution were all refused outright. Moreover, he financed part of the production by borrowing $50,000 from Bill Cosby, keeping total creative control throughout. The result was a film the industry could not co-opt, contain, or dismiss. For listeners of any Melvin Van Peebles podcast or documentary, the story of how this film got made is as remarkable as the film itself.The release strategy was equally radical. Van Peebles released the soundtrack before the film — an unusual move at the time — to build word-of-mouth in Black communities without spending money on traditional advertising. The score featured a very young Earth, Wind & Fire. By contrast, Hollywood in 1971 was still releasing social-problem films that sought respectability over truth. Sweetback rejected that approach entirely. Notably, its commercial success proved that Black-led, Black-financed films could find a massive audience without white institutional gatekeepers.Ryan, Mike, and Greg debate what Van Peebles' revolution actually accomplished. Was it the birth of a genuinely new Black cinema? Or did it also open the door for the blaxploitation genre — a category Hollywood quickly co-opted and stripped of its radical politics? Additionally, the Taste Buds ask whether the DIY model Van Peebles pioneered holds lessons for independent filmmakers working today. As a blaxploitation film podcast discussion, this episode goes deeper than genre classification — it asks what political filmmaking actually costs.Form, Style, and Watchability: A Sweet Sweetback's Baadasssss Song Podcast Deep DiveThe film's style is not subtle. Van Peebles employs jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design throughout. These choices feel closer to Jean-Luc Godard than to anything playing at an American theater in 1971. However, they also produce a film that polarizes audiences to this day. The Sweet Sweetback's Baadasssss Song podcast tackles this polarization head-on.Some viewers find the style exhilarating — a sustained howl of rage rendered in pure cinematic form. Others find the loose structure and repetitive sequences frustrating. The Taste Buds confront this tension directly. Furthermore, they ask whether "watchability" is even the right standard for a film that never set out to be comfortable or conventional.The soundtrack adds another dimension entirely. Van Peebles composed and performed the score himself, with Earth, Wind & Fire providing the instrumental backing. The music pulses through the film like a second heartbeat. Consequently, sound and image work together to create a sensory experience unlike any other 1971 film in the bracket. Ryan, Mike, and Greg weigh in on whether Van Peebles' formal choices ultimately serve the film's political goals — or occasionally work against them.Sex, Gender, and ControversySweetback's sexuality is central to the film's identity. His sexual power is his primary weapon and his means of survival. Van Peebles frames this as a form of liberation — a radical Black body asserting itself against a system designed to destroy it. However, the film's treatment of women and of queer characters draws sharp criticism from contemporary audiences.Women in the film exist largely in relation to Sweetback's desires. The film includes graphic sexual content, some of it deeply uncomfortable by any modern standard. Moreover, the film's portrayal of lesbian characters is explicitly homophobic. The Taste Buds wrestle with how to hold these contradictions honestly. A film can be genuinely revolutionary and genuinely problematic at the same time. In fact, Sweet Sweetback's Baadasssss Song may be the most complex example of that tension in the entire 1971 bracket.Additionally, the film's opening sequence — depicting a child's sexual initiation — has unsettled audiences for over fifty years. Van Peebles cast his own son Mario in the role. That decision raises serious ethical questions that Ryan, Mike, and Greg do not avoid. Ultimately, the conversation around sex and gender in this film is not a comfortable one — and that discomfort is precisely what makes it essential. This is one of the most challenging discussions in the 1971 film podcast series to date.PopFilter Hall of FameEach season of Movie of the Year, the Taste Buds set aside the bracket to recognize films that define an era. The PopFilter Hall of Fame is not about winning a head-to-head matchup. It honors the films that changed cinema itself — the ones that opened doors, broke rules, and made everything that came after possible.The Hall of Fame carries special weight in this episode. Sweet Sweetback's Baadasssss Song raises the question of what "greatness" means for films that operate outside mainstream critical frameworks. A film does not need to be comfortable, polished, or widely loved to be important. The Hall of Fame exists precisely to honor that distinction. This week, the hosts make their cases for a 1971 inductee. Tune in to hear which film earns the honor — and whether all three Taste Buds can agree on the pick.Recast the PodcastIn Recast the Podcast, Ryan, Mike, and Greg take on one of cinema's great thought experiments. They choose a film and rebuild the cast from scratch — drawing on actors from any era, any genre, any corner of film history. Each host makes their picks. Then the debate begins.Sweet Sweetback's Baadasssss Song presents a unique challenge for Recast the Podcast. The film was defined by Van Peebles' decision to cast himself. Sweetback's blank-faced, nearly wordless presence was a deliberate choice — not a performance in the conventional sense, but a statement. Who could step into that role today? Who has the gravity, the physicality, and the political weight to carry the film's central conceit? The Taste Buds bring their full range of cinematic knowledge to the question. Listen in to hear their picks, the reasoning behind each choice, and where the three hosts inevitably disagree.Why Sweet Sweetback's Baadasssss Song Still MattersSweet Sweetback's Baadasssss Song was never meant to be easy. Van Peebles built it as a provocation — a film that demanded a response. More than fifty years later, it still gets one. The film's influence runs through Spike Lee, John Singleton, Ava DuVernay, and virtually every Black filmmaker who followed. However, its importance is not only historical. The questions it raises about representation, power, and who controls the means of production are still urgent today.Furthermore, the film's DIY model anticipated the independent film movement by decades. Van Peebles proved that a filmmaker could retain complete creative control, bypass the studio system entirely, and still reach an enormous audience. That lesson has...

The Oversight Board's critical evaluation of Meta's shift from professional fact-checking to a crowdsourced Community Notes model. This transition faces significant scrutiny regarding its potential to exacerbate human rights risks in repressive regimes, conflict zones, and during high-stakes elections. The Board warns that the program's current design suffers from slow response times and a lack of punitive consequences for misinformation. Additionally, the texts cover the Board's demand for stricter rules on AI-generated content and a retrospective on five years of increasing platform accountability. Other reports highlight broader industry shifts, including the decline of music journalism at Pitchfork due to algorithmic curation and Meta's strategic budget cuts to its metaverse division. Finally, the collection notes a trademark dispute between Meta and the MPAA over the use of the "PG-13" rating for teen accounts.

Paul and Amy salute (and side-eye) Trey Parker and Matt Stone's anything-goes puppet satire that took aim at everyone in the post-9/11 era. They unpack the film's wild blend of Thunderbirds-style craftsmanship and Jerry Bruckheimer bombast, from its rapid-fire production to the army of puppeteers behind its explosive set pieces and yes, they discuss that infamous sex scene that pushed the MPAA to its limits. You can join the Unspooled conversation on Paul's Discord at https://discord.gg/ZwtygZGTa6 Follow Paul and Amy on Letterboxd for more of their movie hot takes! https://letterboxd.com/paulscheer/ https://letterboxd.com/theamynicholson/ Paul's book Joyful Recollections of Trauma is out now! Find it at https://www.harpercollins.com/products/joyful-recollections-of-trauma-paul-scheer Check out more of Paul's writing on his Substack https://substack.com/@paulscheer Episodic Art by Kim Troxall: https://www.unspooledart.com/ Learn more about the show at Unspooledpod.com, follow us on Twitter @unspooled and on Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Spotify or where you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pete Matthew and Roger Weeks cover self-employed saving rates, inheritance tax and estate planning, and how dividends are treated inside pension drawdown (including SIPPs). They also discuss salary sacrifice and contribution limits, the pros and cons of recycling tax-free cash, and whether to overpay your mortgage or invest via a Stocks & Shares ISA. Shownotes: https://meaningfulmoney.tv/QA42  01:07  Question 1 Hi Pete and Roger, Thank you for your amazing podcast! My question is about budgeting & savings percentages: Should you aim for a % of your gross pay or your net pay when it comes to aiming for a savings percentage? e.g. Invest 20% of gross or net? I'm self employed and work contract to contract. From each contract payment I have to give 25% to agents and lawyers. Then I get paid the rest and have to put aside some of the money ready for the Tax man. When planning for how much I should save / invest from each contract payment should I be putting aside: 20% of the original contract amount? (which would be prior to the agents taking their cut and prior to the tax man taking his cut?) 20% of the amount left after the agents but prior to the tax man? Or 20% after both the agent cut and tax man cut? Thank you! Isabel 05:50  Question 2 I am a 70 year old widow with no children.  My current net worth is about £2 million. This is made of of a house (£500,000), savings and investments (£1,150,000) and a drawdown pension pot of £350,000 which I inherited from my husband.  My husband died aged 68 so the pension pot is currently tax free. I plan to leave our inheritance tax free allowances of £650,000 to family, mostly nephews and nieces and the reminder to charities.  The drawdown pension will also go to named family members until the rules change in 2027 after which this will also go to charity.   I understand that this would mean my estate wouldn't be subject to inheritance tax.  Am I right about this? Is there anything I might not have thought about or any flaws in my thinking? Thank you for your very informative podcast, Susan 08:24  Question 3 Hi Pete and Roger,  I'm still catching up on the back catalogue and am still loving the show, the listener questions are a great alternative, absolutely brilliant :) My mind has been wandering as it usually does, and this time thinking about my retirement plan and what dividends will look like at retirement. I have some queries I would love you to clarify please if possible. As it stands I have a combination of SIPP and stocks & shares ISAs all globally diversified with various stocks and ETFs etc and also a NHS DB pension.  I'm about to turn 49 and planning on a retirement at around 60. I'm trying to plan in the most tax efficient way (obviously this may change with future governments). For now though I am trying to max out my ISAs regularly for the tax free benefits and in particular focussing on a goal of using global ETF high yield dividends as income  annually at retirement. I have a Vanguard SIPP with 3 ETFs. I plan to take the 25% tax free amount from this when I retire. The rest (75%) I plan to leave as is, in the same ETFs and as they will hopefully still be paying dividends, I am a little confused as to how these will be regarded, such as for tax purposes? My assumption is the dividends will be added as cash to my now 75% remaining pot and then if I start to drawdown on this then I guess I will be taxed as normal depending on my tax status at the time only on what I drawdown as income. However when the dividends are added to my drawdown (75%) portfolio will this be part of my annual tax free (currently £500) dividend allowance OR will they not count as they are in my "pension pot" (and not classed as income) as is the case currently pre-retirement? At the present should I actually be adding the dividends that I currently receive in my pension pot to my annual tax free allowance (£500 for me)? (I assumed dividends in a SIPP don't need declaring/adding up towards your annual tax free dividend allowance). I hope that all makes sense? Thanks for all your work with the podcasts and Listener Questions too, you guys are awesome! Cheers lads, Jon 13:22 Question 4 Dear Pete and Roger, I've just turned off lifestyling on my pension thanks to your excellent podcast and videos. You may have saved me thousands so many thanks! I now have a cunning plan! I work for a university and have a hybrid pension with the Universities Superannuation Scheme (USS). Payments for my regular defined benefit (DB) pension are made via salary sacrifice. I'm also making additional voluntary contributions to the defined contribution (DC) part of USS, also by salary sacrifice. I've increased these DC payments to a level where my reduced effective pay is just above the level of the National Living Wage. As all my USS contributions, DB and DC, are made by salary sacrifice, they count as employer contributions. As I understand it, I am also allowed to make employee pension contributions to an entirely separate SIPP up to the full level of my Relevant Earnings, which in my case is my salary alone. Is that correct? If so, am I allowed to make employee contributions up to the level of my original salary (before salary sacrifice reductions)? Or am I only allowed to make employee contributions up to the level or my reduced salary (after salary sacrifice), just above the level of the National Living Wage? Is my plan a sound one or is it a cunning plan worthy of Baldrick? I'm 54 years old and a basic rate tax payer with a salary of about £37,000 per annum. I do not expect to be promoted. Simon 17:56  Question 5 Hi Pete and Roger, Long time listener and watcher on YouTube and think it is absolutely wonderful all the free good advice you put out there. I hope you give yourselves a pat on the back for helping so many people build their wealth and no doubt have a better future in their latter years than they would have had without you. As I reach a certain age I am pondering a strategy and was wondering if you could advise if this is a flawed approach, letting the tax tail wag the dog or perfectly valid. I've never heard anyone suggest it and can't believe that I have an idea that experts haven't thought of. It involves recycling tax free lump sums from an existing DC pension. My understanding is that you have to "break" ALL the conditions to breach the recycling rules and the one I am considering not breaking is "tax free lump sum is less than £7,500 in any 12 month period". The idea is this: - Crystalise 30K. £22.5K into a drawdown pot and left untouched so as to not trigger the MPAA. £7.5K tax free cash withdrawn - Take the £7.5K tax free cash and recycle it into a new SIPP - Benefit from 40% tax relief to gain an additional £5K - Do the same a year later and repeat until actual retirement If I did this for the 10 years between first accessing my DC pension and retiring from employment at state pension age that's an extra £50K "free". The only downside I can see is that by crystalising you remove a portion of your existing DC pot from being able to have a 25% tax free slice of a bigger pie in the future. However I would have thought by putting the tax relief and tax free cash into a new SIPP, plus 25% of that total being tax free second time around when withdrawn, it would outweigh the downside, particularly if you think you're going to be a lower rate tax payer in actual retirement. Any thoughts gratefully received. Keep up the great work and fantastic content. Kind Regards, Tom 24:40  Question 6 Hi Rodge & Pete Love the energy of the show, both educational and also very funny one of my favourite financial podcasts! I recently purchased my first home solo at 35 on a 39 year mortgage term which takes me above the standard retirement age and I do hope I am not working full time by the age of 74. I went with the longer mortgage term to keep monthly costs down initially with the plan to possibly review this when my fixed term comes to end in 2030. I contribute monthly to my S&S ISA currently £200 with the plan to double this in 2026 but should I be diverting some of these funds instead to overpay the mortgage? I'm conflicted about this as I believe I will get better returns on the S&S ISA over the 39 year period vs saving interest on the mortgage. I currently contribute to my employer DC pension and also have a fully funded 3 month emergency fund so any spare cash can be put to work for my future. Thanks, Chantelle  

Enjoying the podcast? Tell us what you think below and give us a review or rating. As always we'd love to hear your suggestions and feedback. Send us an email: podcast@pensionbee.com.   In this bonus episode we hear from PensionBee customer, Tony, as he tells us his pension story. Now in his early sixties, Tony's working part-time as a handyman to top up the income he's receiving from his pension savings. With the help of pension pro, and VP Brand and Communications at PensionBee, Rachael Oku, we'll unpack the tips you might want to take from Tony's story. This episode offers especially useful lessons for older savers approaching retirement, helping you make sense of what a 'phased retirement' could mean for your finances.   Episode breakdown 01:07 The popularity of phased retirement 03:57 Balancing mortgage payments and pension contributions 08:12 Navigating different allowances for different accounts 11:28 Waiting on the State Pension to fully retire   Further reading, listening and watching To learn more about the topics discussed in this bonus episode, check out these articles and podcasts from PensionBee: E45: The rise of micro-retirements (Podcast) Bonus episode: Personal finance tips for the self-employed (Podcast) E4: Should you pay more into your mortgage or pension? (Podcast) How do I top up my pension? (Article) Inheritance Tax guide (Article) Should I take a lump sum from my pension? (Article) What is flexi-access drawdown? (Article) Can I take my pension at 55 and still work? (Article)   Other useful resources Check your State Pension age (GOV.UK) Pension Calculator (PensionBee) Retirement Living Standards (Pensions UK) The money purchase annual allowance (MPAA) for pension savings (MoneyHelper) The new State Pension (GOV.UK)   Catch up on the latest news, read our transcripts or watch on YouTube: The Pension Confident Podcast The Pension Confident Podcast on YouTube Follow PensionBee (@PensionBee) on TikTok, YouTube, Instagram, LinkedIn, Facebook, X and Threads.

Happy Valentines Day!!! Today we're heading deep underground to crack open My Bloody Valentine (1981). the grimy Canadian slasher that proves nothing says romance like a pickaxe to the heart. Set in a mining town where Valentine's Day comes with a body count, this cult classic blends blue-collar dread, holiday horror, and some truly brutal kills. We dig into the film's troubled production, the infamous MPAA cuts, and why its atmosphere hits harder than most slashers of the era. Is Harry Warden one of the most underrated horror villains? And does this movie deserve more love than it gets? Grab your gas mask, lock the mine shaft, and join us as we unearth one of the bloodiest Valentine's dates in horror history.TikTok: https://www.tiktok.com/@wheel.of.horror7?is_from_webapp=1&sender_device=pc YouTube: https://www.youtube.com/@wheelofhorrorpodcast1802/videos Apple Podcast: https://podcasts.apple.com/us/podcast/wheel-of-horror/id1534102813 Spotify: https://open.spotify.com/show/3HnyAISG8Z8hvMFdSG60tE?si=9b785cf21c7f46a3 Instagram: https://www.instagram.com/wheel_of_horror/ Twitter/X: https://twitter.com/HorrorWheel

Movie reboot trivia from www.Crowdpurr.com!  Fact of the Day: The movie "South Park: Bigger, Longer and Uncut" was supposed to be rated NC-17 due to excessive profanity, with the f word being used 146 times alone. The MPAA said that 400 or more swear words would get the NC-17 rating, so Matt Stone and Trey Parker cut the number in script to 399. Triple Connections: Bar, Foot, Toad THE FIRST TRIVIA QUESTION STARTS AT 01:10 SUPPORT THE SHOW MONTHLY, LISTEN AD-FREE FOR JUST $1 A MONTH: www.Patreon.com/TriviaWithBudds INSTANT DOWNLOAD DIGITAL TRIVIA GAMES ON ETSY, GRAB ONE NOW!  GET A CUSTOM EPISODE FOR YOUR LOVED ONES:  Email ryanbudds@gmail.com Theme song by www.soundcloud.com/Frawsty Bed Music:  "Newer Wave" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SPECIAL THANKS TO ALL MY AMAZING PATREON SUBSCRIBERS, INCLUDING:   Samantha Wheeler Mark Kloppenburg Alan Kreisel Rich Sommer Joe Heiman Waqas Ali Bringeka Sam Nathan Stenstrom Brooks Martin Robyn Price Gee Brian Clough Lauren Schuette Evan Lemons AnneMarie Mattacchione Yves Bouyssounouse Kenny Zail York yates Gay Geek Fabulous Mollie Dominic Nathalie Avelar Natasha raina leslie gerhardt Diane White Youngblood Trophy Husband Trivia Lynnette Keel Lillian Campbell Jerry Loven Jamie Greig Jeremy Yoder Adam Jacoby rondell Adam Suzan Tiffany Poplin Bill Bavar Sarah Daniel Hoisington Keith Martin Sue First Steve Hoeker Jessica Allen Lauren Glassman Brian Williams Brett Livaudais Linda Elswick Carter A. Fourqurean Justly Maya Brandon Lavin Kathy McHale Chuck Nealen Courtney French Nikki Long Mark Zarate Laura Palmer  JT Dean Bratton Kristy Erin Burgess Trenton Sullivan Jen and Nic Michael Redman Timothy Heavner Jeff Foust Richard Lefdal Myles Bagby Jenna Leatherman Vernon Heagy Albert Thomas Kimberly Brown Tracy Oldaker Sara Zimmerman Madeleine Garvey Jenni Yetter Patrick Leahy Dillon Enderby James Brown Christy Shipley Clayton Polizzi Alexander Calder Ricky Carney Paul McLaughlin Willy Powell Robert Casey Matthew Frost Brian Salyer Greg Bristow Megan Donnelly Jim Fields Mo Martinez Luke Mckay Simon Time Feana Nevel

In this holiday-themed episode of How I Met Your Monster, Zach, Danny, and Casey unwrap Damien Leone's Terrifier 3, a Christmas-set descent into extreme horror led once again by Art the Clown. What begins as festive fun quickly turns into a debate about gore limits, audience intent, and what horror is supposed to make us feel.The hosts explore whether Terrifier 3 is simply a showcase for increasingly elaborate kills or a continuation of the franchise's growing mythos. While Casey celebrates the film as peak fan service and Art's strongest performance yet, Zach and Danny wrestle with visceral reactions, lingering violence, and the physical toll of watching the movie. Along the way, the conversation touches on Christmas horror traditions, MPAA censorship history, Freddy Krueger comparisons, and why Art the Clown has become one of modern horror's most recognizable icons.Love it or hate it, Terrifier 3 sparks exactly the kind of reaction it sets out to provoke—and this episode captures that tension in real time. Subscribe on Apple Podcasts, Spotify, and YouTubeFor bonus content and commentaries, check out our PatreonFollow the show on Instagram, TikTok, and FacebookWant to support the show and save 20% on Fangoria? Visit Fangoria and enter PROMO CODE: HOWIMETYOURMONSTER at checkout!Looking for How I Met Your Monster merch? Check out TeePublic for shirts, stickers, mugs, and more!Questions and comments: howimetyourmonsterpodcast@gmail.com

In 1984, producer Steven Spielberg, writer Chris Columbus, and director Joe Dante brought a new breed of cuddly creatures to the big screen, hoping to draw in fans of other odd critters like Yoda and E.T. The star of this film is the adorable "mogwai" (Chinese for "devil") named Gizmo, who propagates some very odd offspring that terrorize a small town on Christmas Eve. Released the same weekend as Ghostbusters, this horror-comedy was a hit with audiences, earning $212 million on an $11 million budget. The flick spawned a 1990 sequel, subtitled The New Batch, and a TV series, with a forthcoming third film, Secrets of the Mogwai, in the works. On the merchandising side, the Gizmo plush became an instant hit as one of the top toys of Christmas '84. And, of course, there were plenty of knock-offs, from Critters, to Munchies, to Ghoulies. Perhaps most notably, the film's violence and gore, packaged in family-friendly wrapping paper, led to the creation of a new MPAA rating category: PG-13. But forty-one years later, are we still going gaga for Gremlins? Or have these vicious vermin overstayed their welcome like unruly in-laws at the holidays?   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/  

Lair of the White Worm (1988) is picked by Dave this week, and it's one of those wonderfully unhinged British horror films that could only have come out of the'80s. Written and directed by Ken Russell, the movie was loosely based on Bram Stoker's 1911 novel of the same name - though in true Russell fashion, it quickly veered far from the source material and into surreal, erotic, and darkly comic territory. Produced by Vestron Pictures, the same studio behind Dirty Dancing and Return of the Living Dead, the film was made on a modest budget of around $2 million. Despite its low cost, Russell filled it with his signature visual flamboyance, blending Gothic horror, mythological imagery, and satirical British eccentricity into something uniquely chaotic.Filming took place in Derbyshire, England, using local countryside locations to give the film its haunting yet distinctly English atmosphere. The cast included a mix of rising and established talent - notably a young Hugh Grant, years before his rom-com fame, and Peter Capaldi, long before becoming Doctor Who. The movie was shot in just six weeks, with Russell working fast and loose, improvising many of the more bizarre scenes on set. Upon release, it divided critics: some praised its camp energy and gleeful weirdness, while others dismissed it as absurd. Over the years, though, Lair of the White Worm has achieved cult status - celebrated for its blend of folk horror, sensuality, and sheer outrageousness that only Ken Russell could deliver.If you enjoy the show, we have a Patreon, so become a supporter ⁠⁠⁠here⁠⁠⁠.Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠Trailer Guy Plot SummaryIn the quiet English countryside, something ancient… something hungry… has awakened.When a strange discovery uncovers a dark legend, a group of unsuspecting locals is pulled into a world of hypnotic seduction, slithering evil, and serpentine terror. As ancient forces rise and modern reason crumbles, the line between myth and nightmare disappears - and no one is safe from the creature that has waited centuries to strike.Lair of the White Worm — brace yourself… this is one bite you won't walk away from.Fun FactsLair of the White Worm was one of Vestron Pictures' final horror productions before the company collapsed in the late 1980s.The film is very loosely based on Bram Stoker's novel of the same name — many critics note that only names and the central “worm” concept survive Ken Russell's adaptation.Amanda Donohoe, who plays the seductive Lady Sylvia Marsh, won the role after Russell saw her on stage in London and loved her bold, fearless screen presence.The movie contains several surreal hallucination sequences inspired by Ken Russell's own Catholic school upbringing, which he frequently mocked in his work.Hugh Grant has said that working with Russell early in his career taught him to embrace creative risks, even when the material was utterly bizarre.The white worm effects were achieved using hand-built animatronics and puppetry, combined with old-school editing tricks to hide limited movement.Costume designer Vicki Carroll created Lady Sylvia's iconic snake-themed outfits, including her famous white body paint and fanged headpiece.The film's soundtrack includes original music composed by Stanley Myers, who is also known for scoring The Deer Hunter.The movie was released unrated in the United States because the producers felt an MPAA rating would be impossible without severe cuts.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

Based on the true story of a 20-something writer from rural Maine. Inspired by actress SALLY KIRKLAND's performance in the sleeper hit, ANNA (Oscar nominee, Independent Spirit Award and 1988 Golden Globe winner), Zack takes the leap to pursue his ambitions of a Hollywood Career. After driving cross country, in a chance encounter he meets his lifelong idol, the week he arrived. Sally hires him on the spot to be her assistant, where he quickly learns her career is a shambles. He dedicates himself to finding a way to land her back on the red carpet where she belongs.   SALLYWOOD stars Sally Kirkland, Tyler Steelman, Tom Connolly, Eric Roberts, Lenny Von Dohlen, Kay Lenz, Michael Lerner, Maria Conchita Alonso, with Keith Carradine and Jennifer Tilly. It was written and directed by Xaque Gruber and produced by Steven J. Wolfe. The film features songs by Rufus Wainwright, Toni Basil & Smokey Miles. The film has a running time of 90 minutes and will not be rated by the MPAA. It has won over 50 Awards during its festival circuit!   Buffalo 8 released the film on digital platforms on November 14, 2025.  To view the trailer, go to: https://youtu.be/BAhC50Jgd5k For more information, go to: www.sallywoodmovie.com https://www.xaquegruber.com/  SOCIAL MEDIA HANDLES: Facebook: sallywood the movie https://www.facebook.com/profile.php?id=61561341323412 Instagram: @sallywoodmovie https://www.instagram.com/sallywoodmovie/ X: @sallywoodmovie https://x.com/SallywoodMovie Stay Connected with me: https://www.instagram.com/shesallovertheplacepodcast https://www.chonacas.com/links/  

Motorcar Parts of America, Inc (MPAA) - Selwyn Joffe, Chairman, President & CEO - presents at the Gabelli 49th Annual Automotive Symposium in Las Vegas on November 3rd, 2025. Moderated by Edward Nakamura (Research Analyst), with additional questions by Brian Sponheimer (Portfolio Manager). To learn more about Gabelli Funds' fundamental, research-driven approach to investing, visit https://m.gabelli.com/gtv_cu or email invest@gabelli.com. Connect with Gabelli Funds: • X - https://x.com/InvestGabelli • Instagram - https://www.instagram.com/investgabelli/ • Facebook - https://www.facebook.com/InvestGabelli • LinkedIn - https://www.linkedin.com/company/investgabelli/ http://www.Gabelli.com Invest with Us 1-800-GABELLI (800-422-3554)

It's another varied mix of questions, with a couple on catching up after a late start, avoiding the 60% tax trap and lots more. Shownotes: https://meaningfulmoney.tv/QA30  01:03  Question 1 Hi, I'm curious if you have advice, best practice or tools to advise people who have a reasonable rental property portfolio on how to plan for retirement? I am 55, have taken 50k tax free cash, and 13k a year drawdown, approx 40k left.  I have 11 rental properties, but I am still remortgaging and buying more properties.  Currently have about 450k available to reinvest into a few more properties, and then probably stop buying. I'm really struggling to understand how much I can/should have available to spend each month, especially as I'm still reinvesting into properties.  I'm sure I should be spending way more than I am, but can't work out how best to put a retirement plan together to show how much I truly afford to spend each month. Love your content, and thanks for any advice you may be able to give. Thanks, Paul 09:49  Question 2 Hi Pete and Rog. Big fan of the podcast, keep up the good work. I am looking at ways to stay under 100k income each year to remain eligible for childcare benefits. I know if I were to make AVC into my work pension this would help to remain below that figure. I would prefer to put this money into a SIPP. My question is if I got paid the money and deposited it into a SIPP instead of my work pension will this reduce my income tax and prevent me from going over 100k and losing childcare benefits. Kind regards, Joshua 12:33  Question 3 Hello Pete and Roger, Firstly, thank you so much for such an informative podcast. I don't think I listen to a single episode without taking away something valuable! My question relates to what I should do to with money as I accumulate it for the next financial year's ISA and SIPP allowance. For context- I am 39, an NHS doctor with an NHS pension, have a paid off mortgage and have started making SIPP contributions to bring my adjusted net income below the 60% tax threshold. I am in the privileged position to be able to contribute maximum S&S ISA contributions at the beginning of each tax year and already have filled premium bonds allowance as my emergency fund. Should I put my accumulating savings in a high interest savings account until April, or am I missing out on growth each year and should I be using a GIA with a bed and ISA approach? I appreciate there may be tax on savings interest above £500 or CGT on anything over £3k gains. I just don't want to be missing out on the best approach for the next 20+ years as I hopefully continue to max out ISA and pension contributions. Thank you so much in advance and keep up the fantastic work! Paddy   16:36  Question 4 Dear Pete and Rodge, I am relatively young (36) and have started listening to your podcast relatively recently (in the last year). What I like about it best is the calming relaxed attitude that money matters are discussed in and the comforting belief that life is more important than money I think shines through. Comparison is the thief of joy I know but I find it hard to situate myself in relation to where I ‘should' be financially. I stayed at university a long time (10years) and so always perceived of myself as ‘in debt' and living to the brink of my means, I didn't have a credit card but I would spent all my money and save nothing. When I did eventually get a job it didn't pay much and again it was paycheck to paycheck for many years. Then came three big changes almost at once. First me and my wife had a baby daughter come along, next the company I worked for went bust and third I found your podcast! Something about the mix of these three made me sit up, take notice and want to engage with my finances where previously my head had been in the sand. I did very much feel like I was way behind the running. I managed to find a job which paid almost a third as much take home pay again and decided to set up savings for my daughter, set up an emergency fund, increase pensions contributions, open a stocks and shares ISA, all of the good stuff that you guys continually discuss. However, I still am very much of the opinion that I am way behind the game and starting late which is a shame seeing as time is such a valuable component in investing. My question to you guys is, were you in my position, where would be the first places you would look to educate yourselves on the right things to do next? I feel like I don't know what I don't know and things continually surprise me (for instance I didn't realise that having a car on finance was considered bad debt until the other day). I have this constant nagging doubt that I will be missing something because I haven't started from the beginning. I did consider going back to the start of the podcast when I found it, but Rodge wasn't even around in the first few so I didn't enjoy it as much and also felt like maybe some advice would have gone out of date? Is there a key place for me to start, non-negotiable sources I have to get to grips with in the first place that you can direct me to? What would you do? Very keen to learn your thoughts and hugely appreciative of all your efforts! Kind regards, Dan 24:16  Question 5 Hello Pete & Roger I've gained Incalculable value from listening to you so keep up the amazing work! I have a DB-DC hybrid scheme and at my target retirement age (64) my projections say I'll have £33K p.a DB income + £345K DC pot. This would give me ~ £86K TFC allowance at the pot. My plan has been not to take any TFC on the DC pot upfront and to use regular UFPLS withdrawals to reduce income tax over the long term. However, as this is a hybrid scheme, if I take both DB and DC components at the same time I can keep the DB at £33K p.a. and take £220K TFC upfront. This has made me question my slow TFC strategy as I can realise far more taking it upfront by leveraging the DB ‘value' but only at that point in time. My thoughts are to then find a way to get this £220K TFC into S&S ISAs where they would be invested in the same way as in my DC pension. This would allow me to reduce income tax massively over my lifetime. This seems too good to be true! Is it? Problem will be finding a home for such large amounts of cash Options Max mine and wifes ISA allowances (£40K p.a) £10K p.a. contribution  to mine and wifes DC pots  (MPAA limited) (£20K p.a.) Any other options? Thanks, Duncan 28:46  Question 6 Greetings Pete and Roger, Speaking as a fellow Gen X gruff Northerner (…Pete!), I'd just like to express my huge gratitude to you both for rescuing me from years of financial ineptitude, misdirection and investing ignorance. I can only blame myself, but losing a parent in my late teens, then late 20s, and subsequently finding myself on the non-receiving end of ‘Sideways disinheritance' (Dad remarried / mirrored will / sold our family home to pay second wife's debts….) didn't help with establishing good long-term financial habits. Thankfully, the financial clouds parted 21(ish) months ago when I discovered your excellent Youtube videos, first book, and podcast back catalogue, including a tour de force in ‘tough love' re: DC pension catch up.  Since then, I've been desperately trying to catch up, with a rough target of getting a DC pot to support an UFPLS annual 3.5 - 4% withdrawal of, the magic, £16,760. Starting from a very low base, I've been using direct payments from my own Limited Company into a Vanguard SIPP, approximately £3k+ per month (yes, I'm living on lentils..) combined with transferring personal contributions of £10k from money sat in a S&S ISA, thereby getting tax relief up to my small wage of £12.5k.  Using this mechanism, I've placed £48k into the pension (mindful of the £60k limit – tax relief is added on the 10k personal, but 19% corp. tax is saved on the employer contributions) in the last financial year, but won't be able to sustain this forever. My question is as follows – provided I still make a net profit after the Employer pension contributions, am I correct in assuming I'm ok re: the ‘Wholly and exclusively' HMRC test?  The employer pension payments dwarf the remaining net profit, from which I then take a small amount of dividends, and a smaller corporation tax payment is made at 19%. Also, provided I don't transgress the personal earnings limit (£12,570 for me), is that ok also re: also putting in from the employee side? Am I missing anything at all?  E.g. could you use the ‘carry-forward rule' to top up previous years with employer contributions from the Limited company?  I'm assuming the answer is ‘no', as dividends don't count as earnings / they don't exceed £60k, but thought I'd ask anyway! Apologies for the ‘War and Peace' length question, and thanks again. Stay intentional, Bill PS: Really like the ‘Catching up' section of your, also excellent, second book Pete.

When a woman wakes up captive in her own vacation rental, she must revisit memories of former guests to unmask her attacker – and find a way out alive. HELD HOSTAGE IN MY HOUSE (formerly called Blunt) was written and directed by Anna Elizabeth James (Deadly Illusions). It stars Amy Smart, Matt Davis, NE-YO, Billy Zane, and Greer Grammer. The film has a running time of 87 min and was rated TV-14 by the MPAA. Netflix released the film on October 15. I had the amazing opportunity to chat with female filmmaker Anna Elizabeth James. Anna is all about empowering and telling stories specifically for women. We go into what it takes to make a film, we even chat on the unknown business side, sales reps, distro, and so much more.  Dive into this impactful episode, be sure to take notes and share with other female entrepuerars.  https://www.instagram.com/annaelizabethjames Shout out to Valentina Sarfeh as all of her artwork is featured in the film! Looks like we may have her on the podcast soon for you!  https://www.instagram.com/valentinasarfeh/?hl=en Stay connected with me:  https://www.chonacas.com/links/

In this episode of Fan Effect, originally produced for a KSL NewsRadio special, host Andy Farnsworth asks, “When parents see a movie rating, do they really understand what it means? What goes into a movie rating? Who rates the movies in the first place?” He examines the movie rating process and how it can help parents best decide what movies are the most appropriate for their kids. Talking with experts, he explores the process of rating a movie, discusses what the MPAA looks at when considering how to rate a movie, and delves into the reaction from filmmakers and studios to those ratings. The brains behind Fan Effect are connoisseurs of categories surpassing nerdy, with a goal to publish a weekly "What to Watch on the Weekend" minisode taken from KSL-TV's Friday segment, and two deep-dives a month on shows, creative works, artists, local events, and other fandom topics.  Based in the beautiful beehive state, Fan Effect celebrates Utah's unique fan culture as it has been declared The Nerdiest State in America by TIME, and is hosted by KSL Movie Show's Andy Farnsworth and KSL Podcasts' KellieAnn Halvorsen.  Listen regularly on your favorite platform, at kslnewsradio.com, or on the KSLNewsRadio App. Join the conversation on Facebook @FanEffectShow, or Instagram @FanEffectShow. Fan Effect is sponsored by Megaplex Theatres, Utah's premier movie entertainment company.

Life brings Luke Wolf, a war veteran, back to his hometown, where his sister is, who has Down Syndrome. Things are different, or maybe it's just that now he's different. After years of running from his problems, Luke must face his monsters. MONSTERS WITHIN was written, directed, produced, and stars Devin Montgomery (Worm). The film was executive produced by Curtis Gardner and also stars Kendall Cavener (The Last Rodeo), Skeeta Jenkins (Puppet Master: The Littlest Reich, Jakob's Wife, Satanic Panic), Daniella Montgomery, Brandon Stewart (Sovereign) who was also the DP, and Samuel French (Killers of the Flower Moon, Fear The Walking Dead) in his final starring role before his tragic death. French has won several Best Supporting Actor awards for his intense performance in MONSTERS WITHIN, and the film is dedicated to him.  The character of "Elle," who is the main character's sister and the heart and soul of the movie, is played by Devin Montgomery's actual sister, Daniella Montgomery. She has performed at several events for the Down Syndrome Associations and Special Needs choir in Oklahoma. The story of the bond between a brother and sister, with one having special needs, being portrayed as authentically and real as possible, was very important to both Devin and Daniella Montgomery. This award-winning film has screened at numerous film festivals including WorldFest-Houston International Film Festival - WON BRONZE for BEST FIRST FEATURE FILM, Edinburgh Independent Film Festival - WON BEST LEAD ACTOR (Devin Montgomery), Stockholm City International Film Festival - WON BEST ACTOR (Devin Montgomery), Cowpokes International Film Festival - WON BEST SUPPORTING ACTOR (Samuel French), Bare Bones International Film Festival - WON AUDIENCE CHOICE FOR BEST FEATURE FILM and BEST ACTOR (Devin Montgomery), Red Dirt International Film Festival - WON BEST FEATURE FILM, Indie Vegas Film Festival - WON BEST HORROR/THRILLER FEATURE FILM, Massachusetts Independent Film Festival - awarded an OUTSTANDING ACHIEVEMENT FOR FIRST FEATURE FILM, among many other festivals. MONSTERS WITHIN has a running time of 100 minutes and will not be rated by the MPAA. Buffalo 8 will release the film on digital platforms on October 3, 2025. The film will premiere on Cineverse's Screambox on November 7 in time for Veterans' Day.    To view the trailer, go to: https://www.youtube.com/watch?v=ZWHJj4P6N7E  For more information, go to: https://www.monsterswithinmovie.com/ Social Media Handles: https://www.instagram.com/monsterswithinmovie/ Tik Tok: https://www.com/@monsterswithinmovie/   YT: Watch the Full Interview on https://youtu.be/Dxq7S2Ck7Uw Stay conneted with me: https://www.chonacas.com/links/    

Send us a textIt's The Review Review RAPID FIRE for Spooky Season! Our returning guest, Kimbo, joins Paul for a short stay in the studio for "Poltergeist," (d. Hooper ((?))  1982). In our most questionably rated adventure since "Earth Girls Are Easy," we attempt to invoke the spirits of the MPAA to explain their logic in the PGness of this film. Can armchair Quarterback parents be more effective than ACTUAL parents? And of course, that f*****g clown. Go into the light 10/6!**All episodes contain explicit language**Artwork - Ben McFaddenReview Review Intro/Outro Theme - Jamie Henwood"What Are We Watching" & "Whatcha been up to?" Themes - Matthew Fosket"Fun Facts" Theme - Chris Olds/Paul RootLead-Ins Edited/Conceptualized by - Ben McFaddenProduced by - Ben McFadden & Paul RootConcept - Paul Root

STAR TREK IV – Episode 14: Nuclear Wessels, Plexiglas & ein Schlauch mit Sendungsbewusstsein In dieser Folge: • Echte Navy-CIC-Indizien vs. Studiotricks (PPI/AN/SPA-25-Look, Sound-Powered-Phone, Low-Light) • Scottys „Lass“: Herkunft, Bedeutung, TOS/TNG-Belege • Temporale Verschmutzung: Chekovs Phaser/Kommunikator, ENTERPRISEs temporaler Kalter Krieg („Carpenter Street“), *BTTF II*-Vergleich • 1985/86: Geneva-Summit-Stimmung, SDI, Nuclear-Freeze-Bewegung • Plexicorp-Heli: Filmgeografie vs. In-Universe-Logik • MPAA vs. FSK: Warum „son of a bitch“ PG-tauglich ist • Der Mann mit dem Schlauch: Wasser-Performance vor dem Aquarium Viel Humor, viele Fakten, keine Langeweile.

Junk Food Dinner returns with the historic episode 690! To celebrate, we're looking at the first X-rated movie, a horny dog movie and a trashy party comedy!Up first, iconic sleaze director Russ Meyer makes history with the first movie given an X rating by the MPAA (before NC-17 was a thing) with a story about a racist woman, staying in the Canadian wilderness and exploring multiple sexual taboos in Vixen from 1968.Next, Chevy Chase plays an American private eye in London who is killed but returns to Earth as a dog (played by Benji) in order to solve his own murder with the help of his love interest Jane Seymour in Oh! Heavenly Dog from 1980.And finally, a group of college losers attempt to throw an ultimate party in order to save their frat and get even with the jocks who ridicule them in 1989's Assault of the Party Nerds!All this plus TV chat, Kevin's adventures at the movies, the Deathstalker reboot, the Toxic Avenger reboot, a rundown of the latest anime releases and so much more!LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll keep this podcast going with your love and support.

Movie of the Year: 1999South Park: Bigger, Longer, and Uncut (feat. Nate Ragolia!)Why South Park: Bigger, Longer, and Uncut Still MattersIn this hilariously unfiltered episode of Movie of the Year, the Taste Buds revisit the notorious 1999 film South Park: Bigger, Longer, and Uncut. Blending satirical genius with musical chaos, the movie left a cultural impact, and the Taste Buds are here to explore how it still resonates 25 years later.With its fearless takedown of American censorship, over-the-top commentary on masculinity, and rare-for-its-time portrayal of homosexuality, South Park: Bigger, Longer, and Uncut is more than just fart jokes and foul language. It's a surprisingly poignant time capsule of late-‘90s anxiety, and the Taste Buds break it all down.Censorship in South Park: Bigger, Longer, and UncutNo movie waged war with the MPAA quite like this one. The Taste Buds analyze how South Park: Bigger, Longer, and Uncut skewers moral panic, parental outrage, and the hypocrisy of the film rating system. From the “R” rating controversy to the meta-commentary built into the plot, this section reveals why censorship is the film's true villain.Masculinity and War: Boys Being BoysSouth Park: Bigger, Longer, and Uncut builds its central conflict around immature boys triggering a global catastrophe. The Taste Buds examine how the film employs absurd humor to expose the fragility of masculinity and the toxic expectations society places on young men. Expect debate on whether Cartman is the id of American manhood—or just a chaotic neutral goblin.Homosexuality and Big Gay Al: A Queer SubtextIn a surprising turn for a 1999 mainstream animated movie, South Park: Bigger, Longer, and Uncut includes a sympathetic queer character in Big Gay Al. The Taste Buds discuss the film's portrayal of homosexuality, including its satirical (yet sincere) celebration of queer identity. From Saddam and Satan's toxic romance to the hopeful notes of Big Gay Al's song, the film blends camp and commentary in unexpected ways.Guest Panelist: Nate Ragolia from Debut BuddiesSpecial guest Nate Ragolia, co-host of the movie podcast Debut Buddies, joins this episode with insightful takes and a deep appreciation for chaos. Nate helps the Taste Buds unpack why South Park: Bigger, Longer, and Uncut still resonates today, from its musical theater references to its unflinching (and hilarious) view of American culture.Related Episodes You'll Love:The Iron Giant – 1999 Movie PodcastThe Green Mile – 1999 Movie PodcastThe Action Figures Draft – Movie of the YearFinal Thoughts: Revisiting South Park: Bigger, Longer, and UncutSouth Park: Bigger, Longer, and Uncut is more than a relic of juvenile rebellion—it's a cultural commentary wrapped in fart jokes and musical numbers. Whether you're a longtime fan or revisiting it for the first time, the Taste Buds' discussion offers new reasons to appreciate the film's satire, boldness, and weird emotional resonance.Stream the episode now and rediscover why South Park: Bigger, Longer, and Uncut still punches up, punches through, and—occasionally—sings its way into our hearts.

Tonight we're rewinding the VHS of pop culture to ask one simple question: Whatever happened to all the boobs? In the 1980s and early '90s, R-rated flicks were basically a wet-T-shirt contest with a plot: think Porky's meets Friday the 13th with bonus saxophone music. Fast-forward to the 2000s and suddenly the MPAA slaps you with an NC-17 if a naked ankle lingers too long—but show a dude getting pencil-stabbed in the eyeball and you're coasting into PG-13 territory. We'll break down: Why the ratings board will karate-kick a nipple off the screen but high-five a headshot. How global markets said “no thanks” to nudity but “yes please” to neck snapping. The rise of prestige TV—where dragons, teen angst, and full-frontal somehow coexist. Whether the pendulum could swing back, or if Hollywood is permanently stuck in “From Breasts to Blood” mode. All of it sprinkled with real research (shout-out to Brown & Childers, Thompson & Yokota, Ward, and the rest of the citation squad) so you can cite something besides your uncle's Blockbuster memories.  

Send us a textThe 80's gave us some of the best scary movies, but it wasn't without a cost. On this episode we discuss the failed attempts from the MPAA and NVALA to handcuff and abolish horror in the decade of excess. PLEASE REMEMBER TO SUBSCRIBE! THANK YOU FOR THE SUPPORT

You may be surprised to learn those ubiquitous ratings, from G to NC-17, put on movies in America are actually handed down by anonymous employees of a secretive organization that serves as a lobbying firm for Hollywood's six biggest studios.See omnystudio.com/listener for privacy information.

Adam Green is a filmmaker, screenwriter, and horror icon best known for creating the Hatchet franchise and directing cult favorites like Frozen, Digging Up the Marrow, Spiral, Chillerama, and more. He is the co-host of The Movie Crypt podcast and founder of ArieScope Pictures.In this episode, Adam opens up about the brutal reality of filmmaking — from nearly walking away during the pandemic and the collapse of his dream project, Killer Pizza, to streaming platforms dismantling independent film. He shares personal stories of building a cult audience, the real reason Scary Sleepover disappeared from YouTube, and the constant battle to keep creative control. We also discuss the aftermath of the strike, censorship by the MPAA, and the madness of navigating Hollywood as an indie horror director.We talk origins of Hatchet, casting horror legends, the convention circuit, the return of slashers, and the death of physical media. Adam reflects on directing a younger cast in his upcoming film The Ascent, and shares untold stories about working with Tony Todd, Felissa Rose, Sid Haig, and the chaos of some of his most iconic films.Also covered: Yorkiethon 2025, the potential return of Scary Sleepover, social media controversies, Terrifier, cancel culture, and how horror has evolved in the age of streaming.—Subscribe: youtube.com/@TalksFromTheCryptFollow On Social Media –Talks From The Crypt: https://instagram.com/talksfromthecrypt / https://talksfromthecrypt.com Adam Green: https://www.instagram.com/adam_fn_greenYORKIETHON JULY 25-27, 2025: https://www.ariescope.comThe Movie Crypt Podcast: https://www.patreon.com/TheMovieCrypt—00:00:00 - Intro00:00:30 - The Movie Crypt Podcast, Wanting to Quit, Killer Pizza, Streaming vs. Physical Media, Pandemic Aftermath00:13:35 - The Reality of Filmmaking, Filming & Touring Hatchet and Frozen, Dealing With Critics00:20:47 - Holliston, Finding DP Will Barrett, First Feature Film, and Lessons In Actually Finishing What You Start00:29:32 - Writing, Working with Comedy, 48 Hour Live Stream, ArieScope's YouTube Channel - Halloween Shorts and Scary Sleepover00:39:48 - The Selection of Adam's Casts, Directing Performances, Working With a New Cast on 'Ascent', Being the "Old Guy" On Set00:53:44 - Casting Horror Icons, The Death and The Reviving of Slashers, Remakes & Reboots, Keeping Screenplays Private01:03:45 - Relinquishing Creative Control, Censorship, Trailers Spoiling the Film, Writing 'I, Survivor,' Writing Real Names Into Scripts01:15:11 - Vivid Detail in Writing, Digging Up The Marrow, Headaches of Distribution, Fan Letters and Theories01:47:16 - Using Practical FX, Final Destination, Bloodlines, Using Fears for Plots01:58:47 - Recasting Marybeth in Hatchet, Good Looking Casts, Filming Overseas in Malta, Grateful To Be a Filmmaker02:05:57 - The Strike and Pandemic's Effect on Hollywood, Damien Leone Twitter Controversy, Cancel Culture, and Social Media02:23:09 - Meeting Fans at Conventions, Tattoos, Being Lucky to Exist in Horror Culture, Bringing Back Scary Sleepover, Tony Todd, Sid Haig, and Making Friends With Anxiety02:38:19 - The Last Drive-In, Getting Booked at Conventions, Adam's Growth Since Hatchet 1, and Future Projects02:47:27 - Terrifier, MPAA's Censorship, Making Sequels02:54:28 - Horror Stories of Getting Recognized in Public, Yorkiethon, Gratitude for Horror Community03:03:19 - Adam Green's Social Media, Yorkiethon (JULY 25-27, 2025), and Outro—Copyright Disclaimer:Under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

In some of Hollywood's best-loved movies, Jack Nicholson played jokers, sailors, inmates – even the Devil himself. But he never played by the rules. He allegedly mooned a crowd of thousands at a basketball game. His bedroom kinks were laid bare in the papers. He fought the MPAA and the LAPD. And in 1994, he attempted to establish his own set of rules when he attacked an idling Mercedes-Benz with a two-iron. This episode contains themes that may be disturbing to some listeners, including sexual assault and child sexual abuse. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoicesSee omnystudio.com/listener for privacy information.

In some of Hollywood's best-loved movies, Jack Nicholson played jokers, sailors, inmates – even the Devil himself. But he never played by the rules. He allegedly mooned a crowd of thousands at a basketball game. His bedroom kinks were laid bare in the papers. He fought the MPAA and the LAPD. And in 1994, he attempted to establish his own set of rules when he attacked an idling Mercedes-Benz with a two-iron. This episode contains themes that may be disturbing to some listeners, including sexual assault and child sexual abuse. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome back F.A.B. FAM. This week the ladies sink thier teeth into Ryan Cooglers first original film and instant classic, Sinners! Sinners is a genre-blending horror set in 1932 Mississippi. This haunting tale follows twin brothers returning home to escape their past—only to find something far darker waiting for them... Vampires! As always, the crew pulls no punches, unpacking the film's rich themes: the duality of human nature, the eternal struggle between good and evil, and how racism itself is a real-life horror story. Tune in for a conversation that's as gripping as the film. You won't want to miss this one. Cheers!

Daniel and Erwin review the box office hit, Ryan Coogler's "Sinners." They talk about the dual Michael B. Jordan performances, what makes the film so unique and special, the music, and so much more. Did they love it, did they hate it, or are they Somewhere Between? Listen to find out!Description:Trying to leave their troubled lives behind, twin brothers return to their Mississippi hometown to start again, only to discover that an even greater evil is waiting to welcome them back. Release date: April 18, 2025 (USA) Director: Ryan Coogler Running time: 2h 17m MPAA rating: R Budget: 90 million USD Producers: Ryan Coogler, Sev Ohanian, Zinzi Coogler

Get ready to set sail as Apocalypse Video goes back to Titanic to see where it all began for James Cameron and his journey to becoming King of the World (and of the box office). I'm your host and ship's Captain, Dave, and joining me as we collide with destiny are fellow cinephiles and Third Class passengers Mike, Ryan, and Jackie. Topics of discussion in this episode include a debate on how soon is too soon to make a movie about a (Spoiler Alert: 84 years is NOT too soon); Paul Rudd goes back in time to put Leonardo Dicaprio on the path to superstardom; and finally, we break down the MPAA's rating formula for allowable nudity: 1 nipple = PG-13, 2 nipples = R. Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com  That'll do it for this episode, folks. Now, if you'll excuse me, I hear the band playing and the water's starting to get a little too close for comfort, so I think I'll just go chill on the bridge until this whole thing blows over.

Send us a textHONKYTONK MAN TGTPTU continues to play its old hits with Episode 5 of Season 14, its redux series season celebrating five years and don't you worry about us, hoss, we'll get through this pairing of Eastwood flicks starting with HONKYTONK MAN (1982).  Originally discussed toward the end of the epic run covering all of Clint Eastwood's filmography (Season 3, Episode 12), founding cohosts Ken and Jack invite the show's newer hosts Ryan and Thomas in to session with fresh ears and silver tongues on this adaptation of the Dust Bowl era, vaguely veiled retelling of the final years of country wester legend Jimmie Rodgers novel by Clancy Carlile adapted by him and Eastwood into a semi-comedic bildungsroman road trip movie.  Two years prior to the creation of the PG-13 rating by the MPA (né MPAA), this Eastwood-directed and starring flick brings in Eastwood's own son Kyle, roughly 14 years of age at the time, to play the nephew of a singer/songwriter who gets into all kinds of trouble with his honkytonk uncle man, from underage driving to poultry theft to jailbreaking and whoring (procured, not proffered) and contact marijuana highs and hit song composing between f-bombs and s-words and statutory rape.  Original ep guest Patrick drops in with some words of encouragement before the gents figure out on mic that this movie was Ryan's other rewatch flick pick and the show gets on the road with recently promoted host Ryan having things to say about the music scoring; Thomas checking facts like a hockey enforcer checks bodies on the ice; Ken having a spell during which he actively hallucinates Eastwood wearing his hat backwards and suppresses coughs; and Jack, staying mostly awake for this retirement home movie that borders on a “lead paint flick” designation, brings the low energy by the bushel. Also of interest, pod fav Tracey Walter appears “right chair” in the movie and “black pill” is the word of the day.  Find out what these four have to say now that the dust has settled and chickens come home to roost and learn why this Depression Era coming-of-age and one final hurrah adult-teen road trip movie with musical act interludes might be one of the least watched of Clint Eastwood's films.   CONTENT WARNING: The hosts say the titular “h word” a lot. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!): Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

On this edition of Parallax Views, Terrifier 2 & Terrifier 3's star final girl, Lauren LaVera, has a new fright flick, The Fetus, coming out on March 7th that'll combine comedy and body horror! And it'll also feature horror icon Bill Moseley, know for his roles as the brutal killer Otis Driftwood in Rob Zombie's House of 1000 Corpses & The Devil's Rejects and the demented Choptop in Tobe Hooper's The Texas Chainsaw Massacre 2, in a deliciously macabre role as a blind veteran with psychotic side. As you can probably surmise from the title, the movie will tackle pregnancy horror and creature feature thrills vis-à-vis a demonic baby. If you're a fan of 80s horrors like John Carpenter's The Thing or Wes Craven's A Nightmare on Elm Street, you'll be glad to know that the movie relies heavily on practical creature effects. It also promises to be a timely fright flick in light of the debates the rage on in American culture over abortion. Joining us to discuss the movie is the film's director, Joe Lam. We'll talk about the experience of working with Lauren LaVera and Bill Moseley, the long process of writing the movie, the influence of Orson Welles' Citizen Kane on Joe, the film's use of practical effects and the award-winning work of Alex Rojas on the creature effects, the decision to release The Fetus unrated and increasing obsolescence of the MPAA ratings system in the age of streaming, thoughts on Sean Baker's Oscar speech in which he made a call for defending independent film and movie theaters in an age where both are under threat, balancing comedy/humor and horror, the importance of story and character development in Joe Lam's approach to horror, and much, much more!

Happy (belated) Valentine's Day, everyone! Sure, maybe the holiday has already passed, but the moment hasn't, because the love is still in the air! (And be honest, you were busy on Friday anyway ;-p).Our love for this movie, for instance. For the small-town vibes. For the country music that pervades damn-near every scene in this film. For the bonkers kills, love triangle drama and all the restored footage that returned this film to it's pre-MPAA-censored glory!This is the Valentine's Day movie to end all Valentine's Day movies in our humble opinion, and we invite you into our little love shack to talk about it!What did Harry Warden say to the entire town of Valentine Bluffs?-Be.........MINE!Send us a textSupport the showPodcast art by Jayson Cessna: https://jaysoncessna.crevado.comMusic by Dusty Lane, created in LMMS.Movie clips provided by https://movie-sounds.org/horror-movie-samples/Audio Engineer: Michael Jones: https://www.facebook.com/bikerackrecords

Welcome back to the show where romance gets roasted, movies are rated, and the tangents fly faster than Jeff Goldblum in a red leather jacket. Here's what's cooking this episode:Romance, Ruined: Johnny Spoiler admits he's a romantic who doesn't believe in romance. Confused? So is he. But he's happy to break it down with terms like "micromancing" (tiny gestures over grand ones) and "DMWs" (dating with Johnny in the middle, because why not?).Male Archetypes: Ever wondered if you're a "sex pig" or a "toxic turkey"? Johnny doesn't hold back on playful commentary about male casting in real life and pop culture.Buffy's Back: Sarah Michelle Gellar is set to reprise her iconic role in aBuffy the Vampire Slayer reboot on Hulu. Cue the nostalgia!Headlines and Movie Trivia: From Dave Franco to Peter Dinklage, a road trip comedy calledThe S**heads is already stirring up title trouble (looking at you, MPAA). Plus, Johnny dives into the indie gemBetween the Lines, a 70s flick about scrappy journalists and life's inevitable changes.Binge-Worthy or Not?Johnny rates Between the Lines as a "binge later." It's got heart, but its smooth jazz pacing might make you sleepy unless you're in the mood for something mellow.Listener Shoutouts:Fan "Nexfyful" chimes in withDemolition Man as a top pick, but does it hit Johnny's sweet spot? Listen to find out.New Affiliate Alert:MeetGRUV, your one-stop shop for physical media. Whether you're into anti-Valentine's Day Blu-rays or rom-com classics, GRUV's got you covered.https://bit.ly/GruvMovies

This is it!  Our final podcast of 2024.  We have a full house this episode with our friend and special guest, Elvis joining us.  We recorded this show on Friday, December 13th and decided to break out the hockey mask once again.  Part 7 is celebrated for Kane Hodder's inaugural performance as the unstoppable killer.  Although the MPAA cut the violence to ribbons its the stunts and Jason work that really sells this pinnacle entry in the Friday series.  Join us as we give the Horror 101 treatment to John Carl Buechler's Friday the 13th Part 7:  The New Blood.Show Highlights:01:00  Prelude to Terror04:00 Friday the 13th talk...12:45  Opening Monologue...13:30  Inadvertent Manslaughter...15:40  Returning to the Lake...17:30  Matchbook Exercise...20:10  Resurrection...23:40  First Victims...27:45  I Saw Him Again...30:30  Sleeping Back Death...35:50  You Never Intended to Help...38:00  Maddy's Death...41:10  Human Shield...43:20  We were ROBBED!45:30  Battling The New Blood...50:15  The Stairs Stunt...56:00  The Longest Burn...57:25  The Last Scare...59:45  Scoring the Film...69:50  Conclusion...Happy New Years!

Welcome back to the drive-in and the seventh instalment of Cult Movie Trailer A-Go-Go. We've left a gift for you in a box. Do you dare open it and experience the best and worst exploitation cinema has to offer? You might find some blood thirsty horror among our offerings, maybe some off-beat comedy, perhaps some sand and sword-swing fantasy, but beware the animals might attack you if you are not careful, and the slashers near the high school might be the last thing you ever see. Prepare for an evening of adventure, laughter and terror as only the Invasion of the Remake Drive-In can deliver in Cult Movie Trailer A-Go-Go 7: What's in the Box? 0:00:00 Segment from Student Bodies (1981) 0:00:29 Intro / Welcome to the Drive-In 0:03:47 MPAA ratings system from This Film Not Yet Rated (2006) 0:05:17 Previews of Coming Attractions 0:05:33 Snuff (1976) 0:06:27 Invasion of the Blood Farmers (1972) 0:08:10 Death Spa (1989) 0:09:47 Mutant (1984) 0:11:09 The Car (1977) 0:13:11 Intermission / Vintage Ads 0:14:19 Beach Babes from Beyond (1993) 0:15:56 Lobster Man from Mars (1989) 0:18:15 Rat Pfink and Boo Boo (1966) 0:19:10 The Russians are Coming (1966) 0:23:37 Where the Buffalo Roam (1980) 0:26:49 Intermission / Vintage Ads 0:27:48 The Dungeonmaster (1984, aka Ragewar) 0:29:41 Ator: The Fighting Eagle (1982) 0:31:47 Hercules in the Haunted World (1961) 0:33:20 Jason and the Argonauts (1963) 0:34:43 Sinbad and the Eye of the Tiger (1977) 0:36:52 Intermission / Vintage Ads 0:37:51 Empire of the Ants (1977) 0:40:04 Frogs (1972) TV spot 0:40:34 Great White (1981, aka The Last Shark) 0:41:53 Rattlers (1976) 0:42:19 Squirm (1976) 0:44:13 The Giant Spider Invasion (1975) TV spot 0:44:43 Bug (1975) 0:46:46 Zaat (1971) 0:49:15 Intermission / Vintage Ads 0:50:12 Graduation Day (1981) 0:51:56 Final Exam (1981) 0:53:18 Jennifer (1978) 0:55:18 Girls Nite Out (1982, aka The Scaremaker) 0:58:08 The Initiation (1984) 0:59:17 Happy Birthday to Me (1981) 1:00:14 Closing Down the Drive-In / Goodnight Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Spotify, Google Podcasts, Stitcher, PlayerFM, Tune In Radio, PodChaser, Amazon Music, Audible, Libsyn, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes / Apple Podcasts. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. https://invasionoftheremake.wixsite.com/podcast Follow us on Twitter: @InvasionRemake Like and share us on Facebook, Instagram & Tik-Tok: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Buy a cool t-shirt, PPE masks and other Invasion of the Remake swag at our TeePublic Store!

Sorry for the long title, but there's just so much we talked about! We're thrilled to welcome David Howard Thornton back to the show. We dive into the meteoric rise of the Terrifier franchise and independent horror, exploring how he went from a cult horror character to a bona fide icon and the benefits of opting out of the MPAA process. We even share some unexpected parenting advice! We also dig into his upcoming horror short/proof-of-concept, Joker's Wild, which he describes as a story from A Death in the Family turned up to 11. David takes on his dream role as the Joker, and our conversation unpacks the many interpretations of the character over the years, what makes each unique, and the challenges and joys of putting his own spin on such an iconic figure. Plus, we talk about which iconic character Ryan thinks David should play next! If you're a fan of horror podcasts, horror movies, or comic books, this episode is packed with incredible insights and fun stories. Don't miss it! #HorrorPodcast #Terrifier #JokersWild #DavidHowardThornton #HorrorMovies #IndependentHorror #ComicBooks #Joker #HorrorCommunity #Terrifier3 #Batman #ADeathInTheFamily #JasonTodd

#frombeyond #stuartgordon #jeffreycombs #barbaracrampton #brianyuzna #cultmovies #cultclassic #cultmoviereview #bodyhorror In 1986, Stuart Gordon, Brian Yuzna, Jeffrey Combs, and Barbara Crampton all reunited for their follow-up to their unexpected hit Re-Animator. While Yuzna was keen to do a direct sequel to Re-Animator (which he would later direct himself), Gordon and the rest of the team wanted to do an original story, piggy-backing off what they had previously learned and delivering something fresh and new. Unfortunately, despite a sizeable investment from producer Charles Band, the film failed to recoup it's $4.5M budget, largely due to the fact that in addition to tepid market, the film failed to receive an R rating from the MPAA, who insisted on labeling it NC-17 and thus drastically lowering its distribution potential. Thankfully, the film became notorious on the VHS Video Nasties circuit, and later in 2013, the film received it's much needed restoration, restoring it to it's full run-time by adding every available scene that had been cut (sadly, there are still some sequences that were lost to the annals of time). Join Jason Peters and Ryan Seybold as they analyze what makes this movie such a fun, slimy, gory classic of mid-80's body horror filmmaking, right here on Esoterica Cinema.

La lettre "X" est devenue le symbole universellement associé au contenu pornographique pour des raisons historiques, culturelles et commerciales, qui remontent à l'époque où la classification des films est devenue une norme. Voici un aperçu des facteurs principaux qui ont contribué à cette association. 1. Origines dans la classification des films Aux États-Unis, la Motion Picture Association of America (MPAA) a introduit un système de classification pour les films en 1968 afin de réguler le contenu destiné au public. Ce système utilisait plusieurs lettres pour catégoriser les films en fonction de leur contenu. Dans ce cadre, la lettre "X" a été choisie pour désigner les films réservés aux adultes, et qui contenaient des scènes de nudité, de sexualité explicite ou de violence extrême. Contrairement aux autres classifications, la mention "X" n'a jamais été officiellement enregistrée ou protégée par la MPAA, ce qui signifiait qu'elle pouvait être utilisée par n'importe qui, sans autorisation. 2. Utilisation commerciale et marketing L'absence de réglementation sur le label "X" a incité l'industrie pornographique à en faire un usage intensif pour commercialiser ses productions. Les producteurs de films pour adultes ont commencé à utiliser cette classification pour signaler que leur contenu était destiné à un public adulte. Pour attirer davantage l'attention, certains d'entre eux ont même utilisé des classifications comme "XX" ou "XXX", insinuant que le contenu était encore plus explicite ou provocant. Cette progression a consolidé l'association de la lettre X avec la pornographie, au point où "XXX" est devenu synonyme de pornographie hardcore dans la culture populaire. 3. Symbole de transgression et de tabou En tant que lettre, le "X" a une connotation visuelle et symbolique de transgression. C'est une lettre utilisée pour indiquer le danger, l'inconnu, ou quelque chose d'interdit. En mathématiques, par exemple, le "X" représente une valeur inconnue, et dans le langage courant, un "X" peut marquer quelque chose qui est interdit ou censuré. Ainsi, son usage pour désigner le contenu pornographique fait allusion à quelque chose de tabou et d'interdit, ce qui renforce l'attrait pour un public en quête de contenus réservés aux adultes. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this Halloween "spooky season" episode of Parallax Views w/ J.G. Michael, we delve into the unsettling world of true crime cinema with Chuck Parello, a filmmaker renowned for his work on notorious serial killer films. Parello began as the publicist for John McNaughton's groundbreaking and controversial Henry: Portrait of a Serial Killer, which faced a grueling battle with the MPAA that refused to grant it an R-rating despite extensive cuts. J.G. and Chuck discuss the haunting power of Henry, the terrifyingly quiet portrayal of the titular character by Michael Rooker, and how the film isn't a straightforward biopic of infamous killers Henry Lee Lucas, who came to be known as "The Confessions Killer" for fabricating many of his claims in exchange for special privileges, or Otis Toole but rather a unique examination of monstrous characters. Chuck then details his own sequel, Henry: Portrait of a Serial Killer, Part II, where Henry is drawn into the world of arsonists, shedding light on the creative origins of that choice. The conversation continues with Chuck's film Ed Gein, which diverges from fictionalized films inspired by the Butcher of Plainfield—such as Psycho, The Texas Chainsaw Massacre, and Silence of the Lambs—and instead stays grounded in the actual life and psyche of Ed Gein. Featuring Steve Railsback, known for his unnerving performance as Charles Manson in the 1970s TV miniseries Helter Skelter, Railsback's portrayal of Gein is both unsettling and oddly tragic, showcasing a different side of the infamous killer. Chuck and J.G. also discuss The Hillside Strangler, a disturbing portrayal of Kenneth Bianchi and Angelo Buono's deadly partnership, in which C. Thomas Howell and Nicholas Turturro take on chilling roles as the murderous cousins whose combined force drove them to escalate their crimes in late 1970s Los Angeles. Further, Chuck shares insights on his upcoming project on the Sunset Strip Killers/The Sunset Slayers (Doug Clark and Carol Bundy) and how he was originally was slated to direct the 2002 Ted Bundy biopic before Oingo Boingo's Matthew Bright ended up with the job. They tackle ethical questions surrounding the portrayal of real-life killers, the potential for exploitation, and the cultural obsession with true crime, shedding light on the complex responsibilities of filmmakers in this genre. This episode is a must-listen for fans of horror, crime thrillers, and serial killer cinema, as it examines the artistry and ethics of bringing these haunting real-life tales to the screen.

We're shaking our heads awake and ready to do mind battle as we talk about Friday the 13th Part VII: The New Blood. You'll hear what we think of one particularly standout performance in this sequel, a chat about the effect the MPAA had on the movie and how it's decisions affect the kills that fans love and what we think of the prolonged use of a maskless Jason. Thanks to our monthly supporters Andrew Pangle Nichole Peterson Steve Weiss Matthew Aldrich Edward Lankford Heather Sahami

Odd goings on. Cat thumbs, Gameshows, and Movie trailers. And the MPAA dosen't want you to see...Yes, I got the date wrong. I'm an idiot, and what's your point... Learn more about your ad choices. Visit megaphone.fm/adchoices

Prior to 1982's FAST TIMES AT RIDGEMONT HIGH, few films were brazen enough to depict an honest slice of teenage high school life. But that all changed with the keenly observant & smart pairing of writer Cameron Crowe & director Amy Heckerling. Not only did it usher in a brave new baseline for teen stories, but it also launched countless budding careers. Let's head back to school & rediscover the film that was edgy for its time… and now feels more progressive 40 years later! ///***Discussions include*** Brief recap of Cameron Crowe's early career & what led to his novel, Fast Times at Ridgemont High: A True Story, becoming a film; finding director Amy Heckerling, her relationship with Crowe & importance of a female voice; intense studio concerns, adapting the book, changes, creating a narrative flow, emotional complexity & tonality; soundtrack, the film's ending, memorable moments, in-depth character & cast discussion; struggle with the MPAA, editing, test screening, release/reception, plus the top movies of 1982. Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates & Sean Penn star in FAST TIMES AT RIDGEMONT HIGH (1982) /// Directed by Amy Heckerling. ///***Picks of the Week***     •    Lindsay's Pick: THE ANNIVERSARY PARTY (2001). Jennifer Jason Leigh, Alan Cumming, Phoebe Cates, Kevin Kline, Jennifer Beals /// Directed by Jennifer Jason Leigh & Alan Cumming.     •    Justin's Pick: RUSH (1991). Jennifer Jason Leigh, Jason Patric, Sam Elliott, Max Perlich /// Directed by Lili Fini Zanuck. . ///***MurrayMoment*** Cameron Crowe's seemingly impossible feat of landing Bill for his 2015 film, ALOHA. ///***Final Thoughts on FAST TIMES AT RIDGEMONT HIGH*** Coming in October:  CREEPSHOW (1982)     •    Please rate, review & subscribe.     •    Follow on Facebook, Instagram, TikTok & YouTube.     •    Hosts: Justin Johnson & Lindsay Reber // Music: Matt Pace // Announcer: Mary Timmel // Logo: Beau Shoulders. www.dontpushpausepodcast.com dontpushpausepodcast@gmail.com Be Kind & Rewatch // September 17, 2024     

Look out for UFOs and stay away from Froot Loops because we're discussing Gregg Araki's tender-yet-traumatizing adaptation Mysterious Skin (2004). Tagging in for the conversation is RogerEbert.com Assistant Editor and The Spool founder & EIC Clint Worthington. Join us as we have many difficult conversations about a film filled to the brim with controversial subject matter. From Joseph Gordon Levitt and Brady Corbet's heartbreaking performances to the accurate depiction of the long-term effects of child sex abuse, there's no shortage of things to talk about. Plus: a defense of the single working mother, praise for Michelle Trachtenberg, MPAA woes (again) and the journey of Scott Heim's source novel from page to screen. References: > "Gregg Araki's Mysterious Skin". Ion Magazine > Damon Young and Gilbert Caluya. “A Vessel of Imagery: An Interview with Gregg Araki”. Sense of Cinema > 'Mysterious Skin'. Hazel & Katniss & Harry & Starr Podcast > Peter Bowen. "THE WONDER YEARS: An Interview with Gregg Araki". FilmMaker Magazine > Jeff Otto. "Interview: Joseph Gordon-Levitt, Brady Corbet and Michelle Trachtenberg". IGN Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Ariel: @justaskabaska (Insta) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam Green is the creator and writer of the Hatchet franchise, and he shares some great stories about Hollywood, and what it took to get Hatchet made! He details his battle against the MPAA over Hatchet's NC-17 rating, and how that loss completely changed his movie and his life. He reveals what inspired the Victor Crowley character and look, how he comes up with the crazy, gruesome kills for each sequel, and what it took to get horror genre greats like Kane Hodder, Robert Englund, and Tony Todd involved in Hatchet. He breaks down the practicality behind some of his grossest kills like the double chainsaw murder and Tony Todd literally being ripped right out of his skin. And he explains what really happened with Eli Roth and Cabin Fever 2. Thank you for supporting our sponsors!Fan Duel: Visit https://FanDuel.com/JERICHO and start earning Bonus Bets with America's #1 SportsbookHello Fresh: Go to https://HelloFresh.com/50JERICHO and use code 50JERICHO to get 50% off plus 15% off your next two months.Factor Meals: Go to https://FactorMeals.com/TIJ50 and use promo code TIJ50 to get 50% off.Bosch Tools: Learn more at https://www.boschtools.com/us/en/Progressive: Quote today at https://progressive.comeBay Motors: Get the right parts, the right fit, and the right prices. https://ebaymotors.comSlingTV: Check out https://www.sling.com/ for special offers  STAY CONNECTED:TikTok: @ChrisJerichoInstagram: @talkisjericho @chrisjerichofozzy Twitter: @TalkIsJericho @IAmJerichoYouTube: https://www.youtube.com/c/ChrisJerichoFozzyWebsite: https://www.webisjericho.com/

Sharon Stone and Joe Eszterhas's post-Basic Instinct reunion film was one of the most troubled productions of the 90s. A post-Hitchcock tale of sexual surveillance given a technological update for the 90s, after a long battle with the MPAA the sanitized, R-rated version of Sliver was rejected by critics and audiences, but the movie and the juicy gossip leaked from its production (which included a love pentagon involving both actress and screenwriter) only enhanced Sharon Stone's aura as an old-school Hollywood star for a decade that didn't know what to do with her. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

While the MPAA's confusing and hypocritical ratings decisions were leaving filmmakers flummoxed in the early 90s, cable TV was opening up new possibilities for erotic content. Today we will offer a brief history of sex on TV, and then focus on Red Shoe Diaries, the cheesy-but-charming late night softcore soap that was the brainchild of 9 ½ Weeks writers/producers Zalman King and Patricia Knop.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices