Podcasts about Murder One

Markus Redmond chats about Ramangan lore, learning to write a novel, how George Floyd and Regarding Henry inspired Blood Slaves, and why he wanted Willie and Gertie to have a realistic romantic relationship. Markus Redmond studied acting in Hollywood during high school and has performed on stage and on screens in homes and theaters. Markus has appeared in multiple shows and movies, including Mad About You, NYPD Blue, Murder One, Curb Your Enthusiasm, and Fight Club. Steven Bochco recognized Markus's writing talent when he portrayed a recurring character on Dougie Houser M.D., giving Markus opportunities to attend script development sessions. In addition to his acting credits, Markus has sold movie scripts and his debut novel, Blood Slaves, will be on store shelves this July. You can find out more about Markus and his debut novel by following him on Instagram @markusredmond

Markus Redmond chats about Ramangan lore, learning to write a novel, how George Floyd and Regarding Henry inspired Blood Slaves, and why he wanted Willie and Gertie to have a realistic romantic relationship. Markus Redmond studied acting in Hollywood during high school and has performed on stage and on screens in homes and theaters. Markus has appeared in multiple shows and movies, including Mad About You, NYPD Blue, Murder One, Curb Your Enthusiasm, and Fight Club. Steven Bochco recognized Markus's writing talent when he portrayed a recurring character on Dougie Houser M.D., giving Markus opportunities to attend script development sessions. In addition to his acting credits, Markus has sold movie scripts and his debut novel, Blood Slaves, will be on store shelves this July. You can find out more about Markus and his debut novel by following him on Instagram @markusredmond

On today's show, Kyle Ayers (Conan) joins Matt & JD to discuss waiters getting to murder one customer per year, pretending you've seen movies you definitely haven't, wringing laughs out of a chronic pain disorder, why old men buy sports cars, the best midlife crisis purchases, telling your friend you suspect their wife is cheating, getting cut off at a wedding, it's hard to give someone a compliment about their mouth, monks love latte art, kids shouldn't be punished for cheating on tests, and judging Oscar contenders based on title alone.

On today's show, we welcome in the New Year with a Season Two Wrap Up of the Tulsa King starring our guy, Sylvester Stallone!Show Rundown: Happy New Year from Moody & Groo, Thoughts on the new trailer for James Gunn's Superman, Snuggling, Strong debate on Hulk Hogan's reaction on Monday Night Raw, Billy Joel's “sinister” Uptown Girl, Season Two of Tulsa King, Paramount +, Tulsa King spinoff? The excellent cast of TK, What did we think of the finale? Season Two review, Where might we go for season 3? ABC's Murder One, AP Bio is on Netflix, Moody and Groo love season two of Max Bookie.For out next episode of Van Dammit, we will give you our thoughts on Jean Claude Van Damme, 007 Roger Moore and an apparently no so young James Remar in The Quest.For our next episode of Nothing Worthwhile, Phil Collins is back with the documentary Drummer First, a look at his musical career as a drummer. Will Phil survive the entire documentary? Moody and Groo will let you know!Rip ‘Em!

On today's show, w we welcome in the New Year with a Season Two Wrap Up of the Tulsa King starring our guy, Sylvester Stallone! Show Rundown: Happy New Year from Moody & Groo, Thoughts on the new trailer for James Gunn's Superman, Snuggling, Strong debate on Hulk Hogan's reaction on Monday Night Raw, Billy Joel's “sinister” Uptown Girl, Season Two of Tulsa King, Paramount +, Tulsa King spinoff? The excellent cast of TK, What did we think of the finale? Season Two review, Where might we go for season 3? ABC's Murder One, AP Bio is on Netflix, Moody and Groo love season two of Max Bookie. For out next episode of Van Dammit, we will give you our thoughts on Jean Claude Van Damme, 007 Roger Moore and an apparently no so young James Remar in The Quest. For our next episode of Nothing Worthwhile, Phil Collins is back with the documentary Drummer First, a look at his musical career as a drummer. Will Phil survive the entire documentary? Moody and Groo will let you know! Rip ‘Em!

It's a "Kelly's Court" Christmas to begin our "True Crime Christmas" series this year. Megyn Kelly is joined by attorneys Arthur Aidala and Mark Geragos to discuss whether the new Los Angeles DA will slow or stop the process of the Menendez brothers getting released from prison, the potential gender bias in the case, the new evidence and the problems with the original prosecution, the wild new lawsuit against Jay-Z, the lawyer behind the suit and potential red flags within it, the accuser's "inconsistencies," the latest on Diddy and whether he is being treated fairly, the potential defenses for the UnitedHealthcare CEO assassin, whether an "insanity" defense could come into play, the decision by New York to charge Luigi Mangione with the very rare first-degree murder, the possibility for jury nullification, the lawfare against President-Elect Trump, whether the New York conviction will be thrown out, the latest comments from Alvin Bragg, and more.Grand Canyon University: https://GCU.eduTax Network USA: https://TNUSA.com/MEGYNLearn more about the Durbin Marshall Credit Bill: https://GuardYourCard.comFollow The Megyn Kelly Show on all social platforms:YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow

Today Nancy Grace and Sheryl McCollum discuss the latest on the Luigi Mangione case. They explain the legal nuances of the charges against him, the premeditation and intent behind his actions, and the implications of his crimes on victims and society. Nancy and Sheryl also examine broader issues, such as the public's controversial support of Mangione, the legal distinctions between murder charges, and the growing concern over ghost guns. Show Notes: (0:00) Welcome! Nancy and Sheryl introduce this week’s crime roundup (0:10) Sheryl introduces the updates on the Luigi Mangione case (1:00) Public reaction and outrage (3:00) Legal breakdown of murder 1 vs. murder 2 (8:00) Human trafficking and poaching routes (9:30) Evidence and investigation details (14:00) Connection to past infamous cases (17:00) Family impact and emotional toll (23:30) Ghost guns and legal implications (30:00) Personal reflections and closing thoughts --- Nancy Grace is an outspoken, tireless advocate for victims’ rights and one of television's most respected legal analysts. Nancy Grace had a perfect conviction record during her decade as a prosecutor. She is the founder and publisher of CrimeOnline.com, a crime- fighting digital platform that investigates breaking crime news, spreads awareness of missing people and shines a light on cold cases. In addition, Crime Stories with Nancy Grace, a daily show hosted by Grace, airs on SIRIUS XM’s Triumph Channel 111 and is downloadable as a podcast on all audio platforms - https://www.crimeonline.com/ Connect with Nancy: X: @nancygrace Instagram: @thenancygrace Facebook: @nancygrace Sheryl “Mac” McCollum is an Emmy Award winning CSI, a writer for CrimeOnLine, Forensic and Crime Scene Expert for Crime Stories with Nancy Grace, and a CSI for a metro Atlanta Police Department. She is the co-author of the textbook., Cold Case: Pathways to Justice. Connect with Sheryl: Email: coldcase2004@gmail.com X: @ColdCaseTips Facebook: @sheryl.mccollum See omnystudio.com/listener for privacy information.

Peter Onorati Interview | The Brett Allan Show | 'This is Us' 'Swat' and 'Cop Rock'! WATCH HERE! https://www.youtube.com/watch?v=np6WG2_HkmI&t=1211s Peter Onorati is an American actor. He is known for his TV roles as Charlie Howell on Civil Wars, Mr. Scotto on Murder One, Stanley Pearson on This Is Us, Jack Mumford on S.W.A.T., and his film roles in Goodfellas, and Fallen Arches.  Connect with us on our website for more amazing conversations! www.brettallanshow.com Have you got some feedback? Let us know! openmicguest@gmail.com Follow us on social media! Facebook https://www.facebook.com/thebrettallanshow Instagram https://www.instagram.com/brettallanshow/ YouTube https://www.youtube.com/@TheBrettAllanShow/videos LinkedIn https://www.linkedin.com/in/brett-allan-009458168/ Support the show! VENMO @-Brett-Allan-7 Cash App @brettallanshow74 Learn more about your ad choices. Visit megaphone.fm/adchoices

New Episode!!! This week Riplak & I sit down with Murder One of the South Park Coalition. We discuss his first memories of Hip-Hop, when he started rapping, meeting K-Rino, going to High School with Ganksta NIP, the SPC, new music & much more. As always the audio version is available on all major podcast platforms & the video version on YouTube.Follow the podcast on Instagram & X: @b_boypodcastFind us online: www.riplak.comFollow Murder One on Instagram: @murderonespc86

Click this link to get $5 off at book outlet and to connect with us on Goodreads https://linktr.ee/theliteraryclubpodcast  . You can also connect with us at literaryclubpodcast@gmail.com and @literaryclubpodcastThe Comfort Crisis: Embrace Discomfort to Reclaim your Wild, Happy, Healthy Self by Michael Easter Make You Feel My Love by Robin Lee Hatcher How to Age Disgracefully by Clare Pooley Water Water by Cary Fagan Meet Me at the Starlight by Rachel Hauck The Cinderella Murder by Mary Higgins Clark and Alafair BurkeOne by One by Freida McFadden

Twenty-five years ago, on September 22, 1999, one of the most beloved television shows of all time premiered on NBC: The West Wing, starring Martin Sheen, Rob Lowe, Allison Janney, Bradley Whitford, John Spencer, and a whole host of other talented actors, including our two guests today—but more on them in a moment. The political drama was created and largely written by Aaron Sorkin, one of my personal favorite writers, and aired from that day in 1999 until May 14, 2006, totaling seven seasons. Across its 154 episodes, we become immersed, as the title suggests, in the West Wing of the White House, where the Oval Office and the offices of those that work closely with the president are located, during the fictional Democratic administration of President Josiah Bartlet, played by Martin Sheen. The West Wing is regularly and often ranked among the best television shows of all time, and during its run won three Golden Globe Awards and a whopping 26 Primetime Emmy Awards, including the award for Outstanding Drama Series, which it won four consecutive times from 2000 to 2003. Beloved cast member John Spencer, who played chief of staff Leo McGarry, died unexpectedly of a heart attack on December 16, 2005, about a year after his character experienced a nearly fatal heart attack on the show. This, naturally, rocked the cast, and the show ended five months after his death. Today on the show we have two cast members, Melissa Fitzgerald and Mary McCormack, here to discuss their new book What's Next?: A Backstage Pass to the West Wing, Its Cast and Crew, and Its Enduring Legacy of Service, which is out August 13. This book is so great, and it's long—825 pages' worth of interviews and oral history about a show that changed culture. Today, Melissa, Mary, and I talk about what made The West Wing such a cultural touchstone, the show's enduring commitment to public service, the group chat that continues still today, what the book's title means, the show's legacy, and so much more. Melissa played Carol Fitzpatrick on the show, an assistant to press secretary C.J. Cregg (played by Allison Janney). In addition to her career as an actress—she has also appeared on Grey's Anatomy and in The Truman Show—she is also the founder of Voices in Harmony, a nonprofit community theater in L.A., and back in November 2013 joined Justice for Vets as its Senior Director. Mary played Deputy National Security Adviser Kate Harper on The West Wing and has appeared in films like Private Parts, Deep Impact, True Crime, and Mystery, Alaska, and on shows like Murder One, ER, In Plain Sight, Scandal, The Newsroom, Will & Grace, and The Kids Are Alright. I can't wait for you to hear this conversation!   What's Next?: A Backstage Pass to the West Wing, Its Cast and Crew, and Its Enduring Legacy of Service by Melissa Fitzgerald and Mary McCormack

  3:09:17 – Frank in New Jersey, plus the Other Side. Topics include: Car detailing and inspection, Whychick Revival, Fernwood, Dabney Coleman in Buffalo Bill, Murder One, TV stories per week, Twin Peaks theory, new hard drive, Dead and Company at Sphere update, MC 900 Foot Jesus was in The Telefones, Beavis & Butthead, Megalopolis, drive […]

3:09:17 – Frank in New Jersey, plus the Other Side. Topics include: Car detailing and inspection, Whychick Revival, Fernwood, Dabney Coleman in Buffalo Bill, Murder One, TV stories per week, Twin Peaks theory, new hard drive, Dead and Company at Sphere update, MC 900 Foot Jesus was in The Telefones, Beavis & Butthead, Megalopolis, drive cycle […]

 Why did they really murder former CIA Director William Colby? – The Millennium Report    Former CIA Director, William Colby, Killed in Boating Accident Days Before Subpoena to Testify that Missing POW's Worked for Secret Dope Smuggling Operation – HISTORY HEIST    The Man Nobody Knew – William Colby’s secrets told by his son Carl […] The post William Colby was the 10th CIA Director *Colby started with OSS.  Was he murdered?  Colby died in a “boating accident” days before testifying about Vietnam.  Why would they murder one of their own? appeared first on Psychopath In Your Life.

This week, I talk to legendary TV composer Mike Post about everything from the Law and Order dun-dun to his original album of musical suites.   If you've had a TV turned to a network station anytime in the last forty years, you've heard Mike Post's music. A stalwart in the TV scoring game, he is the voice of so many police and law procedurals, from The Rockford Files to LA Law to his Emmy-winning theme for Murder One. But most know him best as the voice of the long-running Law & Order franchise, having scored almost all of its varying spinoffs since the Dick Wolf flagship series premiered in the late 1980s.   But outside of his stuff TV schedule, Post is also incredibly busy as a solo composer, having just released his first standalone album in thirty years. Message from the Mountains & Echoes of the Delta is a two-part series of suites inspired by the blues and bluegrass music of his youth, lending an orchestral heft to the American musical traditions that have inspired his iconic career. It's a stellar series of tracks, ones that feel like an already-accomplished musical artist spreading his wings and revisiting the music that made him who he is today.   Message from the Mountains and Echoes of the Delta is currently available on your preferred music streamer, courtesy of Sony Music Masterworks.

Sam Blake, a.k.a. Vanessa Fox O' Loughlin, is the creator of Inkwell publishing consultancy group, award-winning online writing magazine Writing.ie, founder of the International crime writing festival Murder One and is well known by most for writing crime novels under the pseudonym Sam Blake. She has taken some precious time out of her no-doubt hectic schedule to speak to Claire and Rebecca about her life in the world of writing. Books mentioned in this episode: "Someone in the Attic" by Andrea Mara"Rebecca" by Daphne Du Maurier"The Little White Horse" by Elizabeth Goudge "The Wolves of Willoughby Chase" by Joan Aiken"Perfume" by Patrick Süskind- - -Thanks to Helen Becerra for the artwork and Mark Neville for the mixing.Music from #Uppbeat (free for Creators!):https://uppbeat.io/t/all-good-folks/make-it-work License code: PLGGIGEZMJI9NR3G and https://uppbeat.io/t/all-good-folks/funky-junkLicense code: BZFZTXSSQI4PW6NW ---Follow us on Instagram: @another.chapter.podcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/another-chapter/message

Nik and Duncan get into this album by former Iron Maiden vocalist, Paul Di'Anno. 10 years after his ouster from Iron Maiden, he returns with his most Iron Maiden-y album yet. Find out if we spin it or bin it!

Episode 446."The Shawshank Redemption"Actor: Don McManus.Don and I talk Seinfeld (Duncan Meyer), Dexter, The Shawshank Redemption,  Vice and  his most recent film Joker: Folie à Deux.A veteran character actor on some of TV's most quirky series, Don McManus got his first recurring role playing Erick Reese Hillman, the first gay character to marry his boyfriend on television, on the critically acclaimed CBS dramedy "Northern Exposure." Next up for McManus was a change of pace, playing dynamic manager Lee Michaelson in Steven Bochco's searing courtroom drama "Murder One" and a recurring role as a recovering alcoholic on the gripping family drama "Party of Five." McManus continued to work steadily, with guest roles in such high-profile series as the political drama "The West Wing," the crime series "Cold Case," and the refreshingly original sitcom "Malcolm in the Middle." His next big recurring role was as Assistant District Attorney John Lennox on David E. Kelley's off-kilter law series "Boston Legal," where he appeared as an attorney who battles Crane, Poole, & Schmidt. In between his busy television schedule, McManus also found the time to appear in several films, including the critically acclaimed prison drama "The Shawshank Redemption," Paul Thomas Anderson's absurdist "Punch-Drunk Love," and the big-budget Nicolas Cage adventure "National Treasure."Welcome, Don McManus.https://linktr.ee/mondaymorningcritic#theshawshankredemption #seinfeld #vice #dexter #podcast #fyp #interview #shortsThe Sitcom StudyWelcome to the Sitcom Study, where we contemplate the TV shows we grew up with and...Listen on: Apple Podcasts Spotify

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Our esteemed colleague Alan Sepinwall is back, mate(y)! An Australian spin-off of an already banal cop-show franchise is maybe not the best use of his time, but we talked about NCIS-franchise stock characters, unmemorable TV for aging parents, and what happens when English actors try to play ugly Americans. Later, we went Around The Dial with The Curse, The O.C., and Murder One before wondering whether God is dead during Mike's The Leftovers Canon presentation. Alex P. Keaton won, Nickelodeon execs lost, and Game Time had us Quantum Leap-ing into TV characters -- all that and more on an all-new Extra Hot Great, oh boy! GUESTS

La octava temporada del Podcast «Cine de Barra» ha comenzado con un emocionante episodio: «Series de Nuestra Vida». En este programa, los anfitriones Orri, Luigi Vercotti, Valdis y Benalmadelman se sumergen en una delirante conversación sobre las series que marcaron sus vidas. Desde clásicos inolvidables hasta joyas ocultas, este episodio te llevará en un nostálgico viaje por el mundo de la televisión. En «Series de Nuestra Vida», los miembros (con perdón de la palabra) del programa comparten sus recuerdos más preciados de las series que los acompañaron a lo largo de los años. Entre las mencionadas se encuentran «Falcon Crest», el drama familiar que mantuvo a las audiencias cautivas con sus intrigas y pasiones. «Murder One», una serie legal y de misterio que mantuvo a los televidentes al borde de sus asientos mientras desentrañaba complejos casos y secretos oscuros. «V», la serie de ciencia ficción que trajo extraterrestres reptilianos a la Tierra y cautivó a una generación con sus efectos especiales y su intrigante narrativa. «Yo, Claudio», un drama histórico que transporta a los espectadores a la antigua Roma y ofrece una visión única de la política y la traición en el Imperio Romano. «La Vuelta al Mundo de Willy Fogg», una serie de aventuras que sigue el viaje de un intrépido viajero y su equipo en un emocionante viaje alrededor del mundo. «Fraggle Rock», un mundo mágico habitado por criaturas entrañables que enseñan valiosas lecciones sobre la amistad y la cooperación. Otras series son «El chavo del ocho», «Doctor en Alaska», «Dallas», «Dinastía»… El episodio es un viaje en el tiempo que te permitirá revivir momentos especiales de estas series clásicas. Las anécdotas y comentarios de los anfitriones te harán sentir como si estuvieras sentado junto a ellos recordando las tramas, los personajes y las emociones que estas series evocan. «Series de Nuestra Vida» en el Podcast «Cine de Barra» es un verdadero regalo para los amantes de la televisión y la nostalgia. Es una invitación a recordar y apreciar las series que nos han impactado a lo largo de los años y que siguen vivas en nuestros corazones. Sintoniza este episodio y prepárate para sumergirte en un viaje a través del tiempo y las emociones mientras Orri, Luigi Vercotti, Valdis y Benalmadelman comparten su pasión por estas series clásicas. Desde dramas familiares hasta aventuras épicas, estas series han dejado una huella imborrable en el mundo de la televisión y en la vida de quienes las disfrutaron. ¡No te lo pierdas!

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week on Miami Vice: Tubbs wins an all-expense paid trip that turns into a nightmare once he realize the island was practically bought and funded with the late Esteban Calderone's drug money, which died along with him, and Orlando Calderone (John Leguizamo) is on his way to seek revenge on Tubbs yet again. Vincent D'Onofrio guest stars as a criminal who Tubbs helped lock up on a Murder One charge that magically got out, wonder who's side he's on? Michael Mann casting strikes hot with the gorgeous Alicia who was out favourite seductive wife in Season One's "The Great McCarthy", who stars as Alicia and who works together with one of Tubbs' exes from New York (not Valerie). Thank you for listening and I will see you all in September after taking August off :) Show Notes Gallery S3E17 (https://imgur.com/a/AwpSZfC) For more Vice and Easy Tiktok: @viceandeasypodcast Instagram: @viceandeasypodcast (https://www.instagram.com/viceandeasypodcast/?hl=en) YouTube: Vice and Easy Podcast (https://www.youtube.com/channel/UCm2ci7Vb75Tgf1uGMOjfvNQ)

METALLICA: "HARDWIRED... TO SELF-DESTRUCT" com todas as faixas comentadas ao vivo! Faixas: Disco 1 1. "Hardwired" 3:10 2. "Atlas, Rise!" 6:30 3. "Now That We're Dead" 7:00 4. "Moth into Flame" 5:52 5. "Dream No More" 6:30 6. "Halo on Fire" 8:16 Disco 2 1. "Confusion" 6:42 2. "ManUNkind" 6:56 3. "Here Comes Revenge" 7:18 4. "Am I Savage?" 6:30 5. "Murder One" 5:46 6. "Spit Out the Bone" 7:10 Formação: James Hetfield (vocal e guitarra) Kirk Hammett (guitarra) Robert Trujillo (baixo) Lars Ulrich (bateria) ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

This week on Miami Vice: Crockett books a young kid named Archie caught up in the drug world by accident when he tries to make some money to buy new football cleats to impress scouts and works to help him get the charges tossed and achieve his dream. The Asst. State Attorney, who's looking to nab the 15-year old drug kingpin known as Count Walker, has other plans and wants to use Archie as a pawn to get him charged on Murder One for selling black tar heroin to kids. Other topics include: going undercover at high school, "yutes", wild gang outfits in television history, non-profit charitable organizations and taxes and more! Editor's note: Oops, sorry, I realized I left out the final convo between Crockett and Lt. Atkins (John Spencer) Gallery S3E5 (https://imgur.com/a/SjXQ8F7) For more Vice and Easy Tiktok: @viceandeasypodcast Instagram: @viceandeasypodcast (https://www.instagram.com/viceandeasypodcast/?hl=en) YouTube: Vice and Easy Podcast (https://www.youtube.com/channel/UCm2ci7Vb75Tgf1uGMOjfvNQ)

Listen up, metalheads! Get ready to witness an explosive interview between the ultimate host, Chris Akin, and the legendary Motorhead drummer Mikkey Dee. Brace yourself as they dive deep into the nitty-gritty of the latest Motorhead release, BAD MAGIC: SERIOUSLY BAD MAGIC, and the new singles that are guaranteed to blow your mind. Mikkey Dee shares his thoughts on online trolls, his seamless transition from Motorhead to Scorpions, and even gives his two cents on Metallica's "Murder One". This is one episode that you cannot afford to miss, so hit that play button now and crank up the volume! And hey, while you're at it, don't forget to smash that subscribe button to keep up with all our latest episodes and exclusive content. BECOME A VIP: https://bit.ly/cms-vip GET A FREE RUMBLE ACCOUNT: https://rumble.com/register/classicmetalshow/ GET A FREE ODYSEE ACCOUNT: https://odysee.com/$/invite/@ClassicMetalShow:a Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode! **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Get all our episodes at www.chrisakin.net. Facebook: www.facebook.com/chrisakinpresents Instagram: www.instagram.com/chrisakinpresents Twitter: www.twitter.com/realchrisakin Youtube: https://www.youtube.com/channel/UCol9mEEohs58oVsvtcnCevA --- Send in a voice message: https://anchor.fm/cmspn/message

Listen up, metalheads! Get ready to witness an explosive interview  between the ultimate host, Chris Akin, and the legendary Motorhead  drummer Mikkey Dee. Brace yourself as they dive deep into the  nitty-gritty of the latest Motorhead release, BAD MAGIC: SERIOUSLY BAD  MAGIC, and the new singles that are guaranteed to blow your mind. Mikkey  Dee shares his thoughts on online trolls, his seamless transition from  Motorhead to Scorpions, and even gives his two cents on Metallica's  "Murder One". This is one episode that you cannot afford to miss, so hit  that play button now and crank up the volume! And hey, while you're at  it, don't forget to smash that subscribe button to keep up with all our  latest episodes and exclusive content.

Adam and Almighty talk to Bang Em Smurf about his rise, early days in New York, being in the streets, his relationship with 50 Cent, and more. ----- 00:00 Intro 0:00 Introduction to Bang 'Em Smurf and Adam asks about his upbringing, moving to New York from Trinidad 3:05 Bang 'Em Smurf on starting to hustle at a very young age 5:15 Bang 'Em Smurf talks about being introduced to sports by a local hustler 6:20 Bang 'Em Smurf on being a sh__ter at the age of 12 7:10 Bang 'Em Smurf talks about the Lost Boyz crew in New York 9:30 Suspect asks Bang 'Em Smurf how his mom felt about him hustling at a young age and run-in with the law 11:04 Bang 'Em Smurf on facing 10 years after his first case at age 13 12:20 Adam asks Bang 'Em Smurf about meeting 50 Cent at age 14, says he was a bully 14:40 Bang 'Em Smurf on how him and 50 Cent grew their relationship after meeting and hustling together and knowing him before working on music 16:20 Bang 'Em Smurf on the time that 50 Cent was starting to make music and being in the "Murder One" video 17:10 Bang 'Em Smurf talks about the time 50 Cent got shot and took on some of his beef 19:20 Adam asks Bang 'Em Smurf what the plan was once 50 Cent got signed 22:00 Suspect asks Bang 'Em Smurf about the reaction when "How To Rob" dropped 23:03 Bang 'Em Smurf on G-Unit starting up and working on mixtapes with Tony Yayo and meeting Lloyd Banks 25:10 Bang 'Em Smurf talks about the mixtape reaching Eminem and co-signing him with Dr. Dre 26:20 Adam asks Bang 'Em Smurf about how the crew fell apart while on tour and fighting the road manager 31:20 Adam talks about rappers who get signed not changing up their life on the streets while 50 Cent left the street life behind once he got famous 34:30 Bang 'Em Smurf reacting to 50 Cent saying "He's like a God to them" 35:30 Adam asks Bang 'Em Smurf if he ever saw 50 Cent before the Summer Jam Event 37:55 Bang Em Smurf on running up on 50 Cent at Summer Jam and getting water thrown on him 43:45 Adam asks Bang 'Em Smurf about getting deported back to Trinidad for not being a citizen 45:00 Bang 'Em Smurf talks about helping out his community and meeting the stars when they go out to Trinidad 46:45 Adam asks Bang 'Em Smurf about what keeps him motivated while living in Trinidad and if he and 50 Cent will ever be cool again ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

New Mexico to be first state to have an official state smell. Couple together 57 years despite attempts at murder. Naked and Afraid contestant burnt penis on open fire. // Weird AF News is the only daily weird news podcast hosted by a comedian and recorded in a closet. Show your SUPPORT by joining the Weird AF News Patreon where you'll get bonus episodes and other weird af news stuff http://patreon.com/weirdafnews  - WATCH Weird AF News on Youtube - https://www.youtube.com/weirdafnews - check out the official website https://WeirdAFnews.com and FOLLOW host Jonesy at http://instagram.com/funnyjones or http://twitter.com/funnyjones

Welcome back to Season 5 the FPL Hangover. Paddy and Ger react to all the Gameweek 10 happenings and some areas to keep an eye on going forward to Gameweek 11 . ------------------------------ The beginning of FPL season also sees the start of Season 5 of The FPL Hangover Podcast. Weekly videos/podcasts of all things FPL related guaranteed, so please don't forget to SUBSCRIBE and hit that LIKE button if you like what you hear. ------------------------------ You can reach out to us on Twitter and Gmail: https://twitter.com/fplhangover​​​ https://twitter.com/FPLdrunk​​​ https://twitter.com/@FPLviKing_ fplhangover@gmail.com ------------------------------- Fixtures List - Gathered from Fantasy Football Scout https://www.fantasyfootballscout.co.uk/ -------------------------------

As listeners and hosts grapple with Dan's hiatus, the show must go on.Lex loves the Murder One theme.Moltz likes the Peacemaker intro.Moltz used the Nest laundry service and loved it.Some say the M2 suffers from “severe throttling”.Apple is reportedly most likely to win the rights to NFL games.Do you put AirTags in your luggage?Apple has terminated its contract with Jony Ive's design firm.If you want to help out the show and get some great bonus content, consider becoming a Rebound Prime member! Just go to prime.reboundcast.com to check it out!You can now also support the show by buying our NEW shirt featuring our catchphrase, TECHNOLOGY! Are we right?! (Prime members, check your email for a special deal on the shirt.)

The Hit Plot

Entertainment industry veteran and CTO of NFT Drop Rod Thompson talks about the amazing future of NFT (Non-Fundable Token) and how the company is focused on tangible memorabilia and digital wearables designed to drive revenue streams for fans! Rod also talks about his experience in the entertainment industry including working on many of Steven Bochco show including NYPD Blue, Murder One, The Sopranos, The X-Files, etc., also post-production at Encore Video, Compass Global Music, Limewire, and the Japanese division of Sanyo Electronics plus involved in eCommerce and online marketing! Check out the amazing Rod Thompson of NFT Drop and all his works on all major platforms! #rodthompson #CTO #NFT #NFTDrop #nonfundabletoken #entertainment #digital #wearables #stevenbochco #NYPDBlue #thexfiles #thesopranos #sanyo #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnerrodthompson #themikewagnershowrodthompson --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Entertainment industry veteran and CTO of NFT Drop Rod Thompson talks about the amazing future of NFT (Non-Fundable Token) and how the company is focused on tangible memorabilia and digital wearables designed to drive revenue streams for fans! Rod also talks about his experience in the entertainment industry including working on many of Steven Bochco show including NYPD Blue, Murder One, The Sopranos, The X-Files, etc., also post-production at Encore Video, Compass Global Music, Limewire, and the Japanese division of Sanyo Electronics plus involved in eCommerce and online marketing! Check out the amazing Rod Thompson of NFT Drop and all his works on all major platforms! #rodthompson #CTO #NFT #NFTDrop #nonfundabletoken #entertainment #digital #wearables #stevenbochco #NYPDBlue #thexfiles #thesopranos #sanyo #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnerrodthompson #themikewagnershowrodthompson --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Entertainment industry veteran and CTO of NFT Drop Rod Thompson talks about the amazing future of NFT (Non-Fundable Token) and how the company is focused on tangible memorabilia and digital wearables designed to drive revenue streams for fans! Rod also talks about his experience in the entertainment industry including working on many of Steven Bochco show including NYPD Blue, Murder One, The Sopranos, The X-Files, etc., also post-production at Encore Video, Compass Global Music, Limewire, and the Japanese division of Sanyo Electronics plus involved in eCommerce and online marketing! Check out the amazing Rod Thompson of NFT Drop and all his works on all major platforms! #rodthompson #CTO #NFT #NFTDrop #nonfundabletoken #entertainment #digital #wearables #stevenbochco #NYPDBlue #thexfiles #thesopranos #sanyo #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnerrodthompson #themikewagnershowrodthompson

In this episode we discuss the Barnes Mystery otherwise known as the Richmond Murder, West London's best bridges, a crash-course in foot matching, and whether Sir David Attenborough is London's greatest detective.

Mark Lanegan & Isobel Campbell "Deus Ibi Est" - Ballad of the Broken SeasElizabeth Anka Vajagic "Around Here" - Stand With The Stillness Of DayPJ Harvey "White Chalk" - White Chalk DemosLael Neale "For No One For Now" - Acquainted with NightCindy "My Mother" - I'm CindyTanya Tagaq "Do Not Fear Love" - TonguesJean-Michel Blais "passepied" - aubadesHologramme "Nymphs" - CIELLes Louanges "Bolero" - CrashAnna Oxygen "Fake Pyjamas" - This Is An ExerciseChoke "Every Word" - There's A Story MoralThe Dead Space "Chlorine Sleep" - Chlorine SleepHot Cross "Solanka" - Fair Trades and FarewellsRefedex "Backburner" - The top of offMauvey "Centrefold" - The FloristSinzere "Dumb" - DumbD Double E "Tell Me A Ting" - Double Or NothingAlan Vega "Invasion" - Invasion b/w Murder One

A killer gets jealous when his crimes are claimed by others so it's time for him to create a scene that will never be forgotten.Hosted by Jenna Swanson and Kelly DeVriesProduced and edited by Kelly DeVriesTheme music by Erik SwansonIntro music: Tak by Bobby Richardshttps://linktr.ee/odfmpodcast

A new episodeSupport this podcast at — https://redcircle.com/cbs-radio-mystery-theater/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The latest high school-based '80s sitcom to get a revival is HBO Max's 2021 take on Head Of The Class, so Daniel MacEachern -- a fan of the original in its day -- has joined us to talk about whether it's a pass or fail! Around The Dial takes us through Season 2 of Frayed, an update on Married At First Sight, Deutschland 89, Yellowstone, The Great British Bake Off (or Baking Show, depending on where you are), Project Runway, and the findings of the TV Holiday Corridor Committee. Tara explains why she is NOT a crackpot to think Rick was funnier before his lines got subtitled on Big Mouth. Danny presents the Ted Lasso episode "Trent Crimm: The Independent" for the Canon. Then we name the week's Winner and Loser and close out with a Game Time that has us contemplating celebrity mortality. Get out your notebook -- do kids still take those to class?! -- and listen! GUESTS

Your co-hosts weren't feeling that psyched about any of this week's TV premieres -- sorry, Judy Justice on IMDbTV -- so we invited our Patreon supporters to pitch and then vote on TV episodes for us to discuss under the rubric Fall Forcenings. Thus we are going in on L.A. Law's "Good To The Last Drop" with guest Adam Grosswirth, who originally watched it as a pre-teen and...learned a lot about hysterectomies and their possible side effects? Around The Dial takes us through Insecure, Queens, The Big Leap, The Good Wife, and The Good Fight. Adam makes the case for Max Headroom's series premiere, "Blipverts," to be inducted into The Canon. Then after an extra-spooky Winner and Loser, it's on to a Game Time that doesn't overstay its welcome. Look out: it's a new episode of Extra Hot Great! GUESTS

Hear the exciting 1947 story of a murdered mom, her teen daughter, and the brilliant young woman reporter who cracked the case. Support this podcast === EPISODE RELEASE DATE: MARCH 28th, 2021. === HISTORICAL REFERENCES The Bobby Sox Murder, and the Reporter: The Bobby Sox Kid from Bayonne, The Big Story (radio show episode, October 15, 1947). The Big Story (a collection of all surviving episodes; click on “MP3” button, for downloadable listings). The Stories Behind The Big Story (website; tells the facts behind each episode). Dorothy Kilgallen, 1913-1965, news reporter (Wikipedia article). The Life and Sad Ending of Dorothy Kilgallen (YouTube video). Police Blotter and Court News: Cleveland Plain Dealer – October 26, 1870. GUEST VOICES The Bobby Sox Murder, and the Reporter: The Bobby Sox Kid from Bayonne, The Big Story (radio show episode, October 15, 1947). Police Blotter and Court News: Narrator / Reporter (voice) - TiAndrea Scriven, free-lance voice artist. Police Blotter Intro Title Voice - Valerie Moss, host of the Valerie's Variety podcast. Judge - Jerry Kokich, professional voice artist. MISCELLANEOUS: Host Intro – Nina Innsted, host of the Already Gone podcast. Exit Aphorism - Source: Kilgallen, Dorothy, Murder One (book, 1967) Aphorism voice - Kit Caren, co-host, Forgotten News Podcast. MUSIC: Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At Rest At Rest The Curtain Rises I Knew A Guy All Sound Effects & Short Instrumentals Are From Freesound.org. HEY! CONTACT US! E-Mail: ForgottenNewsPodcast@gmail.com Facebook page: https://www.facebook.com/Forgotten-News-Podcast Twitter: @NewsForgotten @KitCaren @xoxojessicaxoxo

The Rikishi Driver Talk Show - Episode 27 (Gawtti) -Vincent "Gawtti" Devoux, a.k.a. King Folsom, is a member of the Boo Yaa T.R.I.B.E., a crew of five brothers and a cousin, former gangsters turned rappers/musicians. Gawtti and the rest of his brothers all spent time being locked up due to the complications of their life on the streets. Gawtti and his brothers repped the West Side Piru Bloods while their cousin in the group, Murder One, came from the Park Village Crips. However, after one of their brothers were murdered, they decided to straighten out and move temporarily to Japan to get out of their neighborhood in Los Angeles. Having grown up singing in church where their father was a reverend, they brought out their musical talents by forming the Boo Yaa T.R.I.B.E., a.k.a. the Samoan Mafia. They've also started a clothing company headed up by Gawtti which shares his name, Gawtti clothing. --Powered by KnokX Pro Entertainment-- --- Support this podcast: https://anchor.fm/therikishidrivertalkshow/support

Stanley Tucci is fortunate that he broke into the mainstream with his movie Big Night because it combined two of the things he loves the most: acting and food. Stanley talks with Marc about the comfort he gets from cooking and the satisfaction he gets from a good performance. They discuss his extensive career, including The Devil Wears Prada, Spotlight, Murder One, and his new film Supernova, in which his longtime friendship with Colin Firth paid off. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

CBS Radio Mystery Theater 77-06-14 (0665) Murder One (1)

A new episodeSupport this podcast at — https://redcircle.com/cbs-radio-mystery-theater/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Atlanta policeman who shot and killed the drunk man who resisted arrest in Atlanta has been charged with murder one. The policeman could get the death penalty. See omnystudio.com/listener for privacy information.

On the August 2, 2018 episode of /Film Daily, /Film editor-in-chief Peter Sciretta is joined by senior writer Ben Pearson and writer Hoai-Tran Bui to have a brief water cooler discussion, dig into the mail bag and discuss the latest film and TV news, including Tom Cruise, Crazy Rich Asians, Andy Serkis' Animal Farm, Men in Black, and Avengers: Infinity War. You can subscribe to /Film Daily on iTunes, Google Play, Overcast, Spotify and all the popular podcast apps (here is the RSS URL if you need it).   Water Cooler Quickie: Peter got locked out of his house In The Mail Bag: Leanne R writes in “Just wanted to give a short defense of the RunPee app. I actually have a friend who is a girl and she notoriously would take bathroom breaks (at least two) during films and I would get so annoyed at having to recap it for her whenever she got back, but the Run Pee app actually helped our moviegoing experiences. I personally would never use the bathroom during a packed screening of a film I've never seen and I don't like missing scenes in a film generally, but I think for people who value their bladders and don't mind skipping some parts of a film to relieve themselves, it's quite useful. Would recommend!” Matt B from Tacoma, WA writes in “Just wanted to drop a line to let you know that RunPee is a fantastic app. I understand that not all people need it for the Pee portion, however the Run in RunPee is a small part that recaps the first 3 minutes of the film in case you are “Running” late. The Pee side is their main focus and the timer you were speaking of gives you a direction to start the timer, something like “as the Sony logo fades, start the timer”. There are usually two to three peetimes listed, one of them being marked as the ideal peetime. Where there is no major dialogue or plot importance, but they do a great job in summing up the short 3-5 minute exposition in a few sentences that you can read on the walk to or from the restroom.  The best part about that app that is not promoted is they also include whether or not there is anything post credits. If there is they will give their opinion as to the importance of sticking around or not and if it lies during or after the credits with a brief, spoiler-free synopsis.   Thanks for the great podcast and please don't injure yourself at Comic-Con.  PS Give HT and Chris a raise. They're great!!!” Drew from Houston, TX writes in “I just wanted to throw in my two cents regarding movie theater trash. I worked at a pretty nice theater in Oklahoma back in 2010-2011. We always had people dedicated to cleaning the theaters. We would walk every row and sweep up trash. I don't think it's awful for people to leave trash on the ground as long as it's easy to sweep, like candy wrappers and pieces of popcorn. Drinks left in the cup holders would be disposed of by our workers.  However - people can be really gross and rude. Almost every day there would be someone who would leave a cup of dip spit in the cup holder. Things like this would make me almost dry heave as I went to throw them away. If you throw your trash away, thanks for helping us out. If you don't, it's not a big deal unless it's gross. So please, don't be gross.” Robert L writes in: “I've been using Vudu's Disc 2 Digital and Movies Anywhere to convert my blu-rays to iTunes, doing 3-5 movies a month to not impact my paycheck too much. Although I find it has been worth it, this process has come with some disappointments. The biggest being that you can only get HD quality, even if that movie is available in 4K on iTunes. Also, some single discs are not eligible for Disc 2 Digital and most of all box sets are not eligible. And of course, you have to check to make sure the movie is in Movies Anywhere. Also you can only do 100 movies a year with D2D.  In my goal to have most of my important movies in both disc and digital, I can usually wait for a movie to go on sale on iTunes for 5 bucks. I save those for movies that aren't eligible for MA & D2D, or if iTunes has a movie in 4K that is not available on UHD Blu-Ray.   tl:dr, Disc 2 Digital with Movies Anywhere only works with some movies and doesn't convert to a 4k version.” Michael from Kansas City writes in: “Big fan of all things SlashFilm. Had to pause the podcast in utter shock when I heard you say you hadn't seen Deadwood.  To echo Chris' thoughts, not only is it among the best HBO series, the roles and performances are pretty much career bests for the entire cast. It's no surprise they want back for another go.  Sets, plots, David Milch's never-better insane dialogue (much of which he rewrote day of)...this thing is the total package.  Will also add that I initially kinda hated it. Saw the first episode air after Sopranos and wasn't in the mindset to receive it very well— was confused by the anachronistic cursing, thought Timothy Olyphant's acting was rough, and like you wasn't naturally drawn to the Western setting. But after the unrelenting insistence of a friend that this was a work of genius, I ended up going back and binging the DVD's via Netflix (when that was a thing) and it immediately rocketed up near the top of my personal all-time TV series list.  So much so that I became a big Milch devotee, going on to check out “Murder One” the ill-fated “Luck,” some old “NYPD Blue,” and yes even an attempt at “John From Cincinnati” (which I can't recommend).  Long story short, I feel like I have to pay forward the kindness done by my buddy making me watch it by trying to get you to do the same. Even if it doesn't immediately hook you, stick with it. In the spirit of the show itself: The stubborn cocksucker truly holds many goddamn rewards. James from England writes in “I love listening to the podcast, so keep it up, I'm not into magic myself, but I like all of you talking about what you're been up to, be it food, theme parks or anything in between, so don't let the haters put you down!   Being from England I've heard you all talk about movie pass and now AMC A List and the potential ramifications you think it would have on people, but I've known that we have had Cineworld Unlimited since about 2008 (https://www.cineworld.co.uk/unlimited), so roughly 10 years now, this offers the ability to pre-book online and choose your seats as soon as tickets are available, discounts on food and drink, an unlimited amount of movies and after a year you can see 3D films with no extra cost too. After seeing 2 movies a month you've made your money back, so it's a great deal. It did encourage me to take a chance on movies I wouldn't have otherwise and also they have “Cineworld Unlimited” screenings, showing films before release where only card holders can go. You still get a mixed bag of people, some people talking / on phones, but that's just society now and the disrespect of others unfortunately.   We also have Odeon Limitless which I don't have experience of, but is a similar setup (https://www.odeon.co.uk/limitless/), so in England we've had this for years and it works great. People saying that A List would stop if movie pass stopped are crazy, it draws people into the cinema, which is ultimately what they want. Those using the pass will talk about the positives to their friends and families, spread the love of that chain, but also those movies, thus drawing more people to the cinema. It's win win really! Oh and Cineworld do family passes too, which I know haven't made it to the US yet. I just thought you might like to know that the US isn't the only place to have this going, the UK has this working successfully for years.   By the way, leaving your rubbish anywhere is rude and bad for society, it shows no respect to others, so if you have rubbish (including sweet wrappers), pick them up yourself at the end of the screening and put them in the bin. Would you dump them outside in the street knowing a road sweeper would come and get them and that's their job? No, at least I hope not, so clean up after yourselves! Keep up the great work on the podcast.”   In The News: HT: The More Tom Cruise Runs, The Better His Movies Do, According to Science Ben: ‘Crazy Rich Asians' Filmmakers Turned Down a Giant Payday From Netflix to Go Theatrical HT: ‘Crazy Rich Asians' Tracking for $18 Million-Plus Opening Ben: Netflix Buys Andy Serkis' ‘Animal Farm' Motion Capture Adaptation HT: Rebecca Ferguson Joins ‘Men in Black' Spin-Off Ben: ‘Avengers: Infinity War' Writer Explains Why Thanos Waited So Long to Execute His Plan Other articles mentioned: Tom cruise running   All the other stuff you need to know:   You can find more about all the stories we mentioned on today's show at slashfilm.com, and linked inside the show notes.   /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com.   You can subscribe to /Film Daily on iTunes, Google Play, Overcast, Spotify and all the popular podcast apps (RSS).   Please feel free to send your feedback, questions, comments and concerns to us at peter@slashfilm.com. 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