Podcasts about Neeson

Džafar Panahí prichádza s filmom, ktorý si odniesol hlavnú cenu z Cannes. Liam Neeson opäť dokazuje, že nestarne – len mení kulisy. A severská dráma o zakázanom vzťahu ukazuje, ako rýchlo sa osobné rozhodnutia môžu zmeniť na tragédiu. Čo z toho sa oplatí vidieť? Nový .týždeň vo filme vám možno napovie.

Welcome to the Financial Freedom & Wealth Trailblazers Podcast! In today's episode, we're talking about how to escape your job and to find a new career that you are passionate about.Kelly Neeson is a career transition and leadership coach, outplacement partner, and former teacher with nearly 20 years' experience supporting professionals through change. As the founder of KL Neeson Coaching Ltd, Kelly helps busy professionals and career changers rebuild confidence, navigate uncertainty, and move into roles that better align with their values, strengths, and lifestyle.Drawing on her background in education, coaching, and organisational resilience, she combines practical career strategy with mindset work to help people move from feeling stuck to taking confident action.Kelly is also the author of the forthcoming book Why Are You Waiting? – How to Stop Overthinking and Build a Career That Feels Like You, where she explores the psychology of staying stuck and how to create meaningful change.Connect with Kelly Here: https://www.linkedin.com/in/kelly-neeson-95129a281/https://klneeson.com/Grab the freebie here: https://klneeson.com/jobs-teachers-leaving-21===================================If you enjoyed this episode, remember to hit the like button and subscribe. Then share this episode with your friends.Thanks for watching the Financial Freedom & Wealth  Trailblazers Podcast. This podcast is part of the Digital Trailblazer family of podcasts. To learn more about Digital Trailblazer and what we do to help entrepreneurs, go to DigitalTrailblazer.com.Are you a coach, consultant, expert, or online course creator? Then we'd love to invite you to our FREE Facebook Group where you can learn the best strategies to land more high-ticket clients and customers. QUICK LINKS: APPLY TO BE FEATURED: https://app.digitaltrailblazer.com/podcast-guest-applicationDIGITAL TRAILBLAZER: https://digitaltrailblazer.com/

Episode Description “What's the wildest thing you've ever seen someone do while driving?”

durée : 00:03:19 - Le Regard culturel - par : Lucile Commeaux - La diffusion en ce moment d'une nouvelle série comique signée HBO, "The Chair company", nous donne l'occasion d'examiner une théorie de notre cru : le syndrome Liam Neeson, du nom de cet acteur hollywoodien interprète en série de personnages seuls contre tous.

durée : 00:03:19 - Le Regard culturel - par : Lucile Commeaux - La diffusion en ce moment d'une nouvelle série comique signée HBO, "The Chair company", nous donne l'occasion d'examiner une théorie de notre cru : le syndrome Liam Neeson, du nom de cet acteur hollywoodien interprète en série de personnages seuls contre tous.

Prince Harry quietly scored a major security victory — but insiders reveal it’s about more than just protection. He’s laying the groundwork for a royal court that could rival Prince William, Prince of Wales. Meanwhile, Sheinelle Jones officially takes over the Today Show chair next to co-host Jenna Bush Hager, leaving some colleagues feeling blindsided by the switch. And in Hollywood, Pamela Anderson’s whirlwind romance with Liam Neeson has been exposed as mostly a publicity stunt, despite her glowing stories of candlelit dinners, gardening, and “lost weeks” at Neeson’s upstate retreat. Royals, TV, and celebrity PR collide in one week of drama. Don't forget to vote in today's poll on Twitter at @naughtynicerob or in our Facebook group.See omnystudio.com/listener for privacy information.

Mitä hittoa Liam Neesonin muutaman vuoden takainen toimintaleffa Ice Road sai jatko-osan, joka tuli suoraan Prime Videoon ja onkin heidän MGM tuotantoa. No hitto olihan se jonkinlaisena Neeson fanina pakko katsoa. Mutta katsottuani sitä 5 minuuttia tajusin että en ole edes ekaa osaa nähnyt. Joten katsoin ensin ekan leffan jonka jälkeen sitten toisen ja nyt taas vuorossa tupla arvostelu, eli molemmat Ice Road leffat. Oletko nähnyt nämä? Mitä mieltä? Mikä on Neesonin paras leffa? Tai rooli?

In this week's episode, I rate the movies and streaming shows I saw in Autumn 2025. This coupon code will get you 25% off the ebooks in The Ghosts series at my Payhip store: GHOSTS2025 The coupon code is valid through December 1, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 278 of The Pulp Writer Show. My name is Jonathan Moeller. Today is November 21st, 2025, and today I am sharing my reviews of the movies and streaming shows I saw in Fall 2025. We also have a Coupon of the Week and an update my current writing, audiobook, and publishing projects. So let's start off with Coupon of the Week. This week's coupon code will get you 25% off all the ebooks in The Ghosts series at my Payhip store, and that is GHOSTS2025. And as always, we'll have the link to my Payhip store and the coupon code in the show notes for this episode. This coupon code is valid through December 1, 2025, so if you need a new ebook for this fall, we have got you covered. Now for my current writing and publishing projects: I'm very pleased to report that Blade of Shadows, the second book in my Blades of Ruin epic fantasy series, is now out. You can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store. By the time this episode goes live, all those stores should be available and you can get the book at any one of them and I hope you will read and enjoy it. I'm also 15,000 words into what will be my next main project Wizard-Assassin, the fifth book in the Half-Elven Thief series, and if all goes well, I want that to be out before Christmas. I'm also working on the outline for what will be the third book in the Blades of Ruin series, Blade of Storms, and that will hopefully, if all goes well, be the first book I publish in 2026. In audiobook news, as I mentioned last week, the audiobook of Blade of Flames is done and I believe as of this recording, you can get at my Payhip store, Google Play, Kobo, and I think Spotify. It's not up on Audible or Apple yet, but that should be soon, if all goes well. That is excellently narrated by Brad Wills. Hollis McCarthy is still working on Cloak of Embers. I believe main recording is done for that and it just has to be edited and proofed, so hopefully we'll get both audiobooks to you before the end of the year. So that is where I'm at with my current writing, publishing, and audiobook projects. 00:02:08 Main Topic of the Week: Autumn 2025 Movie Review Roundup Now on to this week's main project, the Autumn 2025 Movie Review Roundup. I watched a lot of classic horror movies this time around. The old Universal black and white monster movies from the '30s and '40s turned up on Prime for Halloween and I hadn't seen them since I was a kid, so I watched a bunch of them in October and November, which seemed an appropriate thing to do for Halloween. They mostly held up as well as I remembered from when I was a kid, which was a nice surprise. As ever, the grades I give these movies are totally subjective and based on nothing more than my own opinions and thoughts. With that, let's take a look at the movies from least favorite to most favorite. First up is The Other Guys, which came out in 2010 and this is a parody of the buddy cop/ cowboy cop movie along with a heavy critique of the reckless and corrupt culture of late 2000s Wall Street. "Dumb funny" movies I've noticed tend to fall on either side of the "dumb but actually funny" or "dumb and not funny" line. And this one definitely landed on "dumb but actually funny". Danson and Highsmith, played by The Rock and Samuel L. Jackson, are two maverick popular detectives who never do paperwork. Their paperwork is always done by Allen Gamble, who's played by Will Ferrell and Terry Hoitz, played by Mark Wahlberg. Gamble is a mild-mannered forensic accountant, while Hoitz desperately wants to be as cool as either Danson or Highsmith, but since he accidentally shot Yankees player Derek Jeter (in a recurring gag), he's a pariah within the New York Police Department. However, Danon and Highsmith's plot armor suddenly run out and they accidentally kill themselves in a darkly hilarious scene that made me laugh so much I hurt a little. Hoitz wants to step into their shoes, but Gamble has stumbled onto potentially dangerous case and soon Hoitz and Gamble have to overcome their difficulties and unravel a complicated financial crime. This was pretty funny and I enjoyed it. Amusingly in real life, someone like Gamble would be massively respected in whatever law enforcement agency he works for, since someone who prepares ironclad paperwork and correct documentation that stands up in court is an invaluable asset in law enforcement work. Overall Grade: B Next up is Fantastic Four: First Steps, which came out in 2025. I like this though, to be honest, I liked Thunderbolts and Superman 2025 better. I think my difficulty is I never really understood The Fantastic Four as a concept and why they're appealing. Maybe the Fantastic Four are one of those things you just have to imprint on when you're a kid to really enjoy or maybe at my age, the sort of retro futurism of the Four, the idea that science, technology, and rational thought will solve all our problems does seem a bit naive after the last 65 years of history or so. Additionally, the idea of a naked silver space alien riding a surfboard does seem kind of ridiculous. Anyway, the movie glides over the origin story of Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm and gets right into it. To their surprise, Reed and Sue find out that Sue is pregnant, which seemed unlikely due to their superpower induced genetic mutations. Shortly after that, the Silver Surfer arrives and announces that Earth will be devoured by Galactus. The Four travel in their spaceship to confront Galactus and realize that he's a foe far beyond their power, but Galactus offers them a bargain. If Reed and Sue give him their son, he will leave Earth in peace. They refuse and so it's up to the Four to figure out a way to save Earth and Reed and Sue's son. Pretty solid superhero movie all told, but it is amusing how in every version of the character, Reed Richards is allegedly the smartest man on Earth but still can't keep his mouth shut to save his life. Overall Grade: B The next movie is Superman, which came out in 1978. After seeing the 2025 version of Superman, I decided to watch the old one from the '70s. It's kind of a classic because it was one of the progenitors of the modern superhero film. Interestingly, it was one of the most expensive films ever made at that time, costing about $55 million in '70s-era dollars, which are much less inflated than today. A rough back of the envelope calculation would put 55 million in the '70s worth at about $272 million today, give or take. Anyway, this was a big gamble, but it paid off for the producers since they got $300 million back, which would be like around $1.4 billion in 2025 money. Anyway, the movie tells the origin story of Superman, how his father Jor-El knows that Krypton is doomed, so he sends Kal-El to Earth. Kal-El is raised as Clark Kent by his adoptive Kansas parents and uses his powers to become Superman- defender of truth, justice, and the American way. Superman must balance his growing feelings for ace reporter Lois Lane with his need for a secret identity and the necessity of stopping Lex Luthor's dangerous schemes. Christopher Reeve was an excellent Superman and the special effects were impressive by the standards of 1978, but I think the weakest part of the movie were the villains. Lex Luthor just seemed comedic and not at all that threatening. Unexpected fun fact: Mario Puzio, author of The Godfather, wrote the screenplay. Overall Grade: B Next up is Superman II, which came out in 1980. This is a direct sequel to the previous movie. When Superman stops terrorists from detonating a nuclear bomb by throwing it into space, the blast releases the evil Kryptonian General Zod and his minions from their prison and they decide to conquer Earth. Meanwhile, Superman is falling deeper in love with the Lois Lane and unknowing of the threat from Zod, decides to renounce his powers to live with Lois as an ordinary man. I think this had the same strengths and weaknesses as the first movie. Christopher Reeve was an excellent Superman. The special effects were impressive by the standards of the 1980s, but the villains remained kind of comedic goofballs. Additionally, and while this will sound harsh, this version of Lois Lane was kind of dumb and her main function in the plot was to generate problems for Superman via her questionable decisions. Like at the end, Superman has to wipe her memory because she can't keep his secret identity to herself. If this version of Lois Lane lived today, she'd be oversharing everything she ever thought or heard on TikTok. The 2025 movie version of Lois, by contrast, bullies Mr. Terrific into lending her his flying saucer so she can rescue Superman when he's in trouble and is instrumental in destroying Lex Luthor's public image and triggering his downfall. 1970s Louis would've just had a meltdown and made things worse until Superman could get around to rescuing her. Overall, I would say the 1978 movie was too goofy, the Zac Snyder Superman movies were too grimdark, but the 2025 Superman hit the right balance between goofy and serious. Overall Grade: B Next up is Dracula, which came out in 1931, and this was one of the earliest horror movies ever made and also one of the earliest movies ever produced with sound. It is a very compressed adaptation of the stage version of Dracula. Imagine the theatrical stage version of Dracula, but then imagine that the movie was only 70 minutes long, so you have to cut a lot to fit the story into those 70 minutes. So if you haven't read the book, Dracula the movie from 1931 will not make a lot of sense. It's almost like the "Cliff's Notes Fast Run" version of Dracula. That said, Bela Lugosi's famous performance as Dracula really carries the movie. Like Boris Karloff in Frankenstein and The Mummy (which we'll talk about shortly), Bela Lugosi really captures the uncanny valley aspect of Dracula because the count isn't human anymore and has all these little tics of a creature that isn't human but only pretending to be one. Edward Van Sloan's performance as Dr. Van Helsing is likewise good and helped define the character in the public eye. So worth watching as a historical artifact, but I think some of the other Universal monster movies (which we'll discuss shortly) are much stronger. Overall Grade: B Next up is The Horror of Dracula, which came out in 1958. This is one of the first of the Hammer Horror movies from the '50s, starring Peter Cushing as Dr. Van Helsing and Christopher Lee as Count Dracula. It's also apparently the first vampire movie ever made in color. Like the 1931 version of Dracula, it's a condensed version of the story, though frankly, I think it hangs together a little better. Van Helsing is a bit more of an action hero in this one, since in the end he engages Dracula in fisticuffs. The movie is essentially carried by the charisma of Peter Cushing and Christopher Lee and worth watching as a good example of a classic '50s horror movie. Overall Grade: B Next up is The Wolf Man, which came out in 1941. This is another one of the classic Universal horror movies. This one features Lon Cheney Jr. as Larry Talbot, the younger son of Sir John Talbot. Larry's older brother died in a hunting accident, so Larry comes home to reconcile with his father and take up his duties as the family heir. Larry is kind of an amiable Average Joe and is immediately smitten with the prettiest girl in the village, but when he takes her out for a walk, they're attacked by a werewolf, who bites Larry. Larry and everyone else in the village do not believe in werewolves, but they're about to have their minds changed the hard way. The transformation sequences where Larry turns into the Wolfman were cutting edge of the time, though poor Lon Chaney Jr had to stay motionless for hours as they gradually glued yak hair to him. I think Claude Rains had the best performance in the movie as Sir John and he's almost the co-protagonist. Overall Grade: B Next up is Jurassic World: Rebirth, which came out in 2025, which I thought was a perfectly straightforward but nonetheless enjoyable adventure film. After all the many disasters caused by various genetic engineering experiments in the previous movies, dinosaurs mostly live in relatively compatible ecosystems and tropical zones near the equator. No one's looking to create a theme park with dinosaurs or create bioengineered dinosaurs as military assets any longer. However, the dinosaurs are still valuable for research and a pharmaceutical company is developing a revolutionary drug for treating cardiac disease. They just need some dinosaur blood from three of the largest species to finish it, and so the company hires a team of mercenaries to retrieve the blood. We have the usual Jurassic Park style story tropes: the savvy mercenary leader, the scientist protesting the ethics of it all, the sinister corporate executive, the troubled family getting sucked into the chaos. And of course, it all goes wrong and there are lots and lots of dinosaurs running around. It's all been done before of course, but this was done well and was entertaining. Overall Grade: B+ Next up is The Thursday Murder Club, which came out in 2025, and this is a cozy mystery set in a very high-end retirement home. Retired nurse Joyce moves into Coopers Chase, the aforementioned high end retirement home. Looking to make new friends, she falls in with a former MI6 agent named Liz, a retired trade unionist named Ron, and psychiatrist Ibrahim, who have what they call The Thursday Murder Club, where they look into cold cases and attempt to solve them. However, things are not all sunshine and light at Coopers Chase as the two owners of the building have fallen out. When one of them is murdered, The Thursday Murder Club has to solve a real murder before Coopers Chase is bulldozed to make high-end apartments. A good cozy mystery with high caliber acting talent. Both Pierce Brosnan and Jonathan Price are in the movie and regrettably do not share a scene together, because that would've been hilarious since they were both in the James Bond movie Tomorrow Never Dies in the '90s with Brosnan as Bond and Price as the Bond villain for the movie. Overall Grade: B+ Next up is The Creature From the Black Lagoon, which came out in 1954 and is one of the last of the black and white classic horror movies since in the '50s, color film was just around the corner. When a scientist finds the unusual half fish, half human fossil on a riverbank in Brazil, he decides to organize an expedition upriver to see if he can find the rest of the fossil. The trail leads his expedition to the mysterious Black Lagoon, which all the locals avoid because of its bad reputation, but a living member of the species that produce the fossils lurking the lagoon while it normally doesn't welcome visitors, it does like the one female member of the expedition and decides to claim her for its own. The creature was good monster and the underwater water sequences were impressive by the standards of the 1950s. Overall Grade: A- Next up is The Invisible Man, which came out in 1933, and this is another of the classic Universal black and white horror movies. Jack Griffin is a scientist who discovered a chemical formula for invisibility. Unfortunately, one of the drugs in his formula causes homicidal insanity, so he becomes a megalomaniac who wants to use his invisibility to rule the world. This causes Griffin to overlook the numerous weaknesses of his invisibility, which allow the police to hunt him down. The Invisible Man's special effects were state of the art at the time and definitely hold up nearly a hundred years later. It's worth watching as another classic of the genre. Claude Rains plays Griffin, and as with The Wolf Man, his performance as Griffin descends into homicidal insanity is one of the strengths of the movie. Overall Grade: A- Next up is The Mummy, which came out in 1932, and this is another of the original Universal black and white horror movies. Boris Karloff plays the Mummy, who is the ancient Egyptian priest Imhotep, who was mummified alive for the crime of desiring the Pharaoh's daughter Ankh-es-en-Amon. After 3,000 years, Imhotep is accidentally brought back to life when an archeologist reads a magical spell and Imhotep sets out immediately to find the reincarnation of his beloved and transform her into a mummy as well so they can live together forever as undead. Edward Van Sloan plays Dr. Mueller, who is basically Edward Van Sloan's Van Helsing from Dracula if Van Helsing specialized in mummy hunting rather than vampire hunting. This version of the Mummy acts more like a Dungeons and Dragons lich instead of the now classic image of a shambling mummy in dragging bandages. That said, Boris Karloff is an excellent physical actor. As he does with Frankenstein, he brings Imhotep to life. His performance captures the essence of a creature that hasn't been human for a very long time, is trying to pretend to be human, and isn't quite getting there. Of course, the plot was reused for the 1999 version of The Mummy with Brendan Fraser. That was excellent and this is as well. Overall Grade: A- Next up is The Wedding Singer, which came out in 1998, and this is basically the Adam Sandler version of a Hallmark movie. Adam Sandler plays Robbie, a formerly famous musician whose career has lapsed and has become a wedding singer and a venue singer. He befriends the new waitress Julia at the venue, played by Drew Barrymore. The day after that, Robbie's abandoned at the altar by his fiancée, which is understandably devastating. Meanwhile, Julia's fiancé Glenn proposes to her and Robbie agrees to help her with the wedding planning since he's an expert in the area and knows all the local vendors. However, in the process, Robbie and Julia fall in love, but are in denial about the fact, a situation made more tense when Robbie realizes Glenn is cheating on Julia and intends to continue to do so after the wedding. So it's basically a Hallmark movie filtered through the comedic sensibilities of Adam Sandler. It was very funny and Steve Buscemi always does great side characters in Adam Sandler movies. Overall Grade: A Next up is Downton Abbey: The Grand Finale, which came out in 2025. This movie was sort of a self-indulgent victory lap, but it was earned. The writers of the sitcom Community used to joke that they wanted "six seasons and a movie" and Downton Abbey got "six seasons and three movies". Anyway, this movie is about handing off things to the next generation. Lord Grantham is reluctant to fully retire as his daughter goes through a scandal related to her divorce. The next generation of servants take over as the previous ones ease into retirement. What's interesting is both the nobles and the servants are fully aware that they're sort of LARPing a historical relic by this point because by 1930, grand country houses like Downton were increasingly rare in the UK since World War I wiped out most of them and crippling post-war taxes and economic disruption finished off many more. Anyway, if you like Downton Abbey, you like this movie. Overall Grade: A Next up is Argo, which came out in 2012, a very tense thriller about the Iranian hostage crisis in 1979. During that particular crisis, six Americans escaped the embassy and hid out at the Canadian Ambassador's house in Tehran. For obvious reasons, the Canadian ambassador wanted them out as quickly as possible, so the CIA and the State Department needed to cook up a plan to get the six out while the rest of the government tried to figure out what to do about the larger group of hostages. Finally, the government comes with "Argo." A CIA operative will create a fake film crew, a fake film company, and smuggle the six out of Tehran as part of the production. The movie was very tense and very well constructed, even if you know the outcome in advance if you know a little bit of history. Ben Affleck directed and starred, and this was in my opinion one of his best performances. It did take some liberties with historical accuracy, but nonetheless, a very tense political thriller/heist movie with some moments of very dark comedy. Overall Grade: A Next up is The Naked Gun, which came out in 2025, and this is a pitch perfect parody of the gritty cop movie with a lot of absurdist humor, which works well because Liam Neeson brings his grim action persona to the movie and it works really well with the comedy. Neeson plays Lieutenant Frank Drebin Jr., the son of the original Frank Drebin from The Naked Gun movies back in the '80s. After stopping a bank robbery, Drebin finds himself investigating the suicide of an engineer for the sinister tech mogul Richard Cane. Naturally, the suicide isn't what it appears and when the engineer's mysterious but seductive sister asks for Drebin's help, he pushes deeper into the case. Richard Cane was a hilarious villain because the writers couldn't decide which tech billionaire to parody with him, so they kind of parodied all the tech billionaires at once, and I kid you not, the original Frank Drebin makes an appearance as a magical owl. It was hilarious. Overall Grade: A Now for my two favorite things I saw in Autumn 2025. The first is the combination of Frankenstein and Bride of Frankenstein, which came out in 1931 and 1935. These are two separate movies, but Frankenstein leads directly to Bride of Frankenstein, so I'm going to treat them as one movie. Honestly, I think they're two halves of the same story the way that Avengers: Infinity War and Avengers: Endgame would be two halves of the same story 90 years later, so I'll review them as one. Frankenstein by itself on its own will get a B. Colin Clive's performance is Dr. Henry Frankenstein was great, and Boris Karloff gives the Creature a suitable air of menace and uncanny valley. You really feel like he's something that's been brought to life but isn't quite right and still extremely dangerous. The movie does have a very pat ending that implies everyone will live happily ever after, with Dr. Frankenstein's father giving a toast to his son. But Bride of Frankenstein takes everything from the first movie and improves on it. It's one of those sequels that actually makes the preceding movie better. In Bride, Henry is recovering from his ordeal and swears off his experiments of trying to create artificial humans, but the Creature survived the fire at the windmill at the end of the last movie and is seeking for a new purpose. Meanwhile, Henry receives a visit from his previous mentor, the sinister Dr. Pretorius. Like Henry, Pretorius succeeded in creating artificial life and now he wants to work with Henry to perfect their work, but Henry refuses, horrified by the consequences of his previous experiments. Pretorius, undaunted, makes an alliance with the Creature, who then kidnaps Henry's wife. This will let Pretorius force Henry to work on their ultimate work together-a bride for the Creature. Bride of Frankenstein is a lot tighter than Frankenstein. It was surprising to see how rapidly filmmaking techniques evolved over just four years. Pretorius is an excellent villain, more evil wizard than mad scientist, and the scene where he calmly and effortlessly persuades the Creature to his side was excellent. One amusing note, Bride was framed as Mary Shelley telling the second half of the story to her friends, and then the actress playing Mary Shelley, Elsa Lancaster, also played the Bride. So that was a funny bit of meta humor. Frankenstein and Bride of Frankenstein combined is one of my two favorite movies of Fall 2025. Overall Grade: A+ And now for my second favorite movie of Autumn 2025, which as it turns out is also Frankenstein, but Guillermo del Toro's version that came out in 2025. And honestly, I think Guillermo del Toro's version of Frankenstein is the best version put to screen so far and even does the rarest of all feats, it improves a little on the original novel. Oscar Isaac plays Victor Frankenstein as a brilliant, driven scientist with something of a sociopathic edge. In other words, he's a man who's utterly inadequate to the task when his experiment succeeds and he actually creates an artificial human that have assembled dead body parts. Jacob Elordi does a good job as the Creature, playing him is essentially a good hearted man who's driven to violence and despair by the cruelty and rejection of the world. The recurring question of the Frankenstein mythos is whether or not Victor Frankenstein is the real monster. In this version, he definitely is, though he gets a chance to repent of his evil by the end. Honestly, everything about this was good. The performances, the cinematography, everything. How good was it? It was so good that I will waive my usual one grade penalty for unnecessary nudity since there were a few brief scenes of it. Overall Grade: A+ So that was the Autumn 2025 Movie Roundup. A lot of good movies this time around. While some movies of course were better than others, I didn't see anything I actively disliked, which is always nice. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

This week is an encore repeat from 2021, with Scott Neeson, former Hollywood exec who left it all to help starving children in Cambodia. Truly inspiring.Mentioned in this episode:Check out the Smart Travel PodcastThis week's show is supported by the new Smart Travel Podcast. Travel smarter — and spend less — with help from NerdWallet. Check out Smart Travel at the Link below:Smart Travel Podcast

Hello Interactors,Fall is in full swing here in the northern hemisphere, which means it's time to turn our attention to economics and economic geography. Triggered by a recent podcast on the origins of capitalism, I thought I'd kick off by exploring this from a geography perspective.I trace how violence, dispossession, and racial hierarchy aren't simple externalities or accidents. They emerge out of a system that organized itself and then spread. Capitalism grew out of dispossession of land and human autonomy and became a dominant social and economic structure. It's rooted in violence that became virtuous and centuries later is locked-in. Or is it?EMERGING ENGLISH ENCLOSURESThe dominant and particular brand of capitalism in force today originates in England. Before English landlords and the state violently seized common lands back in the 1300s, economic life was embedded in what historian E.P. Thompson called “moral economies”.(1) These were systems of survival where collective responsibility was managed through custom, obligation, and shared access to resources. Similar systems existed elsewhere. Long before Europeans arrived at the shores of what is now called North America, Haudenosaunee longhouse economies were sophisticatedly organized around economies of reciprocity. Further south, Andean ayllu communities negotiated labor obligations and access to land was shared. West African systems featured land that belonged to communities and ancestors, not individuals.Back in medieval English villages, commons weren't charity, they were infrastructure. Anyone could graze animals or gather firewood. When harvests failed, there were fallbacks like hunting and gathering rights, seasonal labor sharing, and kin networks. As anthropologist Stephen Gudeman shows, these practices reflected cultures of mutual insurance aimed at collective resilience, not individual accumulation.(2)Then landlords, backed by state violence, destroyed this system to enrich themselves.From 1348-1349, the bubonic plague killed perhaps half of England's population. This created a labor shortage that gave surviving so-called peasants leverage. For the first time they could demand higher wages, refuse exploitative landlords, or move to find better conditions.The elite mobilized state violence to reverse this. In 1351 the state passed The Statute of Labourers — an attempt to freeze wages and restrict worker movement. This serves as an early signal that reverberates today. When property and people come in conflict, the state sides with property. Over the next two centuries, landlords steadily enclosed common lands, claiming shared space as private property. Peasants who resisted were evicted, sometimes killed.Initial conditions mattered enormously. England had a relatively weak monarchy that couldn't check landlord aggression like stronger European states did. It also had growing urban markets creating demand for food and wool and post-plague labor dynamics that made controlling land more profitable than extracting rents from secure peasants.As historian J.M. Neeson details, enclosure — fencing in private land — destroyed social infrastructure.(3) When access to common resources disappeared, so did the safety nets that enabled survival outside of market and labor competition. People simply lost the ability to graze a cow, gather fuel, glean grain, or even rely on neighbors' obligation to help.This created a feedback loop:Each turn made the pattern stronger. Understanding how this happens requires grasping how these complex systems shaped the very people who reproduced them.The landlords driving enclosure weren't simply greedy villains. Their sense of self, their understanding of what was right and proper, was constituted through relationships to other people like them, to their own opportunities, and to authorities who validated their actions. A landlord enclosing commons likely experienced this as “improvement”. They believed they were making the land productive while exercising newly issued property rights. Other landlords were doing it, parliament legalized it, and the economics of the time justified it. The very capacity to see alternatives was constrained by relational personal and social positions within an emerging capitalistic society.This doesn't excuse the violence or diminish responsibility. But it does reveal how systems reproduce themselves. This happens not primarily through individual evil but through relationships and feedback loops that constitute people's identities and sense of what's possible. The moral judgment remains stark. These were choices that enriched someone by destroying someone else's means of survival. But the choices were made by people whose very selfhood was being constructed by the system they were creating.Similarly, displaced peasants resisted in ways their social positions made possible. They rioted, appealed to historical customary rights, attempted to maintain the commons they relied on for centuries. Each turn of the spiral didn't just move resources, it remade people. Peasants' children, born into a world without commons, developed identities shaped by market dependence — renting their labor in exchange for money. What had been theft became, over generations, simply “how things are.”By the mid-16th century, England had something new. They'd created a system where most people owned no land, had no customary rights to subsistence, and had to compete in labor markets to survive. This was the essence of capitalism's emergence. It wasn't born out of markets (they existed everywhere for millennia) but as market dependence enforced through dispossession. Out of this emerged accumulated actions of actors whose awareness and available alternatives were themselves being shaped by the very system they were simultaneously shaping and sustaining.REPLICATING PATTERNS OF PLANTATIONSOnce capitalism emerged in England through violent enclosure, its spread wasn't automatic. Understanding how it became global requires distinguishing between wealth extraction (which existed under many systems) and capitalist social relations (which require specific conditions).Spain conquered vast American territories, devastating indigenous populations through disease, warfare, and forced labor. Spanish extraction from mines in the 16th century — like Potosí in today's Bolivia — were worked by enslaved indigenous and African peoples under conditions that killed them in staggering numbers. Meanwhile, Portugal developed Atlantic island sugar plantations using enslaved African labor. This expansion of Portuguese agriculture on Atlantic islands like Madeira and São Tomé became a blueprint for plantation economies in the Americas, particularly Brazil. The brutally efficient system perfected there for sugar production — relying on the forced labor of enslaved Africans — was directly transplanted across the ocean, leading to a massive increase in the scale and violence of the transatlantic slave trade.Both empires generated massive wealth from these practices. If colonial plunder caused capitalism, Spain and Portugal should have industrialized first. Instead, they stagnated. The wealth flowed to feudal monarchies who spent it on palaces, armies, and wars, not productive reinvestment. Both societies remained fundamentally feudal.England, with virtually no empire during its initial capitalist transformation, developed differently because it had undergone a different structural violence — enclosure of common land that created landless workers, wage dependence, and market competition spiraling into self-reinforcing patterns.But once those capitalist social relations existed, they became patterns that spread through violent imposition. These patterns destroyed existing economic systems and murdered millions.English expansion first began close to home. Ireland and Scotland experienced forced enclosures as English landlords exported the template — seize land, displace people, create private regimes, and force the suffering to work for you. This internal colonialism served as testing ground for techniques later deployed around the world.When English capitalism encountered the Caribbean — lands where indigenous peoples had developed complex agricultural systems and trade networks — the Spanish conquest had already devastated these populations. English merchants and settlers completed the destruction, seizing lands indigenous peoples had managed for millennia while expanding the brutal, enslaved-based labor models pioneered by the Spanish and Portuguese for mining and sugar production.The plantations English capitalists built operated differently than earlier Portuguese and Spanish systems. English plantation owners were capitalists, not feudal lords. But this was also not simply individual choice or moral character. They were operating within and being shaped by an emerging system of capitalist social relations. Here too they faced competitive pressures to increase output, reduce costs, and compete with other plantation owners. The system's logic — accumulate to accumulate more — emerged from relational dynamics between competing capitalists. The individual identities as successful plantation owners was constituted through their position within the competitive networks in which they coexisted.New location, same story. Even here this systemic shaping doesn't absolve individual responsibility for the horrors they perpetrated. Enslaved people were still kidnapped, brutalized, and worked to death. Indigenous peoples were still murdered and their lands still stolen. But understanding how the system shaped what seemed necessary or moral to those positioned to benefit helps explain how such horror could be so widespread and normalized.This normalization created new spirals:This pattern then replicated across even more geographies — Jamaica, Barbados, eventually the American South — each iteration destroying existing ways of life. As anthropologist Sidney Mintz showed, this created the first truly global capitalist commodity chain.(4) Sugar produced by enslaved Africans and indigenous peoples — on their stolen land — sweetened the tea for those English emerging factory workers — themselves recently dispossessed through enclosure.At the same time, it's worth calling attention, as Historians Walter Rodney, Guyanese, and Paul Tiyambe Zeleza, Malawian, have point out, that African societies weren't passive.(5,6) Some kingdoms initially engaged strategically by trading captives from rival groups and acquiring weapons. These choices are often judged harshly, but they were made by people facing threats to their very existence. They were working with frameworks developed over centuries that suddenly confronted an unprecedented system of extractive violence. Historians Linda Heywood and John Thornton show that African economic strength and political organization meant Africans often “forced Europeans to deal with them on their own terms” for centuries, even as the terms of engagement became increasingly constrained.(7) This moral complexity matters. These were real choices with devastating consequences, made by people whose capacity to perceive alternatives was constrained by their eventual oppressors amidst escalating violence by Europeans.Native American scholars have documented similar patterns of constrained agency in indigenous contexts. Historian Ned Blackhawk, Western Shoshone, shows how Native nations across North America made strategic choices — like forming alliances, adapting governance structures, and engaging in trade — all while navigating impossible pressures from colonial expansion.(8) Historian Jean O'Brien, White Earth Ojibwe, demonstrates how New England indigenous communities persisted and adapted even as settler narratives and violence worked to wipe them out of existence.(9) They were forced to make choices about land, identity, and survival within systems designed to eliminate them. These weren't failures of resistance but strategic adaptations made by people whose frameworks for understanding and practicing sovereignty, kinship, and territorial rights were being violently overwritten and overtaken by colonial capitalism.Europeans increasingly controlled these systems through superior military technology making resistance futile. Only when late 19th century industrial weapons were widely wielded — machine guns, munitions, and mechanisms manufactured through capitalism's own machinations — could Europeans decisively overwhelm resistance and complete the colonial carving of Africa, the Americas, and beyond.LOCKING-IN LASTING LOOPSOnce patterns spread and stabilize, they become increasingly difficult to change. Not because they're natural, but because they're actively maintained by those who benefit.Capitalism's expansion created geographic hierarchies that persist today: core regions that accumulate wealth and peripheral regions that get extracted from. England industrialized first through wealth stolen from colonies and labor dispossessed through enclosure. This gave English manufacturers advantages. Namely, they could sell finished goods globally while importing cheap raw materials. Colonies were forced at gunpoint to specialize in export commodities, making them dependent on manufactured imports. That dependence made it harder to develop their own industries. Once the loop closed it became enforced — to this day through institutions like the IMF and World Bank.Sociologists Marion Fourcade and Kieran Healy show how these hierarchies get naturalized through moral categories that shape how people — including those benefiting from and those harmed by the system — come to understand themselves and others.(10) Core regions are portrayed as “developed,” “modern,” “efficient.” Peripheral regions are called “backward,” “corrupt,” “informal.” These aren't just ideological justifications imposed from above but categories that constitute people's identities. They shape how investors see opportunities, how policy makers perceive problems, and how individuals understand their own worth.Meanwhile, property rights established through colonial theft get treated as legitimate. They are backed by international law and written by representatives of colonial powers as Indigenous land claims continue to get dismissed as economically backward. This doesn't happen through conscious conspiracies. It's because the frameworks through which “economic rationality” itself is understood and practiced were constructed through and for capitalist social relations. People socialized into these frameworks genuinely perceive capitalist property relations as more efficient, more rational. Their (our?) very capacity to see alternatives is constrained by identities formed within the system in which they (we?) exist.These patterns persist because they're profitable for those with power and because people with power were shaped by the very system that gives them power. Each advantage reinforces others. It then gets defended, often by people who genuinely believe they're defending rationality and efficiency. They (we?) fail to fathom how their (our?) frameworks for understanding economy were forged through forceful and violent subjugation.INTERRUPTING INTENSIFICATIONViewing capitalism's complex geographies shows its evolution is not natural or even inevitable. It emerged, and continues to evolve, as a result of shifting relationships and feedbacks at multiple scales. Recognizing this eventuality creates space for imagining and building more ethical derivatives or alternatives.If capitalism emerged from particular violent interactions between people in specific places, then different interactions could produce different systems. If patterns locked in through feedback loops that benefit some at others' expense, then interrupting those loops becomes possible.Even within capitalist nations, alternative arrangements have persisted or been fought for. Nordic countries and Scotland maintain “Everyman's Right” or “Freedom to Roam” laws. These are legal traditions allowing public access to private land for recreation, foraging, and camping. These represent partial commons that survived enclosure or were restored through political struggle, showing that private property needn't mean total exclusion. Even in countries that participate in capitalist economies. In late 19th century America, Henry George became one of the nation's most widely read public intellectuals. More people attended his funeral than Abraham Lincoln's. He argued that land value increases resulting from community development should be captured through land value taxes rather than enriching individual owners. His ideas inspired single-tax colonies, urban reform movements, and influenced progressive era policies. Farmers organized cooperatives and mutual aid societies, pooling resources and labor outside pure market competition. Urban communities established settlement houses, cooperative housing, and neighborhood commons. These weren't marginal experiments, they were popular movements showing that even within capitalism's heartland, people continuously organized alternatives based on shared access, collective benefit, and relationships of reciprocity rather than pure commodity exchange.Or, consider these current examples operating at different scales and locations:Community land trusts in cities like Burlington, Vermont remove properties from speculative markets. These trusts separate ownership of the land from the buildings on it, allowing the nonprofit land trust to retain ownership of the land while selling homes at affordable prices with resale restrictions. While they're trying to break the feedback loop where rising prices displace residents, gentrification and displacement continue in surrounding market-rate housing. This shows how alternatives require scale and time to fully interrupt established feedback loops.Zapatista autonomous municipalities in Chiapas, Mexico governed 300,000 people through indigenous forms of collective decision-making, refusing both state control and capitalist markets — surviving decades of Mexican government counterinsurgency backed by US military support. In 2023, after three decades of autonomy, the Zapatistas restructured into thousands of hyperlocal governments, characterizing the shift as deepening rather than retreating from their fundamental rejection of capitalist control.Brazil's Landless Workers Movement has won land titles for 350,000 families through occupations of unused land. These are legally expropriated under Brazil's constitutional requirement that land fulfill a social function. Organizing 2,000 cooperative settlements across 7.5 million hectares, this movement has become Latin America's largest social movement and Brazil's leading producer of organic food. They're building schools, health clinics, and cooperative enterprises based on agroecology and direct democracy.(11) Still, titled arable farmland in Brazil is highly concentrated into a minuscule percent of the overall population. Meanwhile, capitalist state structures continue favoring agribusiness and large landowners despite the movement's successes with organic food production.Indigenous land back movements across North America demand return of stolen territories as restoration of indigenous governance systems organized around relationships to land and other beings rather than ownership. Through the InterTribal Buffalo Council, 82 tribes are restoring buffalo herds. The Blackfeet Nation is establishing a 30,000-acre buffalo reserve that reconnects fragmented prairie ecosystems and restores buffalo migrations crossing the US-Canada border, reclaiming transnational governance systems that predate colonial boundaries.These aren't isolated utopian fantasies, and they're not perfect, but they're functioning alternatives, each attempting to interrupt capitalism's spirals at different points and places. Still, they face enormous opposition because for some reason, existing powerful systems that claim to embrace competition don't seem to like it much.Let's face it, other complex and functional economic systems existed before capitalism destroyed them. Commons-based systems, gift economies, reciprocal obligations organized around kinship and place were sophisticated solutions to survival. And extractive and exploitive capitalism violently replaced them. Most of all them. There are still pockets around the world where other economic geographies persist — including informal economies, mutual aid networks, cooperative enterprises, and indigenous governance systems.I recognize I've clearly over simplified what is a much more layered and complex evolution, and existing alternatives aren't always favorable nor foolproof. But neither is capitalism. There is no denying the dominant forms of capitalism of today emerged in English fields through violent enclosure of shared space. It then spread through transformation of existing extraction systems into engines of competitive accumulation. And it locked in through feedback loops that benefit core regions while extracting from peripheral ones.But it also took hold in hearts and habits. It's shaping how we understand ourselves, what seems possible, and what feels “normal.” We've learned to see accumulation as virtue, competition as natural, individual success as earned and poverty as personal failure. The very category of the autonomous ‘individual' — separate, self-made, solely responsible for their own outcomes — is itself a capitalist construction that obscures how all achievement and hardship emerge from relational webs of collective conditions. This belief doesn't just justify inequality, it reproduces it by generating the anxiety and shame that compel people to rent even more of their time and labor to capitalism. Pausing, resting, healing, caring for others, or resisting continue exploitation marks them as haven chosen their own ruin — regardless of their circumstance or relative position within our collective webs. These aren't just ideologies imposed from above but the makings of identity itself for all of us socialized within capitalism. A financial analyst optimizing returns, a policy maker promoting market efficiency, an entrepreneur celebrating “self-made” innovation — these aren't necessarily cynical actors. They're often people whose very sense of self has been shaped by a system they feel compelled to reproduce. After all, the system rewards individualism — even when it's toxins poison the collective web — including the web of life.Besides, if capitalism persists only through the conscious choices of so-called evil people, then exposing their villainy should be sufficient. Right? The law is there to protect innocent people from evil-doers. Right? Not if it persists through feedback loops that shape the identities, perceptions, and moral frameworks of everyone within it — including or especially those who benefit most or have the most to lose. It seems change requires not just moral condemnation but transformation of the relationships and systems that constitute our very selves. After all, anyone participating is complicit at some level. And what choice is there? For a socio-economic political system that celebrates freedom of choice, it offers little.To challenge a form of capitalism that can create wealth and prosperity but also unhealthy precarity isn't just to oppose policies or demand redistribution, and it isn't simply to condemn those who benefit from it as moral failures. It's to recognize that the interactions between people and places that created this system through violence could create other systems through different choices. Making those different choices requires recognizing and reconstructing the very identities, relationships, and frameworks through which we understand ourselves and what's possible. Perhaps even revealing a different form of capitalism that cares.But it seems we'd need new patterns to be discussed and debated by the very people who keep these patterns going. We're talking about rebuilding economic geographies based on mutual respect, shared responsibility, and a deep connection to our communities. To each other. This rebuilding needs to go beyond just changing institutions, it has to change the very people those institutions have shaped.As fall deepens and we watch leaves and seeds spiral down, notice how each follows a path predetermined by its inherited form. Maple seeds spin like helicopters — their propeller wings evolved over millennia to slow descent and scatter offspring far from competition. Their form has been fashioned by evolutionary forces beyond any individual seed's control, shaped by gusts and gravity in environments filled with a mix of competition and cooperation — coopetition. Then reflect on this fundamental difference: Unlike seeds locked into their descent, we humans can collectively craft new conditions, consciously charting courses that climb, curl, cascade, or crash.ReferencesChibber, V., & Nashek, M. (Hosts). (2025, September 24). The origins of capitalism. [Audio podcast episode]. In Confronting Capitalism. Jacobin Radio.1. Thompson, E. P. (1971). The moral economy of the English crowd in the eighteenth century. Past & Present, 50(1), 76–136.2. Gudeman, S. (2016). Anthropology and economy. Cambridge University Press.3. Neeson, J. M. (1996). Commoners: Common right, enclosure and social change in England, 1700–1820. Cambridge University Press.4. Mintz, S. W. (1985). Sweetness and power: The place of sugar in modern history. Viking Penguin.5. Rodney, W. (1972). How Europe underdeveloped Africa. Bogle-L'Ouverture.6. Zeleza, P. T. (1997). A modern economic history of Africa: The nineteenth century (Vol. 1). East African Publishers.7. Heywood, L. M., & Thornton, J. K. (2007). Central Africans, Atlantic creoles, and the foundation of the Americas, 1585-1660. Cambridge University Press.8. Blackhawk, N. (2023). The rediscovery of America: Native peoples and the unmaking of US history. Yale University Press.9. OBrien, J. M. (2010). Firsting and lasting: Writing Indians out of existence in New England. U of Minnesota Press.10. Fourcade, M., & Healy, K. (2017). Seeing like a market. Socio-Economic Review, 15(1), 9–29.11. Carter, M. (Ed.). (2015). Challenging social inequality: The landless rural workers movement and agrarian reform in Brazil. Duke University Press. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

DESCRIPTION:In this episode, Tem and Kelly Neeson discuss the challenges teachers face when considering leaving the profession. Kelly, a career coach for teachers, shares her insights on helping educators transition to new careers, emphasising the importance of identifying passions, networking, and understanding transferable skills. They explore the reasons behind teacher burnout, the significance of setting boundaries, and the potential for teachers to thrive in alternative roles, whether within or outside of education. If you would like bespoke support, book a discovery call today: https://calendly.com/tem-helpingteachersthrive/discovery-call KEY TAKEAWAYS:Identifying personal passions beyond teaching is crucial for career transition.Networking is essential, as many jobs are filled through referrals rather than advertisements.Teachers possess valuable transferable skills that can be applied in various industries.Teachers often panic apply for jobs, which can lead to dissatisfaction in new roles.There are government-funded courses available for teachers looking to upskill.BEST MOMENTS:"I was that overwhelmed teacher.""Teaching becomes your identity."VALUABLE RESOURCES:Go to The Helping Teachers Thrive Hub to unlock exclusive contentKelly's LinkedIn: https://www.linkedin.com/in/kelly-neeson-95129a281/www.klneeson.com kelly@klneeson.com EPISODES TO CHECK OUT NEXT:Navigating the Challenges of Modern EducationABOUT THE HOST:Since embarking on her teaching journey in 2009, Tem has been on a mission to empower students to reach their fullest potential. Specialising as a Secondary Physical Education Teacher, Tem also has experience in Special Educational Needs (SEN) as a class teacher in an SEN provision. With an unwavering commitment to helping students become the best versions of themselves, Tem believes in the power of education to shape not just academic prowess, but character and resilience. Having mentored numerous teachers throughout her career, she is not only shaping young minds but also nurturing the growth of those who guide them.ABOUT THE SHOW:The podcast for teachers of many years, trainee teachers or Early Career Teachers (ECTs). Join Tem as she delves into the diverse world of teaching, offering valuable insights, tips, and advice on a variety of teaching strategies to help teachers thrive as classroom practitioners. CONNECT & CONTACT: Email: tem@helpingteachersthrive.comLinktree: https://linktr.ee/temsteachingtipsInstagram: instagram.com/temsteachingtipsLinkedIn: linkedin.com/in/tem-ezimokhai-23306a263 Hosted on Acast. See acast.com/privacy for more information.

Sydney-based actor Saksham Sharma has gone from being a magician and a popular YouTuber to sharing screen with Liam Neeson in Ice Road 2 on Amazon Prime. In a fun twist, he says if the movie were made in Bollywood, actor Akshay Kumar would've played Neeson's role. Hear about his journey and his views on the evolving role of migrants in Australia today.

Send us a textJoin Cheryl Lee - That Radio Chick on STILL ROCKIN' IT for news, reviews, music and interviews with some of our favourite Australian musiciansGraham "Buzz" Bidstrup doesn't just tell stories—he's lived them. As the drumming powerhouse behind iconic Australian bands The Angels, Gang Gajang, and The Party Boys, Buzz takes us on an unforgettable journey through the electrifying pub rock scene of the 70s and 80s where the air was "thick with the unmistakable scent of beer, sweat, and pot."Born into a musical Adelaide family in 1952, Buzz's path to rock stardom began with a father who could have been a concert pianist (before WWII trauma silenced his playing) and a mother who sang with gusto in church. This foundation, combined with exposure to seminal artists through his older brother, set the stage for his remarkable career. With characteristic humility and humor, Buzz reveals how he transformed The Angels by suggesting Doc Neeson move from bass to frontman—a decision that created magic. "You couldn't take your eyes off him on stage," Buzz explains about the charismatic Neeson, whom he considers the greatest frontman he's ever worked with.Beyond the music that defined a generation, Buzz's story takes unexpected turns. His unique upside-down guitar playing created GangGajang's distinctive sound. His work with the Jimmy Little Foundation, promoting healthy eating among indigenous children for 25 years, reveals the depth of his character. "That's what I get up in the morning for," he shares, demonstrating how music can be a vehicle for meaningful change. Still active at 73, Buzz continues mentoring young artists as an APRA ambassador while passing his musical genes to his producer son Maxwell.Whether you're a die-hard Angels fan or simply appreciate authentic Australian stories, Buzz's memoir "No Secrets" delivers raw insights into a musical life fully lived. The book is available now at Woolworths for $24—grab your copy and discover the stories behind the soundtrack of Australian rock.What Buzz Bidstrup been up to lately?  Let's find out!Get out when you can, support local music and I'll see you down the front!!Visit: ThatRadioChick.com.au

«The Naked Gun: From the Files of Police Squad!» war 1988 ein großer Erfolg. Paramount Pictures investierte 14,5 Millionen US-Dollar in den Spielfilm von Jerry Zucker, Jim Abrahams, David Zucker und Pat Proft, der 152,4 Millionen US-Dollar einspielte. Drei Jahre später spielte der zweite Teil 192 Millionen US-Dollar ein, wobei die Produktionskosten nur auf 23 Millionen stiegen. Bei einer solchen Bilanz musste natürlich ein dritter Teil die Reihe abschließen. Das Finale holte 132 Millionen US-Dollar bei Kosten von günstigen 30 Millionen. Die Neuauflage «Die nackte Kanone» mit Liam Neeson und Pamela Anderson wurde allerdings kein Hit. Das Budget von 42 Millionen US-Dollar blieb im Rahmen, allerdings spielte der Film bis zum 11. August 2025 nur 56,4 Millionen US-Dollar ein. Vor allem in den Vereinigten Staaten von Amerika ist das Ergebnis mit 32 Millionen US-Dollar überschaubar. In Deutschland wurden 2,3 Millionen US-Dollar an den Kinokassen erzielt. Mario Thunert hat den neuen Spielfilm gesehen und stellt ihn Fabian Riedner vor. Ein richtiger Kracher ist die Neuauflage mit Neeson nicht. Allerdings gibt es immer wieder Momente, die den Spielfilm von Aktiva Schaffer sehenswert machen. Hinter dem Projekt steckt Seth MacFarlane, der den Film mit seiner Produktionsfirma Fuzzy Door Productions drehte.

John Wayne and Stew talk 4K players, TVs, and Heat 2 casting rumors, before diving into the horror movie "Weapons" and the hilarious "The Naked Gun."

We're back on track with a fresh new episode on the new NAKED GUN film starring Liam "Leslie Nielsen" Neeson and directed by Akiva "Lonely Island Boy" Schaffer. Are comedies back? Can America finally laugh again? How many jokes are there over the entire 85 minute runtime? Worry not, listener: we're going through this film bit by bit, gag by gag, larf by larf.We also find time to talk about some other recent movies we've been watching, including HAPPINESS, BULLY, THE PEANUT BUTTER SOLUTION, MORVERN CALLAR, PASSION, PERSON TO PERSON, PETULIA, RAZORBACK, HOUSE OF GAMES, and VOYAGE OF TIME.We'll be back next week with a new franchise: I KNOW WHAT YOU DID LAST SUMMER! We certainly know what we were doing last summer... podcasting.Follow us @thefranchisees on Instagram and Twitter and email us at thefranchiseespod@gmail.com

In this week's episode of the world's-fastest-movie-review podcast, Jackson and Mike review FOUR new films!!! First,“SKETCH”  When a young girl's sketchbook is dropped into a mysterious pond, her drawings come to life—chaotic, uncontrollable, and dangerous. Starring Tony Hale, D'Arcy Carden, Bianca Belle, and Kue Lawrence. Then, a quick review of “THE NAKED GUN” the son of Lt. Frank Drebin, who must succeed in his father's footsteps to prevent the closure of Police Squad. Starring. Liam Neeson, Pamela Anderson, Paul Walter Hauser, and Danny Huston.  And finally, 2 lightning-fast reviews of “FREAKIER FRIDAY” Jamie Lee Curtis and Lindsay Lohan are back as the body-swapping mother and daughter duo. & “WEAPONS”  In a small Pennsylvania town, 17 third-graders vanish at exactly 2:17 a.m. Starring Julia Garner, Josh Brolin, Alden Ehrenreich, Benedict Wong, and Amy Madigan.

Welcome back ragers to the best movie review podcast on the planet. The rage rolls on from the Film Rage Studio. This week the Film Rage Crew took in three films. One comedy starring Liam Neeson, one body horror  with Allison Brie and Dave Franco and an animated feature with the voice talents of Sam Rockwell and Awkwafina. Then Jim and Bryce were forced to experience Rock "The Dwayne" Johnson in The Tooth Fairy in the Rage or Dare segment. Introduction-0:00 The Amazing Murman Predicts-1:21 In Cinema The Naked Gun (2025)-4:49 Together (2025)-15:33 Bad Guys 2 (2025)-26:39 Murman Minute-33:10 Open Rage Jim's open rage-Naked Gun not as good as the memory-37:23 Bryce's open rage-???-39:28 Rage or Dare The Tooth Fairy (2010)-42:58 Bryce pulls from Jim's Rage Bag-51:59 Outro-54:30 Thanks Ragers for listening to our film review podcast. Rage On! https://www.filmrageyyc.com/ https://filmrage.podbean.com/ https://www.facebook.com/filmrageyyc https://nerdyphotographer.com/social/ https://www.leonardconlinphotos.com/

Is this finally the return of the theatrical comedy? The Naked Gun reboot has finally hit theaters, after years of rumors and development. But this time, it's led by one Liam Neeson. I only watched the original movies, starring another actor with LN initials, for the first time a few weeks back and surprisingly, mildly enjoyed them. I have been interested in this reboot for a while though because I generally really find Neeson's ultra serious persona naturally funny and because I miss all-out comedies on the big screen. So, does The Naked Gun recapture the magic of the originals and will it spark the return of comedies on the big screen? Find out in this review!The Naked Gun:Directed by: Akiva SchafferWritten by: Doug Gregor & Doug Mand & Akiva SchafferTelevision series "Police Squad" by: Jim Abrahams & David Zucker & Jerry ZuckerProduced by: Erica Huggins, Seth McFarlaneExecutive Producers: Pete Chiappetta, Andrew Lary, Akiva Schaffer, Daniel M. Stillman, Anthony TittanegroCo-Producers: Dan Gregor, Doug MandMusic by: Lorne BalfeDirector of Photography: Brandon TrostEdited by: Brian Scott OldsCasting by: Carmen CubaProduction Design by: Bill BrzeskiCostume Design by: Betsy Heimann, Maria TortuCast: Liam Neeson, Pamela Anderson, Paul Walter Hauser, Danny Huston, CCH Pounder, Kevin DurandSynopsis: Only one man has the particular set of skills… to lead Police Squad and save the world: Lt. Frank Drebin Jr.

Würde man anfangen sich Zitate der DIE NACKTE KANONE Reihe um die Ohren zu ballern, würde man vermutlich die kommende Stunde nicht mehr damit aufhören. Viele Leute - uns inklusive - sind zum Teil mit diesen Filmen aufgewachsen und haben Ihren Humor dadurch prägen lassen. 31 Jahre später kehrt die Reihe nun mit dem gleichnamigen Titel DIE NACKTE KANONE zurück und präsentiert uns Liam Neeson in der Hauptrolle als Nachfolger von Leslie Nielsen. Doch ist es wirklich möglich den Humor in die heutige Zeit zu transportieren? Dieser Frage, sowie vielen anderen, gehen wir gemeinsam mit Gast Batz neben einer Besprechung der Filmreihe natürlich nach und lassen euch wissen, welche Momente und Szenen uns besonders im Kopf blieben und worüber wir auch beim 15. mal noch lachen können. Wenn Ihr also wissen wollt, ob sich der Kinobesuch lohnt, verpasst nicht die aktuelle Episode von RUHE IM SAAL!——

We present our review of The Naked Gun 2025!The Naked Gun is a 2025 American crime action comedy film directed by Akiva Schaffer and written by Schaffer, Dan Gregor and Doug Mand. The fourth film in The Naked Gun franchise, it stars Liam Neeson in the main role, with Pamela Anderson, Paul Walter Hauser, Kevin Durand, and Danny Huston starring in supporting roles. It follows the son of Lt. Frank Drebin who must succeed in his father's footsteps to prevent the closure of Police Squad.A fourth The Naked Gun film was originally announced in 2009, as a direct-to-TV sequel starring Leslie Nielsen. However, the film languished several years of development, including being redeveloped as a reboot starring Ed Helms in 2013. It was later officially announced in January 2021 that Seth MacFarlane had been hired to develop the project, and he expressed interest in casting Neeson in the main role. Although MacFarlane was hired to direct, Schaffer replaced him after the film was greenlit in October 2022, and Neeson was officially cast in the main role. Anderson was cast in April 2024, and further casting took place the following month. Filming began in Atlanta that month and wrapped in June.The Naked Gun premiered at the SVA Theater in Manhattan on July 28, 2025, and was released in the United States and United Kingdom by Paramount Pictures on August 1, 2025. The film received positive reviews from critics and has grossed $28.3 million worldwide against a $42 million budget.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

In this Reel Insights episode, Sean Tajipour, the Mayor of Nerdtropolis, chats with Liza Koshy about her hilarious role in the brand-new reboot of The Naked Gun alongside Liam Neeson.Liza opens up about joining one of comedy's most iconic franchises, keeping a straight face during absurd scenes, and what it's like to perform next to someone as tall (and serious) as Neeson. She also shares the secret sauce that makes The Naked Gun work—playing every ridiculous moment completely straight—and reveals her favorite joke from the film (spoiler: it's so stupid, it's genius).Whether you're a longtime fan of the original or discovering the chaos for the first time, Liza's behind-the-scenes stories will make you want to watch the movie twice (at least).Visit Nerdtropolis.comFacebookInstagramTwitter

The Naked Gun is a 2025 American action crime comedy film directed by Akiva Schaffer and written by Schaffer, Dan Gregor and Doug Mand. The fourth film in The Naked Gun franchise, it stars Liam Neeson in the main role, with Pamela Anderson, Paul Walter Hauser, Danny Huston, CCH Pounder, and Kevin Durand starring in supporting roles. It follows the son of Lt. Frank Drebin who must succeed in his father's footsteps to prevent the closure of Police Squad.A fourth The Naked Gun film was originally announced in 2009, as a direct-to-TV sequel starring Leslie Nielsen. However, the film languished several years of development, including being redeveloped as a reboot starring Ed Helms in 2013. It was later officially announced in January 2021 that Seth MacFarlane had been hired to develop the project, and he expressed interest in casting Neeson in the main role. Although MacFarlane was hired to direct, Schaffer replaced him after the film was greenlit in October 2022, and Neeson was officially cast in the main role. Anderson was cast in April 2024, and further casting took place the following month. Filming began in Atlanta that month and wrapped in June.The Naked Gun premiered at the SVA Theater in Manhattan on July 28, 2025, and was released in the United States and United Kingdom by Paramount Pictures on August 1, 2025. The film received positive reviews from critics and has grossed $28.3 million worldwide against a $42 million budget.

Ronald Young Jr. reviews The Naked Gun by himself… RYJ wonders if movie crowds are actually ruining movies…RYJ -  4 of 5 starsFollow me on IG, TikTok, Threads, Bluesky, and Letterbxd - @ohitsbigronAvailable in theatersStarring Liam Neeson, Pamela Anderson, Paul Walter Hauser, Kevin Durand, Danny Huston, and Moses JonesWritten by Dan Gregor, Doug Mand, and Akiva SchafferDirected by Akiva SchafferFor more information about The Naked Gun check out this linkSupport Leaving the Theater on Patreon using this link

pWotD Episode 3015: The Naked Gun (2025 film) Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 158,340 views on Sunday, 3 August 2025 our article of the day is The Naked Gun (2025 film).The Naked Gun is a 2025 American action comedy film directed by Akiva Schaffer and written by Schaffer, Dan Gregor and Doug Mand. The fourth film in The Naked Gun franchise, it stars Liam Neeson in the main role, with Pamela Anderson, Paul Walter Hauser, Kevin Durand, and Danny Huston starring in supporting roles. It follows the son of Lt. Frank Drebin who must succeed in his father's footsteps to prevent the closure of Police Squad.After several years of development, including a direct-to-TV sequel starring Leslie Nielsen and a reboot starring Ed Helms, it was announced that Seth MacFarlane had been hired to develop the project, and he expressed interest in casting Neeson in the main role. Although MacFarlane was hired to direct, Schaffer replaced him after the film was greenlit in October 2022, and Neeson was officially cast in the main role. Anderson was cast in April 2024, and further casting took place the following month. Filming began in Atlanta that month and wrapped in June.The Naked Gun premiered at the SVA Theater in Manhattan on July 28, 2025, and was released in the United States and United Kingdom by Paramount Pictures on August 1, 2025. It received positive reviews from critics and grossed $28.5 million worldwide during its opening weekend against a $42 million budget.This recording reflects the Wikipedia text as of 02:43 UTC on Monday, 4 August 2025.For the full current version of the article, see The Naked Gun (2025 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kendra.

On this week's episode: Can "The Naked Gun" movie save comedies? Romantic rumors surround Liam Neeson and Pamela Anderson, KPop Demon Hunters review and music reaction, Ben Affleck might be making a Karen Read movie, "Boston Blue" and more!The Hub on Hollywood, hosted by Jamie and James, delves into the thriving film industry in New England. The podcast explores the production of various projects, including commercials, television shows, and full-length feature films.The podcast insights into New England's growing film industry, as well as entertainment news and reviews. Subscribers can access the podcast on the iHeartRadio app and follow the hosts on Instagram and TikTok for updates.

Travis Hopson and Joblo.com's Chris Bumbray review #TheNakedGun with #LiamNeeson attempting to fill the shoes of the late great Leslie Nielsen! Plus, a brief discussion of our favorite hot ladies of the '80s and '90s.THE NAKED GUN is in theaters now.All of this and more can be found at www.punchdrunkcritics.com!Subscribe to Punch Drunk Critics on YouTube:    / @punchdrunkcritics1  Follow Punch Drunk Critics on Twitter: https://www.twitter.com/pdcmoviesFollow Punch Drunk Critics on Facebook: https://www.facebook.com/pdcmoviesYou can also subscribe to our podcast Cinema Royale anywhere you get your podcasts!#TheNakedGun #LiamNeeson #PamelaAnderson

The Naked Gun franchise has always been a rapid-fire delivery system for gags, delivered straight-faced by a cop who doesn't know that anything is funny. In the new Naked Gun movie, that role is handled by the very straight-faced Liam Neeson. With Pamela Anderson as his femme fatale, Neeson tries to save the world from, quite literally, a plot device. And like the original franchise, this Naked Gun is all about a joke pileup.Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopcultureLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The EPA is seeking to scrap limits on greenhouse gas emissions, America's fertility rate hit an all-time low, and the president's son weighed in on the Sydney Sweeney American Eagle eugenics controversy. Legendary actor Liam Neeson reveals that he and Pamela Anderson take part in a threesome in “The Naked Gun,” which marked Neeson's first time working with an intimacy coordinator on set. “The Naked Gun” is in theaters this Friday. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Fantastic Four: First Steps Is this, the 4th attempt at bringing the Marvel Universe‘s “First Family” to the big screen actually as fantastic as it purports to be? Well, we have finally settled on a look and feel that best suits the classic super hero squad: and it’s ‘60s Retro-futurism all the way for one and all!!! It’s a whole new universe of Marvel stories starring Omni-daddy Pedro Pascal, serving C&%t Vanessa Kirby, Joseph “i’m on fire!” Quinn and Ebon Moss Bacharach (or baccarat as Quinny thinks he’s called) as the truly Fantastic Four! In this film we kick of Marvel‘s Phase 6 and usher in a new style and direction of storytelling, but is it actually good?  Listen in and find out! These fantastic four reviewers are here for this one, so it’s all hands on deck as we hit this faster than light! https://youtu.be/ZkJszcpuQwQ A huge shout-out to the fantastic flexible friends and their robot helpers who join in with our moderated live-chat during the Twitch stream, each Tuesday night at 7:30pm AEST. And especially to those who have decided to drop some crushed up planet juice in the tip jar. Thanks for supporting us directly via our Ko-Fi jar and now also by subscribing on Twitch! You ALL rock! If you like what we do, drop us a sub!  Every bit of your support helps us to (hopefully) keep entertaining you and making more emotes! (there may need to be some for the rating system soon!) Don’t fret if you can’t be there for the recording though as you can catch them on Youtube usually later that very night. Make sure to subscribe so you don’t miss them! https://youtu.be/18QQWa5MEcs?si=ZuzrC0i80qHjiz4n https://youtu.be/cLFDV72pa-s?si=VHolgiDlJZWBk0I0 https://youtu.be/_rRoD28-WgU?si=nISYKo7MGY4MpUE9 https://youtu.be/WEhgwDqYqWM?si=Tx-FIPgv23qichZv ERRATA: It seems Quinny’s HERBIE history lesson was incorrect and entirely apocryphal… https://youtube.com/shorts/KHyTOUSk6Rw?si=FCmt1FKY-Grdhs7D   WE WANT YOUR FEEDBACK! Send in voicemails or emails with your opinions on this show (or any others) to info@theperiodictableofawesome.com Please make sure to join our social networks too!  We’re on: Youtube: https://www.youtube.com/user/TPToA/ Twitter: www.twitter.com/TPToA Facebook: www.facebook.com/PeriodicTableOfAwesome Instagram: www.instagram.com/theperiodictableofawesome/   Full text transcript Dion  Ohh hello and welcome to the pairing Table of Awesome. It is time for a foursome of a different kind on today. The Tuesday. What time? What time is it?  Speaker 3  What time is it?  Speaker 6  Blame on us? Yeah, it’s it’s.  Speaker 3  Fun it’s it’s podcasting time.  Dion  Butter in time. Wait, that doesn’t quite work. I don’t know. And right now, Pete, which she was invisible. Yeah. Yeah, well done.  Speaker 6  oh  Speaker 3  Sorry.  Quinny  Very well done. I love the feeling now, really. She’s.  Dion  Hold on. Yeah, yeah, yeah. Embrace hope. She’s yeah, probably. Still there. Can you hear?  Jill  Really gone. Just gone.  Dion  Us in the void.  Peta  I’m invisible. I’m not silent.  Speaker  Yeah. Yes.  Dion  That’s true. They didn’t use that enough in the film. I don’t think they’re just having Sue just kind of being like, what are you guys talking about and freaking people out because, you know, I do, if I were the Invisible Man.  Jill  Yeah, she’s not seen, not heard woman.  Dion  Yeah, not seen, not heard. Wow. Hello. Back after a week. Off. Off. Yeah, yeah. Small, small break.  Quinny  Wow. Hey, I said, everybody feeling enthused and like, upbeat and stuff.  Jill  It was nice. To have a little break to be honest.  Dion  Yeah, yeah, I hate those months with the five Tuesdays. What? What weirdness is that ********? And now? Ohh, it’s it’s gone. You’ve gone all glowy and.  Peta  Yeah, I’ve, I’ve. I’ve smudged the camera so.  Quinny  And ohh well. Yeah, I know. She’s she’s actually doing the exact effect from the movie where it’s just a little.  Jill  Yeah, yeah. The Vaseline lens. Yeah.  Speaker 3  Bit of.  Quinny  Now, now pets. No.  Dion  Can I stretch my hand over here?  Quinny  Pun. Serve absolute can’t with your face while you.  Jill  Do that. Yeah, there it is.  Dion  There you go. Perfect.  Speaker 3  And now I’m going to do some cooking, OK?  Dion  Ohh dear and you know what I hope for everyone. Hello to everyone in the chat mainly for. I hope you all got to do the home.  Speaker  Hey.  Dion  Work.  Jill  Yeah. Did everyone enjoy the movie? I.  Dion  This particular day.  Quinny  Mean I could. See it? Yeah, Tari looks like that. She hasn’t seen it yet. She’s saying that she that please be good. Ohh. Interesting.  Speaker  Oh.  Speaker 6  Ohh.  Dion  Fascinating. What?  Jill  Yeah.  Dion  Look. Yeah, we Fantastic Four has been out since last Thursday. Officially, we saw it last week which? Was quite fun.  Jill  Yeah, there’s even some early screenings on Wednesday for the public.  Dion  Yeah. Yeah, yeah, yeah. It’s out. It’s part of Marvel’s Phase 266.  Quinny  Yep. First film of Save 6. First film of, say Phase 6. God, that’s.  Speaker 6  Dion  Why couldn’t have made it the first film of Phase 4?  Quinny  Because that was quite some time.  Dion  And then it. Would have been. Ago. Right. OK. Look, the fourth attempt at the Fantastic Fours and I I include in that the the 1994. 1. Which was never released except IS is is hovered around. Yes, there was a 1994 one.  Jill  That would make this the 5th 1 then.  Dion  Yeah. No, no, it’s it’s, it’s, I say this as in the fourth go at it because there were two with the same cast. So you have the, yeah.  Speaker 6  Ohh OK.  Dion  What are you talking about? This is. Our fourth thing. We have had, yes, it’s the fourth thing, you know, Michael Chiklis did a great job getting covered in rubber.  Quinny  That is true, Yep.  Peta  Yeah.  Dion  You know, and then you know, we’re up to this one.  Jill  Can’t remember the other guy.  Quinny  That’s gonna get off in the life. And remember who played the thing in Fan 4? Stick. Ohh my.  Dion  God fan 4 stick.  Jill  I know.  Quinny  That was, that’s what it’s called.  Jill  Fan Fant Fant 4 stick.  Quinny  I don’t know, but I I just.  Jill  Yeah, I think that a was in the. Middle not at the start.  Quinny  Ohh OK, I just call it fan 4 stick because it’s it’s easier to say.  Dion  Ohh, that’s right, it’s Jamie Bell.  Quinny  Ohh God that’s.  Dion  Right, you remember.  Speaker 2  Whoops.  Quinny  He was the young.  Dion  Billy Elliot.  Speaker 3  Yes.  Quinny  And and the young, chipper guy out of of the first king or the the King Kong movie that Peter Jackson did.  Dion  And he was also tin tin. But that was who made.  Quinny  It so not really who you would think. Yeah, would fit in a giant thing.  Jill  Memorable.  Dion  That he was the. Thing, yes.  Quinny  And Karina makes a good point, a arresting piece to Julian McMahon, who was the 1st Doctor Doom actually. Sorry, 2nd Doctor Doom.  Speaker  Yeah. Yeah.  Dion  Yes, because there was a doom.  Jill  I did rewatch the 2005 version on the weekend just for a bit of nostalgia. Yeah, I like those trashy ones. They’re great. They’re so campy and stupid.  Speaker  Did you?  Quinny  What did you think of it?  Speaker  Yeah.  Jill  And I look back on them. And I’m like, wow, the simpler times where we did comic book films. And we really, really did make them comic bookie.  Speaker  Yeah, man. Yeah.  Dion  And finally.  Jill  Well, we weren’t going. For all of the realism and stuff.  Quinny  Yeah. And they didn’t have to fit in with some. Gigantic *******. Thing.  Jill  I will tell you practical effects. Thing I don’t know I like. Yeah, CGI 1 is like that, feels like. A cheap cop out.  Quinny  Right. OK. OK. Fine, no suit.  Jill  With balls on it and not put in. Any effort and? Just animate it.  Quinny  You know what?  Dion  Wait, do you mean wait?  Peta  The fine effort.  Jill  Hey, it’s a different kind of effort. I’m like, let’s get our hands dirty and make a ******* stinky suit out of foam expanding. Foam or something like that and. Of course, some lung disease. Let’s get into.  Dion  I’m I’m going to like, I’m just going to take it on part of the actors there. Sometimes I’m just going to be like, yeah, maybe they don’t.  Jill  It.  Quinny  This is Jeff.  Dion  Want that? Maybe they don’t want to spend 16 hours in a makeup chair to to to do. Yeah.  Speaker 6  As a cosplayer, I I would agree, but I would also disagree because I think it would be fun to make it.  Dion  Sure. I mean ultimately it’ll be that great thing of like they make someone do that and then they just go oh.  Quinny  I’m. I’m just.  Dion  We’re just gonna CGI it.  Quinny  Well, The thing is, there was a there was a lot of the thing in this one that was actually practical. Like there’s quite believe it or not, there’s there’s shots that they hired a a pretty big wrestler to be the body for it. So on set. A lot of the time there was a practical suit, dude of roughly the right size. Is.  Jill  So we’re not talking about a guy that’s just standing in there in a green zentai.  Quinny  No, I mean when when they’re doing it with Evan Moss, Baccarat, then he was in the uh, whatever the **** he said. Backup, backup, backtrack.  Dion  Doctor rap. No. Baccarat. That’s a.  Quinny  Alright.  Dion  Game I know.  Quinny  Dion  Know you’re in a casino in Monte. Carlo yes, guys.  Quinny  Anyway, when he was on set, yeah, they they had this entire certain stuff like that. But there were quite a lot of it that was shot any time they needed, like a wide shot and everything. They actually had a dude in a suit with the. Ohh head and everything. Cool. Alright. Yeah, I’ve I’ve seen the the pictures of that, but I’ve also in the chat just put a link to the 1994 one and the thing in that Jill, you would love that one because the the suit actually looks more like the comic book character than any of the others have.  Jill  I love the terrifying dead. Eyes.  Speaker 3  I know.  Dion  I mean, it’s great. It’s yeah, it’s very thingy.  Jill  That’s. Yeah, that’s.  Speaker 6  Look at that thingy over there. That thingy.  Dion  Yeah, that, that, that is definitely something I’d go. What is that thing? If I saw it in a in a thing?  Jill  With that young man with fake grey sideburns.  Quinny  I know, right?  Dion  Yeah. Hey guys. I’m trying hard here, Joe. What?  Quinny  Honestly, if you could find that film. Like this. This is I love this one because my my thing with Fantastic Four it it started with this film because I was one of those ******* nerds who heard that there was a film that got made and was never released. So I then went and hunted.  Speaker  For.  Quinny  It and I, you know, back in the days of VHS trading, got somebody to send me a *******. VHS of this film that had never been released, and I’ve watched it. It’s terrible, but it’s actually got a lot of, like, it’s trying really hard.  Jill  And. Nice.  Quinny  To do all of the things that are fantastic, four movie should do just with no budget. Hmm. So yeah, like it’s got Doctor Doom. It’s got the mole, man. It’s it’s got them all doing their powers. But like Reed, stretchy arms are like pool noodles with a with a *******. A glove on the end.  Jill  I mean that’s still image alone is giving vibes of like 70s Italian Spiderman.  Dion  Yes, got a bit of that. I mean, you’ve gotta. What’s what’s the what’s the the crossover slash league like the Marvel Group, you know, secret wars thing. It’s the 1989 Punisher. Dolph Lundgren. It’s the the Captain America film. It’s the Fantastic Four film.  Quinny  Hmm.  Dion  You know, it’s all of those ones Pre Marvel Universe. Mashed together. And you’re like, what is this strain? ******* place, but we don’t. Here, we’re in a different, strange place this time. We’re in much more budget, some bigger names and some.  Quinny  Yeah.  Dion  Finally, they sort of kind of got people who give a ****. Quinny  Yeah, yeah.  Dion  About doing something fun.  Quinny  Yeah.  Jill  And that’s nice. Surprising what you’re going to accomplish when you put in some time and effort.  Speaker  Yeah, isn’t it?  Dion  Isn’t it’s kind of like oh.  Quinny  And when you? And when you’ve had three goes at it before and gotten it wrong three times. You kind of go. Well, **** it. We’re gonna hold off on this one because, I mean, Fantastic Four has always been seen as Marvel’s first family. Like, you know, they’re they’re one of the very earliest Marvel superhero groups. And you know, we’re what, 40, you know, 39 films in now something.  Speaker 5  Sure.  Dion  More, I don’t know 112 where 112 films in now. That’s how many there are. I I won’t be fact checked.  Quinny  And we’ve, yeah, and now we’ve just introduced the very first Fantastic Four stuff. So yeah, it’s it’s an interesting one. I mean, obviously they were tied up in rights for. A long time.  Dion  But yeah, I mean. Look, it’s fine. We’re just going to ignore the rest of those fan 4 test. Stick, whatever it is.  Quinny  Can’t ignore them.  Dion  We have to stick, then forget stick. That’s what I. Yeah, we’re gonna ignore that.  Quinny  Not. The autistic fans.  Dion  We’re going to, we’re going to ignore that. Michael B Jordan, he’s also Johnny Storm. Yes, I know, right. No, he’s not Killmonger. He’s definitely Johnny storm. We’re also going to ignore that Captain America.  Quinny  Ohh yeah yeah, he was one of them.  Speaker  Yeah.  Jill  Was also Johnny Storm and Captain America.  Dion  Was also. Stone. Yeah. Yes, exactly. We’re going to ignore all of those things and focus very.  Speaker  Yeah.  Dion  Much in Comic Daddy and his family and Pedro Pascal’s not not happy just being space Daddy, Apocalypse Daddy and General General Daddy.  Jill  Yeah. Thanks, daddy.  Dion  Now he’s also comic Daddy.  Quinny  Hmm.  Speaker  Yeah.  Dion  Yeah, along with.  Quinny  Is there anything he can’t, daddy?  Dion  You know what? Hollywood will not let him. Not daddy something. He’s in there now forever. Like. Yeah, he will just. He will just keep doing it until everyone collectively gets sick of him. And I’ll be able to return to an anonymity.  Quinny  Hmm. I just realized it is the summer of Pedro, it’s.  Jill  Summer picture.  Dion  Yeah.  Speaker  Been just realized.  Dion  Multiple summers.  Quinny  It was another ******* attempted Fantastic Four.  Dion  Oh. Have you? Yes, grey tailed.  Quinny  Well, technically. There was another Reed Richards. Ohh John Krasinski but that.  Jill  Yes. Yeah, that’s right.  Dion  That’s in Multiverse of Madness, which is so the. But that’s not the Fantastic Four.  Quinny  Yes, from. Marvel Universe. He’s one of the breeds.  Jill  He was. He’s Mr. fantastic.  Dion  Is he though?  Jill  Yes.  Quinny  He’s Mr. spaghetti by the end of. It but anyway.  Dion  Yeah, like I mean, yeah, that’s just on film, but it it, it wasn’t the Fantastic Four and this is what we want to focus on. It’s about these group of people and. How they’re represented in cinema? Yeah. What you’re not.  Jill  Capturing in the audio is our eye rolls.  Quinny  Massive massive eye roll.  Dion  Come on.  Quinny  Beyond wiping away John Krasinski from the from the entire multiverse of of anything, and we’re all going. No, no, no.  Jill  Yeah, that’s because they don’t. Can’t do a convincing cosplay of John Krasinski’s Mr. Fantastic. You can only do the Pedro.  Dion  No, I cannot.  Jill  Dion  Yeah, yeah, yeah. Yeah, and if you squint, the Ian Crawford one.  Speaker 6  You’re clean shaven for that one.  Quinny  I’ve just had an eye. Yeah, my eyes are not that ******* blind.  Dion  OK, then fine. I’ll go with this one if this. If he’s part of the Fantastic Four Canon, you need to cast the other three members of the Fantastic Four in those universes. Who is it going?  Jill  That’s true. OK. Oh my God. Yeah. Can we come back to this at the?  Dion  No immediate. OK. We’ll give you time. Time. Yeah, time.  Jill  End of the show. We’ll be here for 15.  Dion  Minutes. Yeah. Yeah. So if if if John Krasinski’s Mr. Fantastic and chat go and throw some something we.  Quinny  Man. Need to sleep? Yeah.  Speaker 6  ******* Emily Blunt. I would go. Emily Blunt force.  Jill  Storm.  Quinny  **** yeah. Yep, Yep. You down to?  Dion  That yeah, Karina, just like gonna get to the. Synopsis yet guys.  Speaker  Yeah.  Peta  You know, keep getting pushed.  Speaker  Push.  Speaker 6  Push by the chat. Let’s go.  Speaker 2  Yeah, that’s a wow.  Quinny  I’m being bullied by the test.  Peta  This film about.  Quinny  What is this film about it? No, I’m not gonna. I’m not gonna do the synopsis now because I’ve been told. I have to.  Jill  No. Ohh yes.  Speaker 6  Jesus.  Dion  Christ.  Jill  That sounds like me energy.  Dion  Peta  Settling into that demand avoidance there.  Dion  Come on. Tony, have you got? Have you got some synopsis?  Peta  Yeah.  Quinny  For us it is. I have got a. Synopsis for everyone but Karina.  Peta  To be fair to Karina, it’s been 20 minutes.  Jill  Can you do it in a Brooklyn accent? OK.  Speaker 3  Forced ohh. Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth from a ravenous space God called Galactus and his enigmatic herald the Silver Surfer. And guess what? It’s clubber and die this.  Quinny  Ohh, cool, that’s it. That’s the whole book. Was an opposite. Trust me, there was an even shorter one.  Speaker  Is that it?  Speaker 6  Yeah. Wow.  Dion  I love sofas, yeah.  Speaker 6  Silvers, soyfer yeah, soyfer.  Dion  Some some more continents and vowels in there that I remember from.  Speaker 3  Hey, I’m going down the street and I’m going to start some some flights. Yeah, yeah, yeah.  Dion  Yeah, that’s about it.  Quinny  Hey, get that man some cookies. Thank you. I.  Dion  Would love some cookies. That’s kind of what the movie is about and I’m, I’m I’m with it like this isn’t one of those films that you went and saw and you’re like, oh, great, we get to have an origin story of how did they get their powers, how did. They do this like how do we go through that? They were like, no, you know what?  Quinny  Ohh thank God.  Jill  Yes, we just got a tidy. Little vignette, and that’s all we needed.  Dion  Yep. Quite a long vignette really explaining like how they fit into the world and how suddenly the the brokers of World Peace and everyone looks up to them and they’re the world’s family.  Quinny  Yep.  Jill  Yeah, I kind of love it.  Dion  I mean, OK.  Jill  They’re. They’re paragons.  Quinny  Yeah. And we, the the important thing to note is that we’re in a different world here we are in. We’re not in the regular Marvel Universe. We are in a weird kind of quasi 60s future pop, yeah, different reality.  Speaker  Mm-hmm.  Speaker 3  It’s.  Dion  It’s 60s futurism, so it’s just it’s there’s a divergent.  Speaker  Hmm.  Dion  From our history to where it has ended up in this Earth history, and I’m I dig it, I dig the style, imagine in the 60s if four people got shot into space and came back and had all these powers and solved a bunch of problems.  Speaker  Hmm.  Dion  And a bunch of other things happen. That’s how that kind of goes. It’s like, yeah, well, you know.  Quinny  Yeah. And the difference.  Speaker  I mean.  Quinny  Not actually stated what year this is, is it?  Dion  No, no, it’s just the different earth.  Quinny  Yeah, right.  Dion  And what that is. But people don’t have.  Jill  Yeah, it could be current day 2. 616 Earth we don’t.  Quinny  Yeah, yeah.  Jill  Know that’s just what this earth.  Dion  Yeah. Looks like there’s big. There’s big kind of LED screens, but no cell phones.  Speaker  Slide.  Peta  Yep, well, it’s kind of like they’ve kind of gone. We don’t need to put energy into making TV screens flat. We’ll just have giant non flat TV screens and faster than light space travel. Yeah, yes. But we’re gonna do with that extra energy.  Dion  There’s there’s like.  Quinny  No.  Dion  You know. Yeah.  Peta  We don’t need to put energy into like inventing MP threes. We’ll just keep records. Yeah, yeah, yeah, yeah. And teleporting.  Dion  Yeah. Yeah, yeah, yeah, yeah.  Peta  Think of what we could have done as humanity.  Quinny  I didn’t know.  Dion  Exactly all of our computerisation goes on tape.  Jill  Yeah, I mean. Yeah, we invented cassettes and then CD’s and then digital format music. And now we’re back to ******* records again.  Quinny  So yeah, but they just didn’t bother leaving the the records. Yeah, because they realized it was the the superior format from the start, especially if you print them in.  Dion  Yes. Gold. And if you haven’t got a troop of players in your lounge room. You know, yeah. Eventually we’ll get to there, won’t we, like? Oh, this is my 9 musicians that follow me around and. Play music to me.  Speaker  Yeah.  Quinny  Yeah. I mean, yeah. Karina and Casper both kind of make the point. It’s very jetsons.  Dion  Yeah. And that’s kind of great because that’s very familiar to the people who knew fantastic for for when they were growing up based on the cartoon, which is the the sort of.  Peta  So jetsons.  Dion  The carry over of where people would sit from the Saturday morning kind of cartoon and. You know it it it sets the tone that everyone could easily get into and I went, I’m here. I immediately know what’s going on. It has a different Marvel logo, it has a different kind of a soundtrack. It’s setting itself in a in a particular period and I was like, I’ll go with this. This is totally different to every ******* thing else. This isn’t a dark and gritty reboot. This isn’t. Anything really to do with the rest of the Marvel Universe? Yeah, kinda. Which makes me happy. And I was like, I’ll go with this. I’m immediately just going to be like, all right, what do you got?  Jill  Yeah. I think the thing that’s so immersive about it is the visual language that they’ve lent into so strongly and so thoroughly like the the set design and production. All the set pieces, the costumes, everything like that was like. Beautiful, like there was such attention to detail and there was not like a wasted moment on screen. It was so interesting that we’re talking about like, how like futuristic retro it is but. Like the. Costuming wasn’t futuristic. That was still like grounded in 60s fashion.  Speaker  Hmm yeah.  Dion  I had a really good time just watching the sets and the costumes. I was like they have actually paid a lot of detail to the costuming, not only of the signature folk, but the people around them too. Looked sharp as ****, I gotta say.  Quinny  And.  Jill  Yeah, like the the space suits and their hero suits were were still like. Grounded within like that 60s, like retro futuristic style, but had like the the strong 60s fashion elements as well in terms of like the textures of the fabrics and things that they used but the the colour theory throughout was fantastic and yeah just the the visual language that they. Used in this film was just so Cohen.  Peta  It’s a joy for. The arts, hmm.  Dion  Joy for the eyes until we get to the failure of the film.  Quinny  Wow. Jesus. OK, so, so just a reminder folks, the deal also sat through Superman and huffed.  Speaker  Go further on.  Dion  I did. I did half. He did half I wanna also. Caveat that I did see Fantastic Four, but beforehand I had.  Speaker 6  So.  Dion  To watch. Beforehand I had to win. The Avatar trailer 17 times. I don’t. I don’t know how to explain that in terms of everything else, but I had to sit through the Avatar trailer. Too many ******* times, and that may have influenced my decision. And how I enjoyed that film slightly too many times.  Jill  Anyway, yeah, it’s almost like they strapped you to that chair and made you watch them 17 times.  Dion  They kind of did. Yeah. You know, because you know, as we all know, in those kind of cinema things, the seats are gold. And if you leave one, you’re done. It’s going coming back but anyway.  Speaker 3  Yeah.  Dion  OK, enough of that. Fantastic for what? What are your first four impressions?  Quinny  I just wanna know why you’re getting ready to throw it.  Speaker 2  Hello.  Quinny  Under the bus. To you ohh.  Speaker 2  No, no.  Quinny  Like there have been a couple of times that you’ve already kind of started. Coming out of. Swinging. I wanna know why the big.  Speaker  There is.  Dion  Rubber punches out. Well, first, I mean, we all hate John Krasinski. And. No, I’m just joking. That’s. Three just threw that out there for.  Peta  Come on for John Krasinski. And he’s not like.  Jill  He can’t even defend himself.  Quinny  He’s such a nice guy. Everybody talking.  Dion  About, I’m talking about how effusively I love the costuming, the design, the aesthetic, the way that it just kind of moves the story along really, really quickly. It throws in some amazing nods and references to the historical stuff, like there’s covers of famous Fantastic Four issues thrown in very quickly. I know you’ve got.  Quinny  Oh my God, that made me so happy.  Dion  Classic villains like Mole Man and the Red Ghost. Yeah. Ish red. Red ghost off.  Speaker 3  Well, sort of.  Dion  Like all of that stuff is kind of great. Herbie is amazing. The fantastic car, which I think often gets ignored. Quinny  Yeah.  Jill  Uh-huh.  Dion  In, in a lot of, this is part of the fun about the Fantastic Four is all of the bits and pieces that Reed comes up with. That’s all kind of themed Herbie, as I said. Yeah. And he was.  Quinny  Great. OK. Does everybody know the history of why Herbie exists?  Jill  No.  Quinny  OK, this is my my favorite stupid piece of ******* history. So in the 60s, when the Fantastic Four was being turned into a cartoon, they went OK we’re going to do the Fantastic Four and the standards people of America went hang on. One of the characters is on fire.  Speaker  Tell.  Quinny  We can’t have a children’s TV show where the children want to emulate the heroes and have a character be on fire. Why not so? In the 60s cartoon of Fantastic Four. Johnny Storm is removed entirely and is replaced by Herbie. This is where Herbie came from. Wow.  Speaker  Oh. Yeah.  Quinny  So the fact that, like the fact that he’s in the movie is ******* hilarious. But his history is even better.  Jill  That’s wild.  Quinny  And I’m pretty sure he actually talked in the animated series, but yeah, and didn’t just make bleeps and.  Speaker 6  Wheels. I like the Droid vibe it was.  Dion  Didn’t. Yeah, it didn’t sound like. Yeah, it didn’t sound like a 60s frickin B.  Speaker  Yeah.  Dion  I just. I just remembered something. Thing when we get this Sue storm into the proper Marvel Universe, she’s going to have to come up against Namor, yes.  Quinny  Hmm.  Dion  And and that’s a lot of that’s a that’s a whole. Jean Grey, Wolverine, Cyclops thing going to happen right there anyway. That’s right.  Jill  That’s something we can work on.  Dion  Later. Yeah, there’s a lot of smart in that one anyway, yeah.  Speaker  Yes.  Quinny  And apparently on on the set all the time, Vanessa Kirby is like, So what? What’s going on with Namal? Pedro’s like, for ***** sake, right?  Dion  Here she knows what’s going on. She gets all the cast members.  Quinny  Mm-hmm.  Speaker 3  Yeah.  Dion  Yeah. Look, I. Had a great time with it, like, you know, really good introductions to quick introductions to characters. Everyone got a little bit of ability to show who they were as characters very rapidly. Like, you didn’t have to pay to. Much there, but I also really appreciated how much they felt like a family and they felt caring and it was showing them in a particular way, which it wasn’t like, oh, these are conflicted people. They don’t know how to, you know, where’s the drama? I mean, the drama isn’t in the family. The drama is external forces. And I think they got that really well because there was a really cool vibe to sort of be like ohh this is, this is cool kind of family like like I I would take children to watch it and be like see, this is how you’re nice to each other. You don’t have to hit each other. You know.  Quinny  Don’t set each other on fire.  Dion  Don’t set each other on fire. Try stop working so hard.  Quinny  Pete Jew talk to me.  Jill  Oh my God. Ohh feels like so long ago but it was only Friday.  Dion  Four days ago that you saw it.  Jill  Ohh my goodness, I really liked the film. I had a good time. I saw it well. I mean, all the things that I said about the costume and set design and all that stuff was just fabulous. I thought like the story pacing was good. Like they they got to the point and they, you know they executed ABC. You know, here’s what’s happening. Here’s our problem. And here’s how we overcome. It, like they did that. UM. I thought the action bats were good. But again, I’m just not getting my **** blown off. Guys. The jet film. We’re back to the **** rating scale. OK0 **** means it was ******* amazing because they blew them both off, but two **** is bad because it doesn’t mean that I didn’t like the movie.  Quinny  Back to. Rating system.  Jill  It just didn’t **** **. Way and it made me start to think that there was something wrong with me. Like am I not finding enjoyment out of these movies anymore? Like is it becoming passe? Is it like over saturation? Like what’s the issue? I think what the issue is is that too many movies. Are just safe. They’re in a safe zone. They do what they do on the box and they do no more than that.  Speaker  Hmm.  Jill  I’m not getting any like thrill, danger, excitement from these movies anymore. It feels really middle of the road and pedestrian and that’s not to say that Fantastic Four was a bad movie. It was a good movie because it did its job, but it didn’t go above and beyond. And become an exceptional film. And I just, I feel that way about Superman as well. That was not exceptional to me, and it just kind of feels like every time we go and see a big blockbuster, I come out like feeling it was it was middling level.  Speaker  Yes.  Quinny  I agree, but I want to keep Pete’s. Take on it? Sure.  Peta  I think it’s very well constructed, beautifully made. Film, I mean, we’ve talked about the production design and the look of it already, which is great. You know, we’ve talked about the the structure which is logical and probably better constructed than Superman. And and I do think it’s funny that I’ve kind of liked the exposition. Free tool here that I hated so much and electric state, same tool, different vibe. It’s it’s easy to get into and you want it to be because there are some plot points that that, that require a very high level of suspension of disbelief. Even for a comic book movie, you know, usually I I I I try to give the the Budweiser and the ********* like. A bit of a break in in certain genres, but I struggled a bit with a couple of the plot points that very much drove some parts of the story. Because it was a bit wibbly wobbly. Sciency want see? Yes. Yeah, like, don’t.  Jill  Get into the proton stream, but get into the proton stream, yeah.  Dion  Yeah, you’re Superman.  Peta  That was and, and I think the issue is I I I get I I have a tendency to get a little bit distracted if I can’t. If that suspension of disbelief gets interrupted, and I think that these particular plot points were distracting enough that even though I was enjoying the film, I still. Got kind of. Kicked out of this story a. Little bit by thinking? Yeah, but Nah.  Quinny  Are these things that need to be talked about in spoilery territory or?  Peta  Ohh, everything needs to be talked about in spoiler territory. It’s it’s just and if they weren’t plotted drivers.  Dion  OK, alright, fair enough.  Peta  It would have felt a little bit different as well, but it it did kind of feel like as well constructed and entertaining and beautiful as the film is. I kind of agree with Jill that you kind of I didn’t personally come out of the end of it going like. **** yeah. Amazing superhero film. It was just kind of like, ohh, that was like really well constructed and good looking and entertaining. And yeah, Pedro.  Quinny  I I have, I agree very much with with everything you guys have said. My biggest problem with it is that. The movie didn’t have its next gear up like all the way through it puddled along at an enjoyable kind of pace. It was doing what was needed, you know, things were kind of getting, you know, you had your action beats and stuff like that. But then when you get to your climax. It doesn’t have the next gear, it can’t shift it back a cog. And really. Go ****. Let’s go. It didn’t have that it, you know, the the climax I kind of was like and oh, OK, right. We’re done. ****. OK. Huh. And that’s. Kind of implementing of the whole film that it’s really well made as as we’ve all said, well made, well shot, lovely costumes, lovely everything.  Jill  Great performances, everybody was on their a game.  Quinny  But nothing that made me go ****. That was a moment. Like, you know, there was nothing. There was no moment like.  Speaker  Yeah.  Quinny  The thors hammer. With that, America, there was no kind of really emotional beat of.  Speaker  Yeah.  Quinny  Vision saying you know that love is just pain. You know, whatever. I can’t even remember the quote. But you know those those those really like deep seated moments that make you go ohh. That got me right in the heart.  Speaker  Hmm.  Peta  Which Thunderbolts did for me, and that, you know, I. I guess if if if you’re going to hold it up against superhero films we’ve seen this year from a.  Speaker  Hmm.  Peta  Is it a good movie?  Speaker  Hmm.  Peta  Mm-hmm. You know, well-rounded perspective, I would still put Thunderbolts ahead of this, regardless of how beautifully. Thought out the world was.  Quinny  Yeah, like there, there were lovely moments and their lovely ideas. I love the idea of the whole world pulling together to go **** we’ve got. Eight months to build something or, you know, and we’re all going to pull in this together and we’re all going to come together over something. It’s a great concept, but it just never felt like it had those that, that personal danger of what we saw in Thunderbolt and. A lot of people who are doing the, which one did you like more, Superman or or fantastic? 4. I personally thought the Superman took more risks. You know, it was weirder. It was.  Peta  Well, it was more. It was more current in in its messaging and the. The risks that it. Was taking in that messaging as well, and I think also you kind of.  Dion  Hmm.  Peta  This is a bit of an imbalance, I suppose in the rate that one escalates because you can kind of attempt to escalate the stakes to the highest possible point and the escalate them so high that the audience cannot believe. That. That jeopardy is going to come to pass in that context, which actually, which actually kind of destroys that moment, is kind of gotta be like a believable, worst case scenario that they’re facing. Not like, well, of course, they’re trying to find a way to avert that. There’s gonna be a little part of you that’s like.  Quinny  Hmm.  Peta  Ohh, they might fail, which I kind.  Speaker  Hmm.  Peta  Of felt in this.  Quinny  Yeah, yeah. Yeah, like.  Peta  Otherwise, you don’t feel the jeopardy, you know, the way that you should.  Speaker  Hmm.  Quinny  Yeah, and and I don’t know, I feel like something like Superman has has more of a an alter kind of vision behind it. Like, you know, that felt like James Gunn saying something and his whole thing about found family and his whole thing about being outsiders and, you know, he. He has a particular thumbprint that is all over that. This one I couldn’t tell you. A thumbprint it was.  Peta  Which is funny because it is tonally and structurally much more consistent.  Quinny  Absolutely.  Jill  Yeah, it’s a. Package. Yeah, it has an aesthetic and it, you know, executes that, but yeah.  Quinny  Yeah. And and like.  Jill  There’s there’s special sauce.  Quinny  Yeah. And and I don’t. Know what it is because. I was wanting to get excited. I was super wanting to get excited and it just never quite hit me. And even when big things happened, I was like.  Jill  Karina made a good point that she thought we were going to see them fail. Based on what we saw in the post credit scene of Thunderbolts and I want to make a point where I kind of wish that that scene never existed because it coloured my expectations.  Speaker  Hmm.  Jill  This film I was going in.  Quinny  Yes, I’m.  Peta  I forget what that scene.  Jill  Was ohh that’s actually it was it was there. There was like ohh we can. We’re picking up something on our radar and then they zoom into space and they see the Fantastic Four ships flying through space and that bit. Yeah. Yeah. So I had a different expectation of what I was expecting in this film. And so I’m like.  Speaker 6  It’s just.  Dion  Just a a rocket ship in the sky. Kind of, or if it is, we don’t know.  Jill  Just on the edge of my seat the whole time, thinking. Well, how are they gonna get to our earth? When are we gonna see that? When are we gonna see that? And. And I’m like, so I wasn’t in the moment with everything else that was happening because I was anticipating something else to.  Quinny  Yeah. Yeah. And and maybe that’s that, that other cog that.  Speaker  Happen.  Quinny  I was expecting. Maybe that’s the the the next thing up is that you know, they do like, fail or they do something that that then took it to a different level.  Speaker  Yeah.  Jill  That causes them to and then this is how we get to this moment. But like now that we’re not going to have The Avengers doomsday film until another 18 months.  Quinny  Jill  I’m like, wow, how are they going to get our butts in the seats for that one?  Quinny  Yeah.  Jill  Because after watching this movie, I’m like. Ah, I don’t really know where we’re going.  Quinny  Neller.  Peta  At the end, do you feel safe now with your opinion to share?  Dion  I mean, my opinion is based on Fantastic Four and how I enjoyed this movie or didn’t.  Quinny  Which is a really difficult thing to do to to take the movie entirely on its own. Yeah, been its own value and.  Speaker 2  What?  Quinny  So aside from my expectation, aside from the other movie I watched a week and a half before, yeah, aside from.  Dion  Yeah.  Quinny  All of that, yeah.  Dion  Look there. This is the thing. Like I I really like to to throw this through. I really enjoyed Thunderbolts because it broke expectations that I had. I was there for it to say, what are you gonna do with this? And I was. Like wow, that is a great movie. I had certain expectations about Superman or I was wondering what was going to go, and I felt it wasn’t as good as I thought. It’s going. And I went to Fantastic Four. Saying how is this going to go? And I thought, yeah, I had a little bit of the same thing the the ending. Thing towards the end and some of the reasoning and stuff I was a bit like oh, this doesn’t make sense and I don’t understand where it does or doesn’t fit and I feel like they’re going to have to for some reason do another one in that universe for some reason. And I’m just a bit confused. I feel like it just kind of didn’t. You’re right, had that. Where’s that gear? Where’s the gear? Range. Where does it go up? Where do the stakes get bigger? Where does it become really important? But really I liked it because it. Was you can see across the entire movie from start to finish. It was a love letter to the time of the original Fantastic Four. Like all of the Kirby, all of the weird stories are just written into it. So it is made with a lot of reverence and a lot of love. And I really liked that because there was good messaging that was in there.  Speaker  Hmm.  Dion  The execution or some of the reasoning is just I don’t know how this fits. In the rest, like I love that it’s an outsider film, but I also don’t then. But what’s are we are we going to follow these people? Is that the point or is it just having a second one? Like I don’t. Know like it’s another Fantastic Four is like.  Quinny  Yeah.  Dion  Will we see him?  Jill  Yeah. Are we making this movie just to make a sequel? Just so we can make? Money.  Quinny  Yeah. Well, or are we making this one just because we needed to have a really good bad guy for the MCU. We’ve already announced who that bad guy. So we really had to have this film before doomsday could happen.  Jill  Yeah. There’s a lot of very upset people in. Our screening at the end of this movie.  Quinny  Yeah, yeah, there was.  Dion  Yeah, Speaking of bad guys, how do we feel about the villain aspects of this one?  Speaker  Hmm.  Jill  I was curious to how I would ever see Galactus executed on film, and I think it. Up to a point, it was well done.  Dion  Is it? Is it better than the giant cloud?  Speaker 6  Ohh yeah, we don’t need.  Dion  So the.  Jill  Some amorphous cloud like I want to see an actual Galactus and like how?  Dion  So.  Jill  Do you do? That I mean, especially after we had the Eternals where, you know, we have things God like beings in space, it’s like, OK, well now how do we make a Galactus?  Speaker  Hmm.  Jill  That was really cool, but then there was a moment where I thought it was. Not cool. Maybe I’ll talk about that in sport.  Dion  How? How did you feel about Charlotte Owl?  Jill  I thought it was sick. I’m like, yeah, let’s go back to the original Silver Surfer. Yeah. People will be surprised to know the original Silver Surfer was not a dude.  Quinny  I I knew that Michelle label was an alternate, but I didn’t realize that. Jill  I think the original Silver Surfer was a woman, and then it was her lover that begged Galactus to trade places with her.  Quinny  Yeah, yeah. Entry.  Dion  Interesting, yeah.  Jill  And disappointed we didn’t get the what if Aunt May was the Herald for Galactus and we didn’t get the golden oldie.  Dion  What are you talking about? Marisa? To me, isn’t that old?  Quinny  I I think.  Speaker 3  No.  Quinny  I think there were there were sequences in there watching the the Silver Surfer surfing through.  Speaker  Ohh.  Quinny  Like Kirby Crackle, ******* cosmic power surfing through black holes where I was like, **** yeah, this is cool. You know, surfing around curving laser beams and ****. I was like.  Dion  Well, grab. Yeah.  Speaker 3  Yes.  Dion  ******* hell yeah, that’s that’s the weird success stuff. That was the bitter.  Speaker  Hmm.  Dion  Was like, oh, this is great. Like, how do you put the Silver Surfer in? Why does it doesn’t even make sense. And it’s like, yeah, it does. If you lean into that. Crazy kind of 60s vibe that it originally was about. It’s like, yeah, I’m just gonna surf, like, through cosmic waves, man, it’s. Like. Cool. That’s fun. Yeah, it helps if you take LSD.  Quinny  Hmm.  Speaker  Yeah.  Dion  You know.  Quinny  Like there was something so ******* cool with all of that visual stuff. Yeah, that up until now, we’ve never really gotten because the only other time we’re seeing the Silver Surfer, he was on Earth, so it didn’t have that real cosmic kind of.  Dion  Maybe. He was the T1000 man.  Jill  Thing, yeah.  Speaker  Hmm.  Dion  He just kind. Of morphed around as needed for the plot.  Quinny  Your thoughts on on the Silver Surfer?  Peta  Neutral. Cool. I I don’t have a lot of feelings about the Silver Surfer as a character, but I thought she was. I thought it it was cool execution.  Dion  Yeah.  Quinny  Hmm. Yeah, look cool. And I like the the human eyes too. I thought that was kind of cool. Yeah, cause you I feel like you still need something to latch onto for a motion, yeah.  Speaker  Mm-hmm.  Quinny  I thought that was smart.  Speaker  And. Look, there’s look.  Dion  There’s lots of fun stuff in there. Standouts for me. I I I need to say I really annoyed that they didn’t rename it the fantastic six because to be honest, there are 6 characters in this movie. By the end of it, you’re watching it like there’s not just four, there’s more. Who you’re following through with, which was a bit of a surprise because I was like, OK, right. You’re just going to lean very heavily into the entire thing. Sure. I really. Kirby, I love that they went into galactic space because that’s kind of that’s that kind of that’s really fun. Like Reed Richards is that kind of character who, you know, is your prototypical 50s, you know, American Americanized painting, you know, of, like, it’s a pipe and slippers and, you know. Dad’s home.  Jill  Yeah. The Norman Rockwell. Yes. Please looking forward.  Dion  Yeah, absolutely. 100% The Rockwell and it it. But presented in that very conservative way, but he’s not a conservative. Like you know, it’s kind of like I’m just going to learn how to fold matter and bend this, and then we’re going to space. All right, everyone, safety third. Let’s go. That’s kind of Reed riches. Like he built a thing called the Ultimate Nullifier. And it kills anything in the known Marvel Universe. And then he’s just like ohh someone.  Quinny  He’s.  Dion  Like.  Speaker  Like.  Dion  ******** Reed, you know like.  Quinny  One thing you you said to me afterwards too.  Jill  Yeah, I mean. He just casually solved teleportation in this.  Dion  Yeah, yeah.  Jill  Film or whatever.  Quinny  Whatever. Whatever one thing you said to me too, and I agreed like they’ve always struggled to get Reed Richards powers looking good on screen. Like it’s very hard to do stretchy guy without it looking dumb, but one of the things that is kind of sad is that in the.  Dion  Yes.  Quinny  The comics and everything. Quite often you’ll see him, and that stretchiness of his body is a. Is. A all about echoing who he’s mentally. Yeah. So his arms are over here. You know, riding on the blackboard and his other arms over here, smoking a pipe and his head is, you know, stretched out over here, looking at the, you know, out the window or something like that. And there wasn’t much of that. It was very much like, this is traditionally handsome Pedro.  Peta  Yeah.  Jill  It’s it’s tiny. Yeah, it’s a tiny bit like he was doing. A little bit of the blackboard. Stuff and the catching things, but.  Speaker 6  Yeah, I don’t.  Jill  I don’t think we really got to see him actually use his powers much in the film as a whole.  Quinny  Nope. Nope.  Dion  It’s very, very expensive to animate Pedro Pascal.  Peta  It’s it’s a dump power.  Speaker 3  Pete. Pete, in there, it’s true.  Jill  I mean, it might be a time you. Would change your mind.  Speaker  Yeah.  Speaker 3  Blubbering time, no.  Quinny  Should we rate it because we are, we’re going on a.  Peta  Yes, yes.  Quinny  Long time. Ohh good.  Jill  Oh my goodness. I don’t know. I’m gonna pick a number.  Dion  How many tips off Jim?  Speaker 6  Yeah, the tip scale. Yeah, yeah, yeah.  Jill  Yeah. The two tip film, but.  Quinny  I mean, I’m gonna. I will change the rating system if I have to, but it’s gonna really.  Dion  I had some I had some issues with it, but I did enjoy. I had a fun time. I’m gonna give it a 75. No 70. I’m gonna go 70. Sorry. I’m. I’m back down a little bit mainly because I really loved.  Quinny  On the website.  Dion  The scenic I love the the the characters together. They didn’t quite mesh as much and I felt like some of them were lost like I think Ben Grimm’s the thing.  Speaker 6  Hmm.  Dion  Totally kind of lost in the hole as much to do. No, I I didn’t get enough of that thing because one of the most important things I know about Ben Grimace, he’s the real heart of the team. And while that was great, like I loved, you know, uncles, you’ve got uncles going on there. I loved it. You know, Johnny and and Ben are totally down for, you know, being uncles. I just thought he got a little bit lost and I have big issues with some of the purple headed warrior of the lactose, which I’ll talk about in spoilers, but yeah, overall fun time. Not a long time.  Quinny  Fair enough, Pete. Number.  Peta  I’m going to say I’m going to say I’m going to say 76 because I do think that it was. Really well put together but. The the I mean I’ll have some stuff to say when we spoil some things. Yeah, I’ll try to keep it brief. Actually, there was one point I think I said to you guys that I’d nearly walked out of there with more tips. Than I started with.  Quinny  I’m still wanting to know how that works.  Peta  Luckily, luckily I I didn’t have to go full rage out on it.  Quinny  So I’m very impressed.  Peta  Umm. But yeah, it’s just those kinds of like those those plot points that that just didn’t quite work for me were just a little bit kind of too conveniently driving the plot. And I didn’t quite buy even in the world of the story, that really kind of helped me back from from. Losing any tips at all?  Quinny  So so number of tips is 2. Hmm but. Peta  Ohh, also the young Kelly’s Uncanny Valley baby was distressed.  Quinny  Though apparently that they had a live baby on set 99% of the time.  Peta  In some shots, I was gonna say you, but you can tell the. Shots that aren’t, yeah.  Dion  Yeah, yeah. Babies don’t look like babies on screen. You gotta pay. They yeah.  Peta  I mean, either it was a fully uncanny valley baby or they were doing something to kind of make the baby look like it was looking, but there was something. Yeah. And whenever whenever Ben Grimm’s holding the baby, it’s like. That ain’t no real.  Jill  Baby, what number did you give it, Pete, 7676.  Dion  Yeah, we all know.  Quinny  And Dion, still at 70, isn’t.  Dion  He. Yes, I’m still there.  Quinny  Yeah, Dan, how many tips have you got left by?  Dion  The way? Yeah, just one tip.  Quinny  Wanted.  Jill  Only go off 1.  Dion  I only want it. Yeah, I mean, well. I mean, I don’t know. It’s moved. Maybe the **** moved like it. It’s not in the same place it started out, but it hasn’t gone completely off. It’s around the side visiting the armpit.  Jill  You can’t. But I gave Superman.  Quinny  I can probably look it up if you want.  Jill  Yeah.  Peta  See, I just kind of take it on a mood basis. It’s on a day by day basis.  Dion  Briefly.  Quinny  Hmm.  Dion  Phil was right. I mean, I think. One of the telling things long rated.  Peta  Never compare my ratings for one movie to another movie.  Quinny  Superman 65.  Speaker  Oh.  Dion  While while Jill is thinking, I mean it’s fair enough. Remember, she only saw it like 4 days ago and it feels like.  Jill  OK, here’s the weird thing though. Like after I watched Superman, I kind of wanted to see it again, but I don’t know if that was to try and enjoy it more or like to get the things that I didn’t really get about it. But this one I’m not really like in a rush to go back. To the movie for it.  Quinny  Hmm.  Jill  But. I did like it more than Superman. Then. I think I’m going to give it. 69.  Speaker 3  Nice.  Dion  Nice.  Jill  It was just a nice movie.  Quinny  Yeah, 69 and still 2 tips.  Peta  Yeah.  Dion  Quinny, what have you.  Quinny  Yeah. Got. I’m very similar to you know, I’m I’m probably I’m probably more in line with the pizza like. Yeah, 70. I’m going to go 77. I don’t know why. Yeah. Actually.  Peta  Just feels like a 77.  Speaker  Vibe.  Quinny  Like I I was a bit more warm on Superman whereas this. Like it’s it’s a perfectly fun, pleasant film. Like there’s nothing wrong with it, but it also just to me, felt like it. Was. Didn’t have much, particularly to say. Other than you know, wouldn’t it be nice if we could all work together and yeah. But also, maybe that’s what we needed at the moment is something that wasn’t too dangerous or whatever and. I don’t know. Yeah, it’s it’s 77 for me, but I just find it so.  Dion  Weird. We’ve, we’ve, we’ve, we’ve focused a lot on the non spoilery side and we’re running rapidly running out of time. So let’s go to the dinner clip to find out why they’re all such a nice blending together, then come back and see how much we. Can jam pack into spoil it section?  Peta  Leave if you haven’t seen it, because I’m going to spoil the very, very, very end of the film.  Speaker  Dion  Pete is thrown down. Here you go, alright?  Speaker 5  What are you doing? You mean what am? I. Doing and then you’re gonna ruin your appetite. I’m hungry, but never late for Sunday dinner. Should we wait?  Speaker  I guess you’re late. What I what do you?  Speaker 5  Mean. What do you mean? What do I mean?  Speaker  You’re late for dinner. Ohh yes we are. We’re late for. By single minute.  Speaker 5  Dinner. Yes, we were just just had to.  Speaker  Some aloe iodine on my shoulder. We got. Do his shoulder and.  Speaker 5  Why is that breakfast cereal in the dinner table? Why are you being?  Speaker  Weird. Not not being. Acting. Weird. Well, I’m doing that weird thing with your face, so. Oh, we don’t know what you’re talking about.  Speaker 5  Are you pregnant?  Speaker  Jimmy at the pregnant.  Speaker 5  Yes, yes.  Speaker  You know, I know he just cannot.  Speaker 1  That have you looked at your husband’s face?  Speaker  Keep his secret.  Speaker 5  What, really, yeah.  Speaker 2  What you are going to be the best mom? Oh, my God.  Speaker  And you are going. To be the best dad. Just kidding. You are out of your depth, but we. We’re going to be the best uncles ever. OK, we should eat.  Dion  Oh, there you go. Yes, that is exactly the kind of thing that we loved about the film. It’s really nice. Spoiler logos up, Pete. Destroy away. Oh, wait. Sorry. She has been there at the beginning. She will be there at the end. We here. Peter.  Quinny  ETA.  Peta  It’s not even my biggest complaint. It’s just that there was a moment at the end where I was like, I am going to have to have another full on rant about killing off female characters via self sacrifice and doing it to two female characters in one scene. UM.  Quinny  Thank God.  Peta  They recovered. They did recover. They recovered from it a bit and it didn’t really feel like it wasn’t going to recover. But for a moment there I was like, oh, oh, we are going to throw down.  Jill  I don’t believe you didn’t realise the magic baby was gonna save the day.  Speaker 3  Sacrifice.  Peta  I did. It did, but there was a part of me that was kind of like you better ******* not.  Dion  Yeah, yeah, there was a little bit of that was it? It’s like, don’t you ******* dare? Jesus Christ, he’s not a. Defibrillator. He’s a baby.  Jill  I mean, you don’t have a. Magic mcguffin. The whole time and then not? Yeah.  Speaker 3  Yeah.  Dion  True, although, but as as we all.  Peta  My biggest my my bigger complaints.  Dion  Know Franklin Richards. The monster.  Peta  My bigger complaints were were the iffy plot points like I’m like, correct me. I’m not a linguist, but I’m pretty sure you cannot translate an entire language with three words like I don’t. I don’t know that that’s possible. The Rosetta Stone had more than than than 3 words.  Speaker 3  Yeah. Hmm.  Dion  Now.  Peta  I I don’t see how I don’t see how.  Dion  Important to understand that this is in the Universe 8 to 8 where things can exist a little differently and they are not this bog standard and it was one of those.  Peta  Oh.  Speaker 6  But it’s it’s.  Jill  Things are like super.  Peta  It’s not the kind of plot point that you can explain away in your brain with that kind of reasoning like it’s not, but.  Dion  It has to be because that’s why I was. I was ******** about it and I yelled at Quinney until it came up to the thing. It’s like, but it’s not the real Galactus. And I’m like. Oh yeah, **** everything in this movie is not the real one from our universe. What? I’m getting angry at can easily be retconned by an executive who doesn’t like the feedback form.  Speaker  Yeah. Yeah, yeah. Yeah.  Jill  But this is also a universe where Reed is a super genius that can solve teleportation and like, move a planet. That’s.  Speaker  Hmm.  Peta  It just like the jump between ohh, I’ve managed to do it to an egg.  Jill  Come on.  Peta  Let’s do it to a planet. Nothing will go wrong. I actually, I almost thought that, like, that’s where it was gonna get interesting. Like, that was gonna be this universe is snap moment when they, like, accidentally. Left half the people behind or something.  Quinny  That that’s what I that’s. What I was kinda hoping for like.  Jill  Yeah, there weren’t really many stakes.  Quinny  No, I ******* love the idea of them actually going *******. We’re gonna teleport the whole planet and.  Dion  And ******* it.  Quinny  Up what? Could something goes wrong like they they go to the wrong place or they find themselves in the ******* negative zone.  Jill  Like that ******* DC convergence where the two planets had to merge together.  Peta  Or and that’s the thing.  Dion  They do. How did they do faster than life travel, but. Not work out how radar. Exists stop the fact that Silver Surfer was coming to blow up all of their teleportation machines that that shaped.  Quinny  Me. She’s very fast.  Peta  And in your hand it just kind of looked like a regular size spaceship. I don’t know why they couldn’t have just muted it or something like it’s like felt like a lot of like ohh The thing is coming very slowly. This is the only thing we can think of.  Dion  That was my big ***** point that I will get my big boy britches on and have a whinge about. Galactus’s ******* world eating ship is just a giant space grinder and. And I didn’t like that because if you’re gonna go to, like the extent that they went to, which was really curvy, whole super 60s kind of thing.  Speaker  Right.  Dion  Make the spaceship ******* weird. Make it the giant machines that don’t. You don’t understand the purpose of what they do like. Have something that’s in there.  Speaker 3  Hmm.  Jill  Yeah. What happened to like the? Big straw that he just shoves in the. Planet and like sucks it up like.  Dion  Yeah, all of that. But I mean, just like have the weird like, Kirby was great for drawing like. Contraptions that you love on the contraption, and they don’t. You don’t know why or how they work, or they have like extra bits that go off and they crackle with energy that you don’t understand how it sort of goes. He didn’t care about making it look well built. He cared about making something cool and stupid. And then they put Galactus. Fair enough, looked pretty good, you know, for a big.  Quinny  I look I. Liked big man collectors. I was down.  Jill  For that, yeah. I didn’t like how his. Height fluctuated with convenience.  Peta  Say he wasn’t that big in the end. Though was he he? He looked.  Jill  The lost, yeah.  Dion  A bit of juice out the back of the tube and then he got a bit.  Quinny  Maybe.  Speaker 6  So then he went and shrunk a bit.  Dion  Yeah. Yeah, yeah. Yeah, yeah, yeah, yeah, yeah.  Quinny  OK, let’s go with that, yeah.  Jill  He’s like ohh, now he can fit in this big circle on the ground that he like, would have Godzilla crushed the moment ago.  Dion  Crush. Sure.  Peta  Confused if planet size or if Godzilla size.  Dion  Yeah. Also how would sue push if 2?  Quinny  Because her push is not based on size, it’s based on willpower.  Dion  No, but push, baby. Ohh no. OK, recover. Push, galactus. Big baby. Oh, no much.  Peta  Is is based on magic mummy power?  Quinny  Yeah, yes, yeah. Like that. That big kind of finale stuff. I was like when he started to climb back out. I was like, ohh. OK now.  Dion  No. Well.  Quinny  We’re gonna get some shoes.  Jill  Yeah, I was like. Oh ****, I jumped.  Quinny  Yeah. Yeah. I was like, ******* sweet. Great. OK, now we’re gonna really ******* now, now we’re gonna wrap it up, but Nope. That’s just that’s it. Cool. Everybody get home. I would love to have seen them do something real. ******* ballsy. I would have loved to have seen them lose the earth, you know? Yeah. So that that’s why this Fantastic Four, like instead of. Yeah, that’s the run like this.  Jill  On the run on the. Sleeper on.  Peta  I’m not sure that Marvel is doing its answer to the trolley problem properly.  Quinny  Why not teleport the ******* baby and the family to another end of the universe, or to a different ******* dimension or whatever?  Jill  Because they answered that in the slack with pocket holes does.  Speaker  Yeah. Yes.  Dion  I mean. I look I I I I really got that like I enjoyed the bit where they were like, no, this is it honestly. Like we we we may be the people that everyone looks up to on the Earth and that’s a bit problematic to put that much. Responsibility. On four people who were there, but at least they always did it with heart, honesty, integrity and overall admission of failure. To the world.  Speaker  Hmm.  Dion

Love is in the air! From unlikely celebrity couples to irrational fears, this week's episode has it all. The hosts dish on the latest Hollywood romances - who knew Liam Neeson and Pamela Anderson were an item? Or that Justin Trudeau has his sights set on Katy Perry? We get the inside scoop on these new relationships and more. The conversation then turns to phobias as callers share their hilarious and sometimes debilitating fears. You'll hear about everything from an overwhelming terror of pelicans to an inability to touch sand. Can you relate to any of these anxieties? 2:34 - The new Naked Gun movie starring Neeson and Anderson4:19 - Trudeau and Perry's secret Canadian dinner date 6:24 - Listener Kim calls in about her son's fear of dragonflies8:41 - Jasmine is petrified of cockroaches, especially in her car10:29 - Helen was hospitalized after seeing a giant spider12:16 - Jordan can't go near sand after watching Spiderman Laugh along as the hosts swap travel stories and industry secrets from retail employees. Whether you want to hear about celebrity crushes or the inner workings of your local Apple store, this episode has something for everyone. The only way to get the full scoop is to tune in! Search "Ash, Luttsy and Nikki Osborne Podcast" on your favorite podcast platform and hit play.See omnystudio.com/listener for privacy information.

Send us a textGaius Boiling (Instagram / Letterboxd ) from the "Back to the Blockbuster," podcast DROPS IN for his choice ”Darkman."  (1990  d. Sam Raimi). Starring: Liam Neeson, Frances McDormand, and Larry Drake. It's a bird, it's a plane, no it's Liam Neeson as 'PRUUNNNNEEE TRACY' in this original Superhero flick from Raimi, the great and powerful. What are Darkman's "powers?" Is there a Face/Off with out a Darkman? How much was Neeson allowed to use improvisational comedy? And all that very intentional pink elephant stuff. We answer all these questions and more thanks to a generous grant from the NY film academy school and Flim Springfield. 4/15!**All episodes contain explicit language**Artwork - Ben McFaddenReview Review Intro/Outro Theme - Jamie Henwood"What Are We Watching" & "Whatcha been up to?" Themes - Matthew Fosket"Fun Facts" Theme - Chris Olds/Paul RootLead-Ins Edited/Conceptualized by - Ben McFaddenProduced by - Ben McFadden & Paul RootConcept - Paul Root

Liam Neeson, a gritty mystery, and some seriously dark twists… This week on Forgotten Cinema, The Mikes are diving into A Walk Among the Tombstones (2014), a neo-noir thriller that puts Neeson in full detective mode; a nice change of pace in the middle of his semi-annual action fare.Join Mike Field and Mike Butler as break down the film's unique tone, how it plays with tropes, and how good David Harbour is as a deranged psychopath. They'll also cover a bit of the films history from popular Matthew Scudder book series to Hollywood film.So, grab your popcorn and soda, please notice the exits to the left and right of you and settle down for Forgotten Cinema. What do you think? Did this deserve more sequels following the books it was based on or was it just another generic Neeson film of the 2010s? Let us know in the comments!

Here's a Film Club episode to kick off a mini season of Collins, Dev, The Treaty, and the Civil War.Joining us for this week to talk shite about the Michael Collins movie is Tony Cantwell, from the Young Hot Guys podcast and the TV show Good Boy(go watch it on the RTE Player!).Then joining us live on March 6th for the live episode in The Laughter Lounge is Donal Fallon of Three Castles Burning! There we'll be discussing the life and times of Eamon De Valera, and wrapping up the series before we get back to another regular season of Shite Talk!.If you want to see clips from this episode you can follow Shite Talk on Instagram, TikTok, or YouTube and you can find tickets for our upcoming LIVE SHOW here:06 March 2025 - Laughter Lounge, Dublin

Today we talked the egg shortage, an early nominee for video of the year, what Liam Neeson has been doing in his free time, Mistress Day, and the latest batch of Rock & Roll Hall Of Fame inductees! See omnystudio.com/listener for privacy information.

Welcome to The Following Films Podcast, where we dive deep into the world of cinema, exploring the stories behind the films and the artists who bring them to life. I'm your host, Chris Maynard, and today, we're thrilled to have an exceptional guest joining us. Hans Petter Moland, the acclaimed director known for his masterful blend of intense drama and dark humor, is here to talk about his latest film, Absolution. Starring the legendary Liam Neeson, Absolution tells the gripping story of an aging gangster on a dangerous journey to reconnect with his estranged family while navigating a violent criminal underworld. It's a powerful exploration of redemption, regret, and the enduring bonds of family, all set against Moland's signature cinematic style. In this conversation, we'll explore the creative process behind Absolution, what it was like collaborating with Neeson, and the universal themes that make this story so resonant. I hope you enjoy the show. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

Our cohosts definitely had divergent solving experiences while tackling today's crossword. Jean tore through it, Mike almost tore his hair out trying to tear through it. But there were no tears at the end, just happy music, so AWTEW, as they say. (Editor's note: in fact almost nobody says AWTEW, short for All's Well That Ends Well, but we salute you for trying to invent YMATNN (Yet More Acroynyms That Nobody Needs)

Welcome back ragers to the best movie review podcast on the planet. The rage rolls on from the Film Rage Studio. This week the Film Rage Crew review Zemeckis directing CGI Tom Hanks and the latest Old Man Liam Neeson movie. Then in the Rage or Dare segment, Bryce and Jim were forced to watch About Cherry from 2012. Introduction-0:00 The Amazing Murman Predicts-1:27 In Cinema Here (2024)-5:03 Absolution (2024)-17:32 Murman Minute-28:05 Open Rage Jim's open rage-Directors past their prime-32:20 Bryce's open rage-CGI People-36:55 The Lists We got nothing-40:03 Rage or Dare About Cherry (2012)-41:40 Bryce pulls from Jim's Stanky Bag-53:45 Outro-56:26 Thanks Ragers for listening to our film review podcast. Rage On!!! https://www.filmrageyyc.com/ https://filmrage.podbean.com/ https://www.facebook.com/filmrageyyc https://nerdyphotographer.com/social/ https://www.leonardconlinphotos.com/

In this weeks episode of the world's-fastest-movie-review podcast Jackson and Mike review TWO new films!!! First “BLITZ”. The stories of a group of Londoners during the events of the British capital bombing in World War II.. Starring Elliott Heffernan, Saoirse Ronan, Harris Dickinson and Benjamin Clémentine. Then a quick review of “ABSOLUTION”. An aging gangster attempts to reconnect with his children and rectify the mistakes in his past, but the criminal underworld won't loosen their grip willingly. Starring Liam Neeson, Javier Molina and Deanna Tarraza.

This week, join the gWo of Dimitri Korolis and Mitch Hontzias as they pick apart the week of wrestling TV, including an eventful Monday Night Raw, a slightly confusing AEW Dynamite, and a storlyline advancing SmackDown! Plus, the Alternate Scenario and more!  

Schindler's List is #6 on IMDB's Top 250 Movies as of August 2024 (the number may differ based on when you listen). In this episode, we explore Spielberg's masterful direction and the film's use of stark black-and-white cinematography, which evokes the documentary feel of historical footage. We analyze Neeson's layered performance as Schindler, alongside Ralph Fiennes' terrifying turn as the sadistic Amon Goeth, as well as discuss of this is Spielberg's best film. All this and so much more! Follow us @poppourreview, click around https://www.poppourreview.com, and become a member of our Patreon at patreon.com/poppourreview!!!  We do not own the rights to any audio clips used in the podcast.

In this episode of "Who Killed," host Bill Huffman is joined by Nic from the True Crime Garage podcast to discuss the recent developments in the cold case of 15-year-old Lori Nesson. Following a December report from 10TV, new DNA evidence has linked Lori's case to a pair of suspects, Robert Flieger and Charles Webber, both of whom have since passed away. The episode delves into how investigators pieced together this decades-old mystery and the implications for other unresolved cases in central Ohio. Tune in as they explore the intersection of crime, justice, and the impact of advancements in DNA testing on cold cases. Lori Nesson was only 15-years-old when she was murdered in 1974 in Columbus, Ohio. Her remained unsolved for 45+ years until a tip and DNA led to a break. Columbus native Nic, host of the True Crime Garage Podcast helps me breakdown this case from his part of the state. We look at a number of cases these perp's may have been involved with. SOURCES: https://www.youtube.com/watch?v=kcvqquxp1Tk https://www.dispatch.com/article/20110916/news/309169702 https://patch.com/ohio/across-oh/cold-case-murder-teen-girl-solved-ohio-after-45-years https://www.dispatch.com/story/news/2021/03/03/investigators-solve-1974-murder-15-year-old-reynoldsburg/6907477002/ https://medium.com/the-true-crime-edition/cold-cases-from-the-70s-finally-linked-by-dna-d8c9460c7266 https://www.13abc.com/2021/03/03/dna-evidence-public-tip-solves-decades-old-ohio-murder/ https://www.dispatch.com/article/20110913/news/309139714 Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode features Danny Neeson and Adam Milman of De Nada Tequila. Danny and Adam were roommates at Tulane University. They first launched a sustainable clothing line called Pine Outfitters. They learned a lot from that business. A bottle of tequila changed the direction of their friendship forever. It was an additive-free tequila which set them on a course to change the perception of tequila. The journey found them in Mexico to find a producer to partner up with. This wonderful tequila brand is turning heads. From the unique packaging and labeling to the wonderful flavors and aromas, De Nada is a tequila that will have you saying thank you again and again. www.DeNadaTequila.com - Instagram Highlights From our Discussion: ArteNOM American Distilling Institute Tulane University Barrows Intense Ginger The Dead Rabbit

Former film executive, president of 20th Century Fox and founder of Cambodian Children's Fund Scott Neeson joins Graham Cornes.See omnystudio.com/listener for privacy information.

BEST OF HMS PODCASTS - FRIDAY - July 5, 2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

BEST OF HMS PODCASTS - FRIDAY - July 5, 2024 Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe and Greg are not surprised to discover that this movie was made specifically for them. Liam Neeson is a retired CIA agent with a very particular set of skills, including the ability to track down bad guys in minutes, no matter where they are on the planet. An incredible actor + relentless action + over-the-top absurdity = a classic Great Bad Movie. It's basically a fast food meal: Greasy, messy, and embarassing. But because of Neeson's talent and its short runtime, it's basically perfect. But do yourself a favor... Don't pause it and try to explain the plot to someone. You will probably lose their respect forever. Also: Drinking Games, Important Questions, Joe's Back of the Box, and more. Hosted on Acast. See acast.com/privacy for more information.

Mike and Vittorio's Guide to Parenting is a weekly podcast, where two London-based Irish comedians Mike Rice and Vittorio Angelone tackle the current issues facing parents from the unique perspective of not having any children, any interest in children, or mentioning children at all.Buy tickets for Mike's tour here: https://www.mikericecomedy.com/ Buy tickets for Vittorio's tour here: https://vittorioangelone.com/tour Thanks for listening! Like, subscribe, drop a comment, all the good stuff.Subscribe to Patreon patreon.com/parenting

Holmberg's Morning Sickness - Guadalupe Squares - Friday June 30, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices