Podcasts about Raising Cain

Greetings horror fans and welcome back to The History Of Horror which is the theme for 2025 where the crew reviews one movie a year from the last five decades.Join your hosts Austin and Michael (The Shame List Picture Show) as they talk about Raising Cain. The conversation starts off with a brief intro, followed up by the Jason pick for the week and then some Oscar winners for 1992. After that, they move on to the IMDb roundup portion of the episode and follow that up with a spoiler heavy review of Raising Cain. Sit back, relax and enjoy the conversation! Stay Spooky! Check out the Linktree below for all our social media sites as well as the crews Letterboxd pages and much more! linktr.ee/frightmarespodcast stayspooky@outlook.com Timestamps for episode. Intro - 0:00 - 6:19Jason Pick - 6:19 - 11:55Oscar Winners - 11:55 - 18:50IMDb Roundup (Spoilers) - 18:50 - 22:18Trailer - 22:18 - 24:11Review (Spoilers) - 24:11 - 56:12Wrap Up and Ratings - 56:04 - 1:00:44Bad/Funny Reviews - 1:00:44 - 1:03:33Outro - 1:03:33 - 1:05:11

Larry and I discuss justifying camera moves, working with the extras, GoodFellas, Raising Cain, working with Martin Scorcese and Brian DePalma and so much more. Larry's Amazing IMDB Larry's Website Check out Larry's Breakdowns of shots from Carlitos Way, Bonfire of the Vanities, and Raising Cain For more links, pics and videos, check out the page for this episode on The Op. Please check us out on the web and instagram and like us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert

For generations, fathers were expected to provide, protect, and keep their emotions in check. Love was often shown, but rarely spoken. But does it have to be that way? In this episode of Clemenz With a Z, we dive into the generational expectations of fatherhood, the unspoken rules around masculinity, and why words—especially words like "I love you"—carry more weight than we realize. I share personal stories, explore the impact of silence, and unpack how simple words can change everything. We'll talk about why dads often find it easier to express love to their daughters than their sons, and how cultural norms have shaped the way men navigate emotional connection. But this isn't just about reflection—it's about action. I'll offer practical ways for dads to start breaking the cycle, to show up differently, and to create a new legacy where love isn't just assumed, but heard. Because love ain't gonna say itself.

We end the month, year and season with Brian de Palma's Raising Cain (1992), a film we knew we'd enjoy (again). We discuss the saga of Manuel's troca, this film's permanently foggy park, tripods, und Holländische Winkel.Plus a brief review of the month and season 5. Thanks so much for being here!xo, Z & K+++++Outro: Wally World performing Raise Some Kaine --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

Raising Cain at Raisin' Canes

Stupid News 12-4-2024 6am …She was Raising Cain at Raising Cain …Shoplift with a Cop Night …Nursing Home Residents in the Netherlands Revolt

They say, "Boys will be boys." But when you're a dad struggling to connect with your son, it's easy to wonder if you're doing things the right way. Many dads unknowingly carry the weight of stereotypes about boys—ones they themselves faced growing up. As a result, they often fall into familiar patterns or feel completely lost about how to guide their sons.The truth is, boys don't have to fit the image that society expects of them—and that's okay. Dads have the power to make a difference in their sons' lives by breaking free from these stereotypes and embracing a more supportive approach.In this important rereleased episode, Dr. Michael Thompson dives into how dads can nurture their sons' emotional wellness, even if it means going against the grain. This conversation is a timely reminder of the impact fathers can have when they choose to lead with understanding and connection. Don't miss it!“A dad has to know, you don't get a standard-issue boy. When your boy is born, he's got all the equipment. But you don't know whether he's gonna like and fit the image of masculinity.” - Dr. Michael ThompsonIn this Episode:Michael shares the story of how he became an expert on the behavior of boysLearn about how stereotypes have impacted the way boys are disciplined at home and in schoolDiscover the impact of dads that are more involved in their sons' emotional developmentLearn how fathers can support their sons despite cultural stereotypesLearn tips on how dads can better communicate with their sonsLearn how dads can have tough conversations with their sons...and more!Resources:Raising Cain: Protecting the Emotional Life of Boys The Pressured Child Connect with Dr. Michael Thompson:Website Twitter Connect with Cam Hall:WebsiteDads Making A Difference Connection CallFacebookInstagramTwitterLinkedInYouTubeEmail - cam@dmdpodcast.comWant to join a holistic group coaching call with Cam? - Send him a message on Instagram @dadsmakingadifference

在這集【解鎖青春情緒】系列節目中，劉軒導讀了心理學經典著作《該隱的封印》（Raising Cain），並邀請他的12歲兒子川川一起探討書中的重要觀點。書中提出，男孩的內心世界雖然豐富，但經常被社會忽略，甚至被壓抑，這對他們的心理發展帶來深遠影響。 男孩在成長過程中，往往被期待隱藏脆弱，表現出堅強無懼的樣子，但這樣的壓抑反而成為他們心理健康的隱形負擔。透過與川川的對話，劉軒不僅分享了書中的洞察，也展現了男孩內心那些不常被注意到的細膩層面。 這集節目將幫助家長更好地了解並支持孩子，陪伴他們在成長路上學會正視自己的感受，找到與世界相處的平衡與力量。

Join us at Beaver Baptist Church as we continue through our series of Genesis. This week we focused on the story of Cain.

Life is hard east of Eden. A distant God. Painful childbearing. A cursed ground. A cunning enemy. In a word, CONFLICT—everywhere. With God. With the creation. With Satan. With one another. We see this in one of the most infamous murders in history. Cain and Abel. God front loads the Bible with this conflict to serve us notice. Sin has a strategy for you, but He offers a redemptive, peacemaking alternative—if we'll trust Him. Join us for our 5th Sunday service, Raising Cain. Come hungry! Chili Cook Off to follow!

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

Protect Your Retirement W/ a Gold and/or Silver IRA: https://www.sgtreportgold.com/ or CALL( 877) 646-5347 - Noble Gold is Who I Trust   Military Veteran, whistle blower and host of the Raising Cain show Nate Cain joins me to discuss stolen elections, treason and the Mayorkas/Biden Weather Underground-style FEMA Camps JJ Carrol is warning are being built in every state of the union, and they're not for illegals, they're for we the people. Follow Nate Here: https://mobile.x.com/NateCain4WV/status/1801343049911415157 https://www.bitchute.com/video/HVvUkkoAHw8S/

I've always felt like Raising Cain crawled so that this movie could walk... And while I haven't seen Raising Cain in years, I'm almost sure it's not better than this. James McAvoy gives an unforgettable performance or two or three. Several actually. Enjoy, y'all.

"They've gone and done it. The "Dirty Sons of Pitches" are giving noted filmmaker Brian DePalma a final chance to impress them, so each of the guys has selected a DePalma film to review and ask, once and for all, is it time to put the nails in the coffin when it comes to ever watching more DePalma movies? Available on Apple and Spotify Episode 340 includes: -Ms. Marvel trailer! Mike Myers is back at comedy! -"Drive My Car" is too meandering for its own good. -The guys have different takes on Pixar's "Turning Red" -Nail in the Coffin -- Brian DePalma -The guys discuss at length two DePalma thrillers, 1980's "Dressed to Kill" and 1992's "Raising Cain," and they go over their many problems with DePalma as a storyteller and filmmaker as he keeps going back to the Hitchcock "Psycho" well again and again."

My old buds at PsyOP Cinema join me to discuss a bizarre theme in film: the Mutant experimental KID who undergoes trauma based mind c0ntrol. These 3 films contain that theme (as do many modern films) at an extreme degree and could point us in the direction of deeper MK symbolism. PsyOp Cinema is here https://psyop-cinema.com Next LIVE EVENT in Vegas June 22 here: https://www.eventbrite.com/e/jamie-kennedy-jay-jamie-isaac-hollywood-conspiracy-comedy-live-tickets-882418596777?aff=oddtdtcreator Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

We are often defensive when someone approaches us. Cain allowed his anger and jealousy to override the counsel given to him, personally, by God—and killed his brother Abel. In this message, Pastor Lutzer will show us how to be sensitive toward God and toward others. Who could give us better advice than God? To support this ministry financially, visit: https://www.oneplace.com/donate/172/29

We are often defensive when someone approaches us. Cain allowed his anger and jealousy to override the counsel given to him, personally, by God—and killed his brother Abel. In this message, Pastor Lutzer will show us how to be sensitive toward God and toward others. Who could give us better advice than God? This month's special offer is available for a donation of any amount. Get yours at rtwoffer.com or call us at 1-888-218-9337. 

Some people can inflict tremendous hurt without feeling any guilt. In the first family, Cain had no sorrow for killing his brother Abel, but was quite worried someone might kill him. In this message from Genesis 4, Pastor Lutzer reveals three underlying motivations for “destroyers.” These kinds of people play by a different set of rules. To support this ministry financially, visit: https://www.oneplace.com/donate/172/29

Some people can inflict tremendous hurt without feeling any guilt. In the first family, Cain had no sorrow for killing his brother Abel, but was quite worried someone might kill him. In this message from Genesis 4, Pastor Lutzer reveals three underlying motivations for “destroyers.” These kinds of people play by a different set of rules. This month's special offer is available for a donation of any amount. Get yours at rtwoffer.com or call us at 1-888-218-9337. 

Passage: Genesis 4:1-16 Preacher: Derrick McCarson Series: Origins Category: Faith, Christ , Gospel, Genesis , Forgiveness Summary: The story of Cain and Abel is a tragic tale of two brothers. They are contrasted not only in their worship, but also in their character. One chose life, while the other chose death. In this message we will see three dangerous choices that Cain made.

Whether intentional or not, we've all been insensitive towards others. We need the Holy Spirit to point out our sin, showing us how we might've hurt others. In this message, Pastor Lutzer shares two insights on how to be free from sin and bitterness to restore unity. Let's grow in sensitivity toward God and toward others. This month's special offer is available for a donation of any amount. Get yours at offerrtw.com or call us at 1-800-215-5001. 

We are often defensive when someone approaches us with advice. Cain allowed his anger and jealousy to override the counsel given to him, personally, by God—and killed his brother Abel. In this message from Genesis 4, Pastor Lutzer reveals three underlying motivations for “destroyers” like Cain. Are we willing to let God be our counselor? This month's special offer is available for a donation of any amount. Get yours at offerrtw.com or call us at 1-800-215-5001. 

Some people can inflict tremendous hurt without feeling any guilt. In the first family, Cain had no sorrow for killing his brother Abel, but was quite worried someone might kill him.  In this message from Genesis 4, Pastor Lutzer explores Cain's emotional turmoil. Destroyers like Cain play by a different set of rules. This month's special offer is available for a donation of any amount. Get yours at offerrtw.com or call us at 1-800-215-5001. 

Today on The Neil Haley Show, Neil "The Media Giant" Haley interviews Mel Harris. Mel Harris is an actress, writer and director, best known for her portrayal of Hope Steadman on the critically acclaimed, Emmy Award-winning series Thirtysomething, for which she received a Golden Globe nomination as best Actress in a Drama Series. She starred in the NBC comedy Something So Right and the My Network drama series Saints and Sinners (2014). Her most recent role has been as Nadine Davies on Hulu's series Shut Eye Mary Ellen Harris was born in Bethlehem, Pennsylvania, and raised in New Jersey. Her mother was a high school science teacher and her father a football coach at Princeton University. She spent 12 years in the modeling world living in New York and Europe before stumbling into the acting business. She starred in numerous miniseries and telefilms including Cross Fire (1989), The Burden of Proof (1992) and Grass Roots (1992), as well as appearances on Crazy Ex-Girlfriend (2015), Law & Order: Special Victims Unit (1999), and as Senator Rafferty on The West Wing (1999). Among her feature film credits are Brian De Palma's Raising Cain (1992) , K-9 (1989) (opposite Jim Belushi), Suture (1993), The Pagemaster (1994), and Wanted: Dead or Alive (1986). She made her New York stage debut at the Circle Repertory Company in the world premiere of John Bishop's Empty Hearts, for which she received a 1992 Theater World Award. In addition to her acting, in the last few years, she has focused on writing with her partner and husband, Emmy Award winning writer/producer, Bob Brush, under their shingle Topanga Moon Productions.

Hey there and thanks for checking out another terrific Townsquare Spotlight! Today, we have Golden Globe nominated actress and Hudson, NY resident Mel Harris in to talk about her latest film, QUEEN OF KNIVES, sequel to 2020's KING OF KNIVES. I had a blast talking to Mel about the roots that she has planted here in the Hudson Valley and about reprising the role of Kathy in this sequel. Golden Globe Nominated Actress Mel Harris Lives in Hudson, NY Mel Harris is an actress, writer and director, best known for her portrayal of Hope Steadman on the critically acclaimed, Emmy Award-winning series Thirtysomething, for which she received a Golden Globe nomination as best Actress in a Drama Series. She starred in the NBC comedy Something So Right, and the My Network drama series Saints and Sinners (2014). Her most recent role has been as Nadine Davies on Hulu's series Shut Eye. Media Guest Quest, MelHarris Media Guest Quest, MelHarris Mary Ellen Harris was born in Bethlehem, Pennsylvania, and raised in New Jersey. Her mother was a high school science teacher and her father a football coach at Princeton University. She spent 12 years in the modeling world living in New York and Europe before stumbling into the acting business. She starred in numerous miniseries and telefilms including Cross Fire (1989), The Burden of Proof (1992) and Grass Roots (1992), as well as appearances on Crazy Ex-Girlfriend (2015), Law & Order: Special Victims Unit (1999), and as Senator Rafferty on The West Wing (1999). Among her feature film credits are Brian De Palma's Raising Cain (1992) , K-9 (1989) (opposite Jim Belushi), Suture (1993), The Pagemaster (1994), and Wanted: Dead or Alive (1986). View this post on Instagram A post shared by Queen Of Knives The Film (@queenofknivesthefilm) She made her New York stage debut at the Circle Repertory Company in the world premiere of John Bishop's Empty Hearts, for which she received a 1992 Theater World Award. In addition to her acting, in the last few years, she has focused on writing with her partner and husband, Emmy Award winning writer/producer, Bob Brush, under their shingle Topanga Moon Productions. QUEEN OF KNIVES Freestyle Digital Media, the digital film distribution division of Byron Allen's Allen Media Group, has acquired North American VOD rights to the comedy feature film QUEEN OF KNIVES, which will be available to rent/own on all digital HD internet, cable, and satellite platforms worldwide, as well as on DVD, starting on March 22, 2024, through Freestyle Digital Media. Freestyledigitalmedia, Bill Vergos Freestyledigitalmedia, Bill Vergos QUEEN OF KNIVES is the sequel to 2020's KING OF KNIVES. QUEEN OF KNIVES follows the Benetto family, which is scattered to the winds in Brooklyn, NY. There's no predicting where they will end up. Relationships keep shifting. Generations keep trying to adapt to a new world. Risky behavior is the norm. Eventually, their paths all lead back to a fateful dinner at their former home, with surprise visitors and lots of unintended consequences. Where secrets are revealed, and a final page is turned. The biggest question is: Who exactly are the adults here? A mix of sharp and witty dialogue, comedy, and drama that so many of us can relate to. A story that sucks you in, and you're glad for it. Freestyledigitalmedia, Bill Vergos Freestyledigitalmedia, Bill Vergos QUEEN OF KNIVES was written by Lindsay Joy and Gene Pope and directed by Jon Delgado. QUEEN OF KNIVES was produced by Gene Pope, Jenn Gomez and Joseph Stephans and features an ensemble cast that includes Gene Pope (‘Frank'), Mel Harris (‘Kathy'), Roxi Pope (‘Kaitlin'), Emily Bennet (‘Sadie'), Alexandra Renzo (‘Autumn'), Justin Sams (‘Sebastian'), Tara Westwood (‘Joanne'), Barbara Tirrell (‘Masha'), Neptune (‘Braden'), Robert Costanzo (‘Sal'), Jay Russell (‘David'), Carmen Lobue (‘Mattie'), Mollie Anne Lloyd (‘Eliza'), Arthur Langly (‘Jay'), Zebedee Row (‘Jackson'), Robert Anythony Jones (‘Fred'), ...

Join your host Duncan Under The Stairs discussing all things Horror on The Podcast Under the Stairs. The Podcast Under the Stairs returns with another Director's Roundtable. Duncan is joined by Bo Ransdell & Doug Tilley to roundtable to discuss, over two epic episodes, the filmography of Brian De Palma. This is part two and will cover his active years of 1981-2019. Films Discussed are: CHAPTER 1 Blow Out (1981), Scarface (1983), Body Double (1984), Wise Guys (1986), The Untouchables (1987) & Casualties of War (1989). CHAPTER 2 The Bonfire of the Vanities (1990), Raising Cain (1992), Carlito's Way (1993) & Mission Impossible (1995) & Snake Eyes (1998) CHAPTER 3 Mission to Mars (2000), Femme Fatale (2002), The Black Dahlia (2005), Redacted (2007), Passion (2012) & Domino (2019). Duncan's Top 5 De Palma - 1981-2019 1. Blow Out 2. The Untouchables 3. Body Double 4. Carlito's Way 5. Snake Eyes Bo's Top 5 De Palma - 1981-2019 1. The Untouchables 2. Blow Out 3. Carlito's Way 4. Mission Impossible 5. Raising Cain Doug's Top 5 De Palma - 1981-2019 1. Blow Out 2. Mission Impossible 3. Carlito's Way 4. The Untouchables 5. Snake Eyes Duncan's Bottom 3 De Palma - 1981-2019 1. The Bonfire of the Vanities 2. Redacted 3. Domino Bo's Bottom 3 De Palma - 1981-2019 1. Redacted 2. Mission to Mars 3. The Bonfire of the Vanities Doug's Bottom 3 De Palma - 1981-2019 1. Redacted 2. The Bonfire of the Vanities 3. Domino Duncan's Top 5 De Palma 1. Blow Out 2. The Untouchables 3. Dressed to Kill 4. Carrie 5. Body Double Bo's Top 5 De Palma 1. The Untouchables 2. Blow Out 3. Carrie 4. Carlito's Way 5. Phantom of the Paradise Doug's Top 5 De Palma 1. Phantom of the Paradise 2. Carrie 3. Blow Out 4. The Dressed to Kill 5. Mission Impossible Duncan's Bottom 3 De Palma 1. Home Movies 2. Murder ala Mod 3. Bonfire of the Vanities Bo's Bottom 3 De Palma 1. Redacted 2. The Fury 3. Get to Know Your Rabbit! Doug's Bottom 3 De Palma 1. Home Movies 2. Redacted 3. The Bonfire of the Vanities Our RSS Feed: ⁠https://anchor.fm/s/13ba6ef0/podcast/rss⁠ Check out the show on ⁠Anchor⁠, ⁠iTunes⁠, ⁠TuneIn⁠ & on ⁠Stitcher Radio⁠. Please leave us feedback on ⁠iTunes⁠, podcastunderthestairs@gmail.com and follow us on ⁠Facebook⁠ & ⁠Twitter⁠. TIME CODES FOR VIDEO 00:00 Intro 00:11:00 Blow Out (1981) Review 00:25:40 Scarface (1983) Review 00:47:20 Body Double (1984) Review 01:05:45 Dancing in the Dark (Music Video) Review 01:13:30 Wise Guys (1986) Review 01:27:00 The Untouchables (1987) Review 01:47:30 Casualties of War (1989) Review 02:12:50 INTERMISSION 02:14:30 The Bonfire of the Vanities (1990) Review 02:33:10 Raising Cain (1992) Review 02:49:50 Carlito's Way (1993) Review 03:02:40 Mission Impossible (1995) Review 03:19:50 Snake Eyes (1998) Review 03:35:55 INTERMISSION 03:37:20 Mission to Mars (2000) Review 03:58:50 Femme Fatale (2002) Review 04:17:20 The Black Dahlia (2005) Review 04:34:30 Redacted (2007) Review 04:46:00 Passion (2012) Review 04:58:00 Domino (2019) Review 05:16:40 Our Top 5 Movies & Bottom 3 Movies Full Catalog 05:23:45 Our Top 5 Movies & Bottom 3 Movies Full Catalog 05:29:15 Final Thoughts & Goodbyes

What truly defines a horror movie? Is it the chill down your spine, the monster under the bed, or something far more elusive? Join Mr. Sir and Antheny in this thought-provoking episode of Horror Dork as they explore the edges of horror cinema. Dive deep into the murky waters of "Not Quite Horror" films—those cinematic enigmas that tease the horror itch without fully scratching it. From the superhero shadows of Darkman to the psychological mazes of Perfect Blue, and the fantastical horrors of Pan's Labyrinth, they'll dissect what elements borrow from horror, what sets them apart, and why they resonate with fans of the genre. Some points of discussion this episode include: Yuppie Nightmares & Beyond: How movies like Raising Cain and Bad Influence tap into real-world terrors without the supernatural. The Del Toro Effect: A look at Guillermo del Toro's unique blend of fantasy and horror, and how his films challenge traditional boundaries. Sci-Fi Scares: Where do films like Terminator, Predator, and Jurassic Park fit in the horror spectrum with their blend of science fiction and terror? What Makes a Horror Movie?: Mr. Sir and Antheny get personal, sharing what elements make a horror movie in their eyes and sparking a debate on the essence of fear. Plus: Lots of Killer Klowns From Outer Space talk!! This episode is not just a discussion; it's an exploration of how horror can be found in the least expected places and the myriad forms it takes to unsettle us. Whether you're a purist who craves the classic scare or someone who finds horror in the tension of a thriller, this episode's exploration of The Grey Zone promises to open up new perspectives on what truly makes a movie horror. Tune in, share your thoughts, and join us as we peel back the layers of cinema's most chilling question: What Makes a Horror Movie? Only on Horror Dork, where every town has an elm street. Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/hartzmann/in-the-deep-sea License code: MKN48W11BTJTCK90 Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/hey-pluto/miami-1987 License code: OEO8OOXFPAXY6OZY Broll by Videezy! --- Send in a voice message: https://podcasters.spotify.com/pod/show/horrordork/message

This week, on the LBC Podcast, Pastor Paul brings a message in the continuing series on 1 John he has titled Raising Cain.

A Wise and Faithful Woman with Nancy Goring A Bible podcast for ladies Ep395 - Raising Cain

This week we found a low-key Valentine's Day scary movie with the 1992 American psychological horror thriller, Raising Cain. The movie was written and directed by Brian De Palma, and stars John Lithgow, Lolita Davidovich and Steven Bauer. Synopsis: The oncologist wife of a prominent child psychologist suspects her husband has an unhealthy scientific obsession with their child, unaware of what - or who - is really going on inside his head. --- Support this podcast: https://podcasters.spotify.com/pod/show/scarymovieandchillpodcast/support

What's up everyone! Today's episode was just a little bit of Tuesday inspiration on parenthood, and how much we have the power to break cycles and patterns and parenting that I've been handed down to us with regards to boys and men and our emotional health or lack of emotional health. I think that it's important for us as dad‘s to look at how we can strengthen our emotional health so that we can show that and model that for our kids, and then they can intern hopefully be stronger in this as well. In this episode I referenced a book called:  “Raising Cain.  Protecting the emotional life of boys”.  It's a wonderful book and you can get it here: Raising Cain: Protecting the Emotional Life of Boys https://a.co/d/bG612Oi Thanks for listening and all y'all's continued support.  Please don't forget to write and review!

Avenged Sevenfold --- Send in a voice message: https://podcasters.spotify.com/pod/show/dearpadre/message Support this podcast: https://podcasters.spotify.com/pod/show/dearpadre/support

Steven Bauer is best known for his roles as Manolo "Manny" Ribera in Scarface, Avi Rudin in Ray Donovan and Don Eladio in Breaking Bad and Better Call Saul. He has also starred, co-starred and guest starred in countless movies and TV shows including Thief of Hearts, Traffic, Primal Fear, The Blacklist, S.W.A.T., NCIS, Supergirl, Queen of the South, Blue Bloods, Hawaii Five-0, Raising Cain and many more.

Steven Bauer is best known for his roles as Manolo "Manny" Ribera in Scarface, Avi Rudin in Ray Donovan and Don Eladio in Breaking Bad and Better Call Saul. He has also starred, co-starred and guest starred in countless movies and TV shows including Thief of Hearts, Traffic, Primal Fear, The Blacklist, S.W.A.T., NCIS, Supergirl, Queen of the South, Blue Bloods, Hawaii Five-0, Raising Cain and many more.

Hour 4 Heat Swatted the Hornets on Wednesday night and take on the Bulls tonight for a first of 2 at home vs Chicago Stay Ready and Be Ready when it comes to the Heat team. Ask Paul Cain Its time to make our NFL Picks for week 15 Panthers are back on the ice tonight as they take on the Canucks  

Feel Focused, Energetic and Rested Today, click the link belowhttps://www.c60evo.com/redpill78/Use coupon code REDPILL78 to get an extra 10% offNate Cain joins us to discuss the state of America and what it will take to fix it.https://natecain4wv.com/Get your chlorine dioxide kitshttps://onenessdrops.comUse code rp78 for 15% discount

Traditional Worship, October 1, 2023

Contemporary Worship, October 1, 2023

They say boys will be boys. And when you're a dad who's struggling to connect with their sons, it makes you wonder whether you're handling things the right way. But the truth is, there are so many stereotypes about boys that dads also had to deal with growing up. So when it's time to deal with their own sons, they either do the same things they witnessed growing up or just completely feel lost about what to do next.The good news is, dads can make a difference in their sons' lives when they learn to accept that boys don't always match the image that society has come to expect – and that's okay.In this episode, Michael talks about how to support boys and their emotional wellness even if that means going against the norm. “A dad has to know, you don't get a standard-issue boy. When your boy is born, he's got all the equipment. But you don't know whether he's gonna like and fit the image of masculinity.” - Michael ThompsonIn This Episode:Michael shares the story of how he became an expert on the behavior of boysLearn about how stereotypes have impacted the way boys are disciplined at home and in schoolDiscover the impact of dads that are more involved in their sons' emotional developmentLearn how fathers can support their sons despite cultural stereotypesLearn tips on how dads can better communicate with their sonsLearn how dads can have tough conversations with their sons...and more!Resources:Raising Cain: Protecting the Emotional Life of BoysThe Pressured ChildConnect with Dr. Michael Thompson:WebsiteTwitterConnect with Cam Hall:WebsiteFacebookInstagramTwitterLinkedInYouTubeEmail - cam@dmdpodcast.comWant to join a holistic group coaching call with Cam? - Send him a message on Instagram @fightthedadbods

On tonight's Big Monday show we talk about a wide variety of topics starting with the 3 triple crown preps from this last weekend, the Fountain of Youth that featured the return of 2yo champion Forte; the San Felipe that had 3 ex-Baffert runners yet Tim Yakteen won it with his own runner Practical Move and the Gotham which was a wild race in the mud, won by Raising Cain under a superior ride by Jose Lezcano. We also discuss the latest stewards screw up, the lack of true Derby trail contenders as we close in on 2 months to the first Saturday in May, why consolidation and the industry shrinking is bad, why tracks don't work together on stuff that we see yet they do many joint ventures behind the scenes when it suits them, and a whole bunch more! --- Send in a voice message: https://anchor.fm/charles-simon6/message

This episode was originally for Patreon members only but now you get to hear me talk about Brian DePalma's thriller Raising Cain for several minutes, enjoy. Ad Spot Shock and Applaud Suppourt us on Patreon https://www.patreon.com/cinemarecallpod Subscribe to us on YouTube @cinema_recall Check out our series for more films from director Brian DePalma DePalma December We will be live at The Parkway Theater March/9/2023 - Ghost in the Shell March /31/2023 - Tombstone --- Support this podcast: https://anchor.fm/cinemarecall/support

I SEE DEAD MOVIES Episode 3! RAISING CAIN + MAN'S BEST FRIEND In this episode we're covering Brian DePalma and John Lithgow's wacky RAISING CANE and Lance Henrickson in MAN'S BEST FRIEND Video version available on our Patreon!

Get bonus content on PatreonSupport this show http://supporter.acast.com/cagedinpod. Hosted on Acast. See acast.com/privacy for more information.

Cain Kellerman became addicted to heroin as a 10-year-old boy and saw his life quickly spiral out of control after that... his life held no hope and he simply stopped caring about anything. And even if his life did have a purpose, how could he break free from his addictions? Show notes at https://compelledpodcast.com/episodes/cain-kellerman

Raising Cane's is suing an Indiana shopping center after finding out that a lease banned the sale of chicken fingers, stemming from a noncompete agreement former property owners had reached with a nearby McDonald's in 1984. “It's really wild,” Corby Kummer told Boston Public Radio on Monday. “The idea that McDonald's takes the exclusive right in a shopping center to sell deboned chicken products…completely new to me.” Kummer is the executive director of the Food and Society policy program at the Aspen Institute, a senior editor at The Atlantic and a senior lecturer at the Tufts Friedman School of Nutrition Science and Policy.

This week on final Brian De Palma episode, Lindsay is joined by two big personalities for a Multiple Personality episode.  It's a Double of M. Night Shyamalan's Split (2016) & De Palma's Raising Cain (1992).   Both directors are perfect for dealing with this insane material.  Both are very visually conscious and let James McAvoy and John Lithgow really go for gold. Also Lindsay and Robb find Hot Dogs hilarious.   Listen to Film Feast Here Listen You Could've Been a Bloodfist Movie Here Follow Film Feast on Twitter @filmfeastpod Follow Film Feast on Instagram @filmfeast/ Follow Matt on Twitter @mattbled87   Follow You Could've Been a Bloodfist Movie on Twitter @BloodfistPod Follow Robb on Twitter @TheCineDrunkie   Follow Schlock & Awe on Twitter @schlockandawe1 Follow Schlock & Awe on Instagram @schlockandawe1/ Follow Lindsay on Twitter @readandgeek Follow Lindsay on Letterboxd @ReadandGeek/   Say Hi schlockandawemovies@gmail.com   If you like the show please Rate & Review S&A on Apple Podcasts & Spotify   Original Music Composed and Performed by Anthony King    

Long before he became one of the nation's leading voices on the emotional lives of adolescent boys, psychologist and New York Times bestselling author Dr. Michael G. Thompson actually focused his studies on the psychological issues of young women. “I got into schools as a consultant,” Thompson says, “and all of a sudden, all of my work was little boys.” Thompson and co-author Dan Kindlon released their acclaimed book Raising Cain in April 1999, six days after the shooting at Columbine High School in Littleton, Colo. The book - which examines the emotional complexities of young boys and teenagers - suddenly thrust Thompson into the spotlight while the country tried to asses what was wrong with its boys. On this 2018 episode of Paternal, Thompson discusses the impact of Raising Cain and his thoughts on the continued proliferation of high school shootings, how to protect the emotional complexities of young boys, and why fathers struggle to connect with their sons. Learn more about Paternal and sign up for our newsletter at www.paternalpodcast.com. You can also email host Nick Firchau at nick@paternalpodcast.com with any comments or suggestions for men he should profile on the show. Make sure you subscribe to the show on Apple Podcasts or wherever you're listening, then keep an eye on your feed for new episodes.

The Video Vampires raise some hell when they cover Brian DePalma's 1992 thriller "Raising Cain."