Podcast appearances and mentions of Robert Zemeckis

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

In this final episode of 2025, I welcome my friends and IFJA colleagues Andy Carr and Logan Sowash from Odd Trilogies to the show to help me close out the year with a breakdown of the Indiana Film Journalists Association's Ten Best Films of 2025. Timestamps Show Start - 00:28 Introducing the Guests - 02:30 IFJA Thoughts - 08:38 Best Film Finalists Bob Trevino Likes It - 15:12 Hamnet - 23:00 The Life of Chuck - 32:25 Marty Supreme - 43:36 No Other Choice - 56:26 Train Dreams - 1:06:15 Wake Up Dead Man: A Knives Out Mystery - 1:16:17 Weapons - 1:21:30   Runner-Up: One Battle After Another - 1:28:37 Winner: Sinners - 1:32:38    Movies We Would Have Wanted in the List - 1:41:10 Closing the Ep - 1:45:10 Patreon Clip - 1:48:07   Related Links 'Sinners' tops list of Indiana Film Journalists Association awards Nominations announced for 2025 Indiana Film Journalists Association Awards   Andy's Letterboxd Logan's Letterboxd Odd Trilogies Odd Trilogies - 116: The Silent Night, Deadly Night Trilogy Odd Trilogies - 115: Robert Zemeckis' CGI Trilogy Odd Trilogies - 114: The Odd Oz Trilogy Logan's Review of Mission: Impossible - The Final Reckoning Andy's Essay on "The Willem Dafoe Drip Check"   My 2025 Podcast and Writing Archive The Long Walk Book Reactions on Patreon IT: Welcome to Derry Episode Reactions on Patreon Patreon Potpourri - 035 - "Awards Season 2025" - Splitsville (2025), Bob Trevino Likes It (2025), If I Had Legs I'd Kick You (2025), and The Perfect Neighbor (2025) - Nov 17-Dec 24, 2025 Patreon Companion Episodes Collection   Indianapolis Theaters Alamo Drafthouse Indy Kan-Kan  Living Room Theaters Keystone Art  Flix Brewhouse   Ways to Support Us Support Us on Patreon for Exclusive Content Official OV Merch Buy Me A Coffee Obsessive Viewer Obsessive Viewer Presents: Anthology Obsessive Viewer Presents: Tower Junkies As Good As It Gets - Linktree Start Your Podcast with Libsyn Using Promo Code OBSESS   Follow Us on Social Media My Letterboxd | YouTube | Facebook | Twitter Instagram | Threads | Bluesky | TikTok | Tiny's Letterboxd   Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II (Firmware: 1.6.8) Andy: Samson Q2U via USB in Riverside FM Logan: Blue Yeti in Riverside FM   Episode Homepage: ObsessiveViewer.com/OV498   Next Week on the Podcast OV499 - IT: Welcome to Derry (Season 1)

In this episode of The Movie Men Podcast, Brady and Carl turn their attention to The Polar Express, Robert Zemeckis's animated holiday film based on the book by Chris Van Allsburg. Set on Christmas Eve, the story follows a young boy who boards a mysterious train bound for the North Pole, embarking on a journey filled with wonder, doubt, and discovery. The film is known for its pioneering use of motion-capture animation, its sweeping winter visuals, and Alan Silvestri's memorable score. With themes centered on belief, childhood imagination, and the magic of Christmas, The Polar Express has become a seasonal staple for many families since its release. Brady and Carl discuss the movie as a piece of holiday cinema, its place in early 2000s animation, and how its style and storytelling contribute to its lasting reputation.   Subscribe to us on YouTube - https://www.youtube.com/@themoviemenpodcast Like us on Facebook - https://www.facebook.com/The-Movie-Men-Podcast-2335323586526490/ Support us on Patreon - https://www.patreon.com/themoviemenpodcast Follow us on Instagram - https://www.instagram.com/themoviemenpodcast/ Follow us on X - https://twitter.com/TheMovieMenPod Buy our Merch - https://shop.spreadshirt.ca/the-movie-men-podcast/ MOVIE MEN BINGO - https://mfbc.us/m/jz85dn?fbclid=IwAR2sBAj4B4gZWApb91_azca4QfYX6WGzu7YxHwiIwOHqVONtd9bOoTwPQAI Brady' Gaming Channel - https://www.youtube.com/channel/UCH6K0vldmqS05fxegNrwWHw   Theme Licensed through - https://pixabay.com/

Writer/director Liz W. Garcia joins Jamie in this special movie episode to unpack the deeper themes and dramatic meaning of the 2000 Robert Zemeckis thriller What Lies Beneath. Follow Liz on Instagram, X & watch Space Cadet here.Follow @jamiestein and check out hollywoodreadings.com to learn more about his work.Support the show

HO HOOO HOOOOOO! On this very merry episode of The Snub Club, the heroes chat about 2004's The Polar Express. Directed by Robert Zemeckis and starring Tom Hanks, Tom Hanks, Steven Tyler, and Tom Hanks. The Polar Express was nominated for three Academy Awards but won nothing. In this episode, Sarah, Danny, and Caleb discuss 3D, creepy elves, and whether The Polar Express is or is not a Christmas Classic.    The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Grey Flannel by Vans in Japan

Please turn off your cellphones and prepare to take a dive into the four color pages of spooky funny books, except writ large and holiday tinged on the TV screens in all our hearts and minds. Join us as we fire poker our way back to June of 1989 for this Christmas horror Episode starring Mary Ellen Trainor, Larry Drake, and Marshall Bell, directed by Robert Zemeckis. Together, we meet the Ron Popeil of podcasting, live a life time in a split second, and just generally have a fun time in this extra special bonus holiday themed present in the wrapping of a Commentary!

Our annual Christmas episode! Jim Carrey as Scrooge, animated in mo-cap 3D sounds like a holiday classic, right? Robert Zemeckis' version of A Christmas Carol promised a visually stunning, motion-capture reimagining of the timeless Dickens tale — but did it capture the magic of the original, or just get lost in the tech? ___Please consider joining our Patreon: https://www.patreon.com/wwibofficialYouTube: https://www.youtube.com/@whywasntitbetterLetterboxd: https://letterboxd.com/wwibpodcastInstagram: https://www.instagram.com/wwib_officialX: https://x.com/WWIBpodcastSubscribe! Rate! Review! Tell a friend!

Hey Flixers, What's New to Netflix is closing down 2025 with all of the new titles coming in December, and you won't want to miss it! Then we take a peek at a troubled doctor's super secret creation, which just so happens to be a misunderstood scientific abomination in Guillermo del Toro's Frankenstein from 2025. Next, Richard Linklater gives us a look into the filming of the iconic French classic Breathless in Nouvelle Vague from 2025. And also from 2025, Joel Edgerton is a logger dealing with the loss of his family in Train Dreams. All of this plus the other Troll 2, Robert Zemeckis movies, not one but two Mean Girls, YouTubers and Muppets, Man vs. Baby, Christmas on the Alpaca Farm, and a dumpster that transports people. got a suggestion for the show?: whatsnewtonetflix@gmail.com

Care for a game of volleyball? Maybe a bromance? Matt, Bryan, and Nate take a look at Tom Hanks' intense bond with Wilson in Robert Zemeckis' "Cast Away."Leave us a review and follow us wherever you get your shows. Follow us also on Letterboxd at:BlindBuyMedia https://boxd.it/2jJyfandBryan_P https://boxd.it/Rjp7

(Thunder Crash) Tonight, on Good Movie Podcast? we promise an eternal rivalry and a touch of magic in a world obsessed with science. Within the swirling  purple potion of immortality Jonathan and Dan are ready for a comedic bloodbath in Robert Zemeckis's eternal classic Death Becomes Her (1993).  Madeline Ashton and Helen Sharp have been at each other's throats (much like our two hosts) for as long as they can remember. When famed surgeon of the stars, Ernest Menville is thrown in the mix the claws come out. In a story as old as time, when beauty fades these two women will do whatever it takes to stay young forever and come out on top. Luckily for them there is one ancient lady dealing just the sort of a elixir they have been looking for.  When things turn violets heads start spinning, shotguns are fired, and many bodies are thrown down staircases. We advise our listeners to learn from this morality tale, and to take care of themselves. Sempre Viva! Live Forever! Rate, Review, Subscribe, and Listen to Us on Podbean/iTunes/Stitcher/Spotify Follow us on Instagram:@animewasnotamistakepodcast Or on Facebook:@animewasnotamistakepod Music Provided by: Cab Calloway, Irving Mills and Clarence Gaskill – “Minnie the Moocher” – RCA Instrumental/Karaoke Version Dave Flesischer – “Let's All Go to the Lobby”- National Film Registry/Library of Congress Kansas Joe McCoy, Herb Morand– “Why Don't You Do Right” – Claudia Santoro Instrumental/Karaoke Version

Merry Christmas and Happy Holidays from the Shuffle Bois! It's your yearly Christmas episode drop, and this year we're taking a look at two instant classics from the 2000s, Robert Zemeckis' “Polar Express” (2004) and “Christmas Carol (2009). These two films represent Robert Zemeckis' attempt to transcend the limits of the fleshy human body through the power of computers and technology. And they stink. In this episode, you'll hear the Shuffle Bois describe and analyze the phenomenon of “The Uncanny Valley” and how these films fall into it. They also discuss Charles' Dickens' rad-lib politics, the changing nature of Christmas in the 19th century, Boomer nostalgia, and once again roast Hollywood's insane accounting and overreliance on the newest technological fad. ⁠Give Remember Shuffle a follow on Twitter⁠⁠⁠⁠⁠⁠ And on Instagram⁠⁠⁠⁠⁠ ⁠@RememberShufflePod⁠⁠⁠⁠⁠⁠ to interact with the show between episodes. It also makes it easier to book guests.And don't forget to check out our Patreon!Use remembershuffle.com to find episodes

Ho. Ho. Ho. Happy holidays everyone, on the Christmas special of the M&K Productions Podcast, we go back in time to 2009 and cover one of the more unique takes on the classic Dickens tale. Robert Zemeckis's A Christmas Carol starring Jim Carrey. Help the podcast grow by joining our Patreon:https://patreon.com/user?u=97611111&utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink#christmas #disney #podcast

All aboard! We're watching the first of it's kind, motion capture film - The Polar ExpressDirected by Robert ZemeckisScreenplay byRobert Zemeckis, William Broyles Jr.Based on The Polar Express by Chris Van AllsburgProduced by Steve Starkey, Robert Zemeckis, Gary Goetzman, William TeitlerStarring Tom HanksCinematography Don Burgess, Robert PresleyEdited by Jeremiah O'Driscoll, R. Orlando DuenasMusic by Alan SilvestriProduction companies Castle Rock Entertainment[1] Shangri-La Entertainment[2]Playtone[1] ImageMovers[1]Golden Mean Productions[1]Distributed byWarner Bros. Pictures[1]Release dates October 13, 2004 (Chicago International Film Festival)November 10, 2004 (United States)Running time100 minutesBudget $165,000,000 (estimated)Gross US & Canada $189,528,738Opening weekend US & Canada$23,323,463Nov 14, 2004Gross worldwide $320,082,355

Harold Ramis' ICE HARVEST had a hard time at the cinema, and is now a forgotten neo-noir black comedy that takes place around Christmas. Next week - Robert Zemeckis' A CHRISTMAS CAROL!

Forrest, Conan Neutron, Kristina Oakes and Mike Scott of Bottled 'n' Bond talk about Who Framed Roger Rabbit A 1988 Disney BLOCKBUSTER, directed by Robert Zemeckis and produced by Spielberg's Amblin Entertainment Pioneering an advanced version of hybrid live action/cartoon style using both animation cels and some small early CGI technological advances by Industrial Light and Magic Starring Bob Hoskins, Charles Fleischer, Kathleen Turner as Jessica Rabbit, Joanna Cassidy, and Christopher Lloyd It was also Mel Blanc's last time playing Bugs Bunny, Daffy Duck. Tweety, Sylvester the Cat, and Porky Pig #disney #rogerrabbit #toontown #bugsbunny #mickeymouse #looneytunes #toons #whoframedrogerrabbit #bettyboop #felixthecat #animation #moviepodcast #filmpodcast #noir #kathleenturner #jessicarabbit #acme #eddievaliant #jessicarabbit #spielberg #amblinentertainment #melblanc Forrest and Kristina are starting a new YouTube channel/show The Absurdity Space!! https://www.youtube.com/@UCa3LavkP9F_NxOnl0A2soXQ We are also streaming on @thisspacetv throw them a followJoin our discord: https://discord.gg/ZHU8W55pnhJoin our Patreon to get all our After Parties https://www.patreon.com/MovieNightExtraConan Neutron & the Secret Friends new noir inspired music video "A Villain of Circumstance" https://www.youtube.com/watch?v=qXjmjKzbTSI

Shane Black (Lethal Weapon, The Nice Guys)  Jim Herzfeld (Meet The Parents/Fockers), Fred Dekker (Preditor), & David Silverman (The Simpsons) reminisce about their college hangout that became the social group that supported their life and art for the rest of their lives.  They describe a house full of UCLA film nerds with a 24 hour open house policy.  It was young guys finding themselves and their drive and their fun by making a scene in the early 1980's. Movie watching, game playing, movie making, and joking around led to a group of people that has made some of the biggest films of the last 30 years.  Bio: JIM HERZFELD is an American film and television screenwriter who has also done work as a television producer. Herzfeld graduated from UCLA's School of Theater, Film and Television (TFT) and his earliest TV credit – on the ground breaking “It's Garry Shandling's Show” -- was followed by almost 10 years of writing and producing episodes on dozens of sitcom staffs, including the Fox TV classic "Married... With Children." Herzfeld's earliest feature film work was a writing credit on the cult comedy “Tapeheads“ in 1988. His most successful work was writing the screenplay for the 2000 film” Meet the Parents” as well as writing the story and screenplay for its 2004 sequel “Meet the Fockers.” To date, both those films remain on the list of the 20 Highest Grossest Comedies. More recently, in 2015 his screenplay for “Meet the Parents” was selected by the Writer's Guild of America's as one of the “101 Funniest Screenplays” of all time. Herzfeld was also the writer of the canceled Circle 7 Animation version of Toy Story 3 and has done countless punch-up and rewrites on dozens of big budget comedies and animated films for virtually every major studio.  Herzfeld has also guest lectured about screenwriting at several major universities, including NYU, UCLA and AFI along with appearing on writer panels at various film festivals, most notably the Austin Film Festival where Jim was a judge for their Comedy Screenplay Competition. Currently, Herzfeld continues to write and develop comedy screenplays and recently became an advisor for Scripthop, a software startup focused on revolutionizing how screenplays are both presented and circulated throughout the entertainment industry. FRED DEKKER - Pursuing a movie career, he moved to Los Angeles where his fledgling screenwriting efforts led to a Hollywood agent and a job writing Godzilla: King of the Monsters for director Steve Miner. Although the film went unproduced, Dekker provided the story for Miner's 1985 horror-comedy House, starring William Katt (screenplay by Ethan Wiley). The film was recognized by the Fantasporto and the Avoriaz Film Festivals, and spawned several sequels. Dekker made his directorial debut with Night of the Creeps, an homage to B-movies that eventually developed a devoted cult following. He went on to direct another cult favorite, The Monster Squad, co-written with his UCLA friend Shane Black. He subsequently wrote five episodes of Tales From The Crypt, including the first episode, directed by Robert Zemeckis. In 1991, Dekker conceived the Denzel Washington starrer Ricochet and the spy spoof If Looks Could Kill, both for Warner Bros. He then returned to the director's chair for the third RoboCop film, co-written with comic book legend Frank Miller. As a script doctor, Dekker made uncredited contributions to films including Titan A.E. and Lethal Weapon 4. He then served as Consulting Producer and wrote three episodes of Star Trek: Enterprise. In 2015, he reteamed with Shane Black on a western TV pilot for Amazon Studios, entitled Edge. The two went on to co-write the 2018 release The Predator, which Black also directed. Dekker's international awards include the Silver Raven from the Brussels International Festival of Fantasy Film; the Estrella de Fantastico Award from the 2019 Bilbao Fantasy Film Festival; and the 2024 Honorary Time Machine Award (Premi Màquina del Temps) at the Sitges Film Festival for his contributions to horror and fantasy cinema. He is currently developing a true crime limited series for Amazon based on a murder which occurred in his hometown.SHANE BLACK is a writer/director whose writing credits include such films as Lethal Weapon, The Last Boy Scout, The Long Kiss Goodnight and The Monster Squad.  He began as a director in 2005 with Kiss Kiss Bang Bang and receives increasingly strident sequel requests for 2016's The Nice Guys.  He is currently writing a spec original and trying to lose some weight by New Years'.  Not that he's fat -- he's just old, and being careful.DAVID SILVERMAN After graduating from UCLA in 1983, David Silverman worked as a freelance illustrator and animator until, in 1987, he landed a job animating on The Tracey Ullman Show — where The Simpsons began. Animating on all 48 shorts led to David directing the first shows of The Simpsons. Starting with the Christmas Special in December 1989, and then the premiere episode the following month, David soon became Supervising Animation Director and a producer on The Simpsons. All told, he has directed 24 episodes and has won 4 Emmys along the way.  When no one was looking, David snuck away from The Simpsons to work at DreamWorks (The Road to El Dorado – co-director), Pixar (Monsters, Inc. – co-director), and Blue Sky (Ice Age, Robots – writing and boarding). But, he came back to the show full-time at the end of 2003 and directed The Simpsons Movie. In 2012, David directed and co-wrote the short film The Longest Daycare about Maggie Simpson, which earned him an Academy Award nomination.And since the Disney acquisition of The Simpsons (via the purchase of Fox), David has directed 10 Simpsons shorts especially for Disney+, as well as several promotional pieces.Editing Notes: There are many verbal cuts on the show we directed to Dan. Also after the show, Shane Black emailed and ask we cut out this.  I say “It's nice your place was a rape free environment” and Shane says something like: “But not rape free for guys,”. He wants his comment cut.

Send us a textOn the podcast this time, Steven and Sean are off on a magical adventure to the North Pole! We watched the 2004 film from Robert Zemeckis, The Polar Express.We are curious, if we exhibit signs of doubting the existence of Santa Claus, does that mean we too can be whisked away by some version of Tom Hanks to be proven wrong? If that's possible, then Santa who? What Claus?That might not have been why our Hero Boy had his suspicions, but it sure as heck worked out well for him. He got to drink the tastiest hot chocolate ever! He made new friends! He met the real freaking Santa Claus! Lucky kid.(Recorded on December 02, 2025)Links to Stuff We Mentioned:The Polar Express - The Movie Database (TMDB)The Polar Express trailer - YouTubeTom Hanks — The Movie Database (TMDB)Josh Hutcherson — The Movie Database (TMDB)Steven Spielberg — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show

La Federal Reserve non è mai stata così divisa come in questo momento: è metaforicamente appesa a un filo, come il funambolo Pilippe Petit che nel 1974 camminò sospeso nel vuoto tra le Torri Gemelle di New York (storia raccontata anche nel film The Walk diretto da Robert Zemeckis), perché da un lato sta aumentando l'inflazione e dall'altro sta aumentando la disoccupazione. Promozione esclusiva per gli ascoltatori di Black Box: se apri un conto FINECO con il codice FINBLACK hai 6 mesi EXTRA di canone gratuito e 10 ordini gratuiti per investire. Per maggiori info clicca ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠qui⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: ⁠⁠⁠⁠⁠⁠https://it.finecobank.com/⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

There was originally a plan to bring the much-loved Christmas book The Polar Express to the big screen in live action, with Rob Reiner potentially directing. But eventually, the project ended up with Robert Zemeckis. Looking for something between live action and animation, a different kind of technology was to be used for the film - but would audiences respond to it? Especially when they tried to look the characters in the eye... The second part of this episode is a return to the podcast for writer/producer/director James L Brooks, chatting about his new film, Ella McCay. Plus, getting films for grown-ups made, Mike Nichols, previewing his movies and a whole lot more. Ella McCay is in UK cinemas from 12th December 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on our Christmas Movie Month ride, we're boarding Robert Zemeckis' motion-capture spectacle The Polar Express — a film that asks the eternal holiday question: Do you still believe?We dive into the film's groundbreaking animation, iconic sequences, and the meaning behind hearing (or not hearing) that magical sleigh bell… and speaking of belief, the team shares their own personal, hilarious, and sometimes devastating stories of discovering that Santa isn't real.It's equal parts festive joy, childhood nostalgia, and emotional chaos — just like the movie itself.

Welcome to Steam Powered Movies! The podcast hosted by Dana & Mike Fraedrich where we watch steampunk films and then talk about them. It's almost Christmastime, so we went back to a classic to cover the Robert Zemeckis 2009 animated version of A Christmas Carol starring Jim Carrey. Is this just what we do every December now? Will there be another version we talk about next year? Keep tuning in to find out!If you enjoy this podcast, please leave us a review!Join the Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/7St3aZ2cxS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠On Bluesky ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@steampoweredmovies.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram & Threads ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SteamPoweredMovies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.SteamPoweredMovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more info on Dana's books & events visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.WordsByDana.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme music by Mike Fraedrich (c) 2022Produced by Mike Fraedrich

rWotD Episode 3136: Last Holiday (2006 film) Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Thursday, 4 December 2025, is Last Holiday (2006 film).Last Holiday is a 2006 American romantic comedy-drama film directed by Wayne Wang and written by Jeffrey Price and Peter S. Seaman. The film is loosely based on the 1950 British film of the same name by J. B. Priestley. The film stars Queen Latifah as Georgia Byrd, a humble department store assistant who is told that she has a rare brain condition and only has a few weeks to live. She promptly decides to spend her remaining funds on a luxury holiday in Europe before she dies.Price and Seaman wanted John Candy for the main role but, after Candy's death, Latifah's agent suggested a new version starring her. Produced by Robert Zemeckis' ImageMovers, the film was released by Paramount Pictures on January 13, 2006. The film underperformed at the box office, having grossed $43.3 million against a budget of $45 million and received mixed reviews from critics, though Latifah's performance was universally praised for her charm and humor.This recording reflects the Wikipedia text as of 01:10 UTC on Thursday, 4 December 2025.For the full current version of the article, see Last Holiday (2006 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 Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Aria.

Every time Disney adapts A Christmas Carol, it's a ghost story—but it's not just about Scrooge. It's a story about the Walt Disney Company itself. CHECK OUT THIS EPISODE IN VIDEO FOR THE FULL EXPERIENCE @ https://youtu.be/pCARpdjm0rk From the hand-drawn rebirth of Mickey Mouse in the 80s to the felt-and-friendship of the Muppets in the 90s, and the high-stakes digital ambition of the 2000s, each adaptation of Dickens' classic reveals exactly where Disney was as a company, what it was struggling with, and what kind of "spirit" was guiding its decisions. Join Eric as we unwrap the surprising corporate history hidden inside three holiday classics: The Ghost of Ink and Paint (1983) Mickey's Christmas Carol was more than a cute holiday short; it was a desperate sign of life from a struggling animation studio. We explore how this small project became a proving ground for the next generation of Disney legends (Keane, Lasseter) and marked the grand return of Mickey Mouse during Ron Miller's uncertain tenure. The Ghost of Felt and Friendship (1992) The Muppet Christmas Carol was the first Muppet film made without Jim Henson—and the first under the Walt Disney Pictures banner. It's a story of legacy, loss, and how Brian Henson fought to keep the heart in the story (and why a certain song was controversially cut by Jeffrey Katzenberg). The Ghost of Digital Ambition (2009) Robert Zemeckis' motion-capture version starring Jim Carrey was designed to be the ultimate A Christmas Carol. Instead, it became a cautionary tale about the high cost of innovation, the "uncanny valley," and why Disney's $200 million experiment (ImageMovers Digital) shuttered just two years later. These films are a timeline of Disney's struggles, expansions, and triumphs. Watch now to discover the surprising synergy of art, commerce, and Christmas spirit! Subscribe for more Disney connections: https://www.youtube.com/@SynergyLovesCompany?sub_confirmation=1 Podcast: Listen to Synergy Loves Company → https://synergylovescompany.com Support the Show: Shop official Synergy Loves Company merch → https://shop.synergylovescompany.com Affiliate Disclosure: Some links above may be affiliate links. If you click and purchase, I may receive a small commission at no extra cost to you. Thank you for supporting the channel! Connect with Me: Instagram → https://www.instagram.com/synergylovescompany Bluesky → https://bsky.app/profile/erichsynergy.bsky.social Facebook → https://www.facebook.com/synergylovescompany Credits / Resources: • Music licensed via Melod.ie • Synergy Loves Company is not affiliated with The Walt Disney Company or any of its subsidiaries. • Images and clips are used under fair use for commentary, criticism, and education.

Strap in and charge up the Mr Fusion, because this week on Born To Watch, the boys head back, forward and sideways through time with our full Back to the Future Part 2 (1989) Review. Whitey, G Man and Will settle into the DeLorean for one of the most ambitious sequels of the 1980s, breaking down timelines, hoverboards, self-lacing Nikes and all the glorious 80s optimism jammed into Robert Zemeckis' wild ride.The episode kicks off with the crew riffing on 1989 as a powerhouse movie year, then quickly dives into how Back to the Future Part   2 faced enormous expectations. With a to be continued tease at the end of the original, fans were primed, and the pressure was real. As the boys say, sequels rarely outshine their predecessors, but every now and then you get an Empire Strikes Back or a T2. So where does this one land?Whitey shares how the film was a childhood favourite, the one he rewatched the most, and how time has shifted his appreciation back to the original. Gow reveals he saw it at the cinema on release and has clocked well over 15 viewings since, instantly transported by Alan Silvestri's iconic score. Will talks about how the franchise has simply always been there, one of those movies that defined growing up.From there, the episode fires through the good, the bad and the very strange. There's deep love for the hoverboard, the power-lace Nikes, and that brilliant rooftop confrontation where Marty lures Biff over the edge before swooping up in the DeLorean. The crew gives full credit to the groundbreaking split-screen effects, the energy of Michael J. Fox juggling multiple characters, and the perfect dual performance from Fox and Christopher Lloyd, who are operating at peak one-two punch level.They also dig into the weird bits the film never fully explains. Could Old Biff actually operate the DeLorean? Why does he get sick travelling through time when no one else ever has? Why do Jennifer and Jennifer faint from seeing each other, but Biff does not? How does Marty not realise Hill Valley 1985 has turned into a dystopian biker slum the moment he steps out of the car?From Jaws 19 to the brilliant Jaws VHS window cameo, from Indiana Jones nods to manure trucks, the boys unpack every Easter egg this film throws at you. And of course, there's a big chat about whether Biff Tannen's alternate 1985 persona is really just 80s Donald Trump in a green tracksuit. (Spoiler, yes.)The episode also dives into box office numbers, casting trivia, Elizabeth Shue stepping in as Jennifer, and some cracking tangents, including Huey Lewis, yacht rock, Stranger Things, The Little Mermaid, and even John Farnham fronting LRB.By the time the boys reach question time, they've covered everything from the butterfly effect through to whether a single rich bloke can really break the fabric of time. It's pure Born To Watch chaos, big laughs and deep nostalgia for one of the great sequels of our generation.If you love time travel, manure trucks and three blokes talking absolute cinematic nonsense, make sure you follow Born To Watch on Spotify and Apple. Drop us a five-star review, send us a voicemail at borntowatch.com.au and buckle up for the next kickass credit song from the House Band. Great Scott, get on board! #BornToWatch #BackToTheFuture2 #MovieReview #PodcastAustralia #80sMovies #MichaelJFox #ChristopherLloyd #FilmPodcast #RetroMovies #DeLorean

Enter Toontown as Noirvember continues with Who Framed Roger Rabbit (1988). This week, Jason and Steven are joined by Bee Dawley to break down Robert Zemeckis' genre-blending masterpiece. From Bob Hoskins' hard-boiled detective to cartoon chaos, we talk animation plus live action, groundbreaking VFX, dark humor, and the film's place in cinema history. Was Judge Doom ever going to play fair? And does this movie still hold up more than 30 years later?Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out!Starring: Bob Hoskins, Christopher Lloyd, Charles Fleischer, Stubby Kaye & Joanna CassidyDirected By: Robert ZemeckisSynopsis: Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon's biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica's alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.Watch LIVE on Twitch (https://www.twitch.tv/heydidyouseethisone) and YouTube (https://www.youtube.com/@HeyDidYouSeeThisOne/videos) every Thursday at 8 PM ESTWE HAVE MERCH - https://www.redbubble.com/people/HDYSTMerch/shop?asc=u & http://tee.pub/lic/GdSYxr8bhtYWe use White Bat Audio – a user that creates DMCA free music for podcasters and YouTubers. Please follow at: https://www.youtube.com/@WhiteBatAudioAudio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175YouTube Audio Podcast - https://youtube.com/playlist?list=PLD6BOSx2RcKuP4TogMPKXRMCxqfh5k9IU&si=umIaVrghJdJEu2ARA MEMBER OF THE UNITED FEDERATION OF PODCASTSCheck us out online at: https://www.ufpodcasts.com/Main Intro and Outro Themes created by Josh Howard - remixes by Jacob Hiltz & Jake ThurgoodLogo created by Jeff RobinsonChapters:00:00 - Intro05:00 - A Brief Synopsis09:04 - A Brief History17:23 - Production Talk45:45 - The BODY Of The Episode03:00:26 - Home Alone Of It All, Final Thoughts & Ratings03:12:07 - Plugs03:21:40 - Outro#WhoFramedRogerRabbit #Noirvember #FilmPodcast #MovieDiscussion #HeyDidYouSeeThisOne

This week we finish out our LA neo-noir series with the revolutionary Who Framed Roger Rabbit? Robert Zemeckis directed this adaptation of Gary K. Wolf's 1981 novel, Who Censored Roger Rabbit?, a hilariously smart satire that leads hard-boiled private detective Eddie Valiant (Bob Hoskins) on a journey to prove one of Toon Town's biggest stars, Roger Rabbit (voice of Charles Fleischer) is not guilty of murder. Together they must clear Roger's name and save him from the dreadful Judge Doom (Christopher Lloyd). Nominated for 6 Academy Awards and winning 3, the film was an astonishing blend of live-action and animation, creating new technology along the way. It is also the only film to include characters from both Disney and Warner Bros. together onscreen. We're off next week, but we'll be back with some holiday cheer in December!

In this episode of Scenecraft, we are joined by friend of the show, Ren, as we break down the entirety of Chuck Noland's time on "The Island" in Cast Away (2000), directed by Robert Zemeckis. Drop us a line at contact@scenecraftpodcast.com, or follow us on Instagram, Threads, TikTok, and Bluesky @scenecraftpodcast for the latest news on the show. Also – we are now on YouTube! Come check out our new channel, and please "like and subscribe"! — Show Notes — Quick Takes ~ 00:01:23 The Human Condition (1959-1961), Frankenstein (2025), Eternity (2003), Predator: Badlands (2025) Cast Away (General Review) ~ 00:15:37 Scene Selection ("The Island") ~ 00:30:14 Thanks for listening!

  Fall back in time with Legends Podcast! All month long, we're talking about time travel, paradoxes, and if my calculations are correct, when this baby hits 88 miles per hour... you're gonna see some serious shit! Forty years ago, director Robert Zemeckis and writer Bob Gale, partnering with Steven Spielberg as producer, introduced one of the most iconic time machines to ever grace the big screen: Doc Brown's DeLorean. But the road to bringing it to life was rocky - their pitch was rejected more than forty times, and when it was finally greenlit, it had a tiny budget, and their dream lead actor, Michael J. Fox, wasn't available. Once the cameras rolled, they quickly realized that their replacement lead, Eric Stoltz, wasn't working out. After a series of false starts, the movie ended up performing well with test audiences, and in a sign of confidence, the studio, Universal, ended up moving up the release date to July 3rd, leaving almost no time to finish the movie's special effects. Nevertheless, the result was a hit. It became the highest-grossing film of 1985, won three Oscars, spawned two sequels, an animated series, and a musical, and is widely regarded as one of the greatest films ever made. Now we're embracing our density, er, destiny and ending time travel month with one of the best to ever do it. We're going Back to the Future… and this is Chronovember!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/   

Robert Zemeckis' BACK TO THE FUTURE.

Send us a textGreat Scott! Some movies don't just age well, they keep gaining power like a clock tower in a storm. We unpack why Back to the Future still crackles: a script that pays off every setup, characters who change in ways you can feel, and time travel rules that invite geeky debate without derailing the fun. From the Save the Clock Tower flyer to Uncle Joey's “bars” and the Twin Pines to Lone Pine switch, we map the film's breadcrumbs and show how tight writing creates timeless rewatch value.We get obsessive about the timeline, too. Marty's trip to 1955 unfolds over a week we can actually chart, and the story's paradoxes: bootstrap loops, butterfly ripples, the photo fade, work together instead of fighting each other. We also talk texture: why the DeLorean is the perfect sci‑fi icon, how Biff's blundering menace gives the story bite, and why those Hill Valley sets feel alive in both eras.Then there's the alchemy of performance and music. Michael J. Fox plays panic as propulsion. Christopher Lloyd turns technobabble into wonder. Crispin Glover's physical comedy makes George's punch land like a symphony. And Alan Silvestri's score glues it all together, blasting heroism during the lightning strike and winking when history pivots. It's the rare blockbuster that mixes teen comedy, family drama, and sci‑fi puzzle with confidence, reminding us how bold 80s filmmaking could be without franchise safety nets.If you love film craft, time travel logic, or just want that rush of cinematic joy, you're in the right feed. Hit play, share with a fellow movie nerd, and tell us: are you Team Twin Pines or Team Lone Pine? If this made you smile, subscribe, leave a review, and pass it to a friend who needs a 1.21 gigawatt boost.Twitter handles:Project Geekology: https://twitter.com/pgeekologyAnthony's Twitter: https://twitter.com/odysseyswowDakota's Twitter: https://twitter.com/geekritique_dakInstagram:https://instagram.com/projectgeekology?igshid=1v0sits7ipq9yYouTube:https://www.youtube.com/@projectgeekologyGeekritique (Dakota):https://www.youtube.com/channel/UCBwciIqOoHwIx_uXtYTSEbASupport the show

Back To The Future! Our 1985 season begins in earnest this week with Dave's pick of the year, Robert Zemeckis' layered, heartfelt time-travelling adventure (although do go and listen to our Goonies bonus episode if you can...)BTTF is a perfect fit with several films the pod has already absorbed, a "Spielberg-ing" of early 1980s life that like ET (and The Goonies) presents a world beset by adult problems to which only children have the answers. Dense with physical gags and cultural references, and tightly plotted around its time travel premise, we are in the presence of another absolute classic. Let us know what you think of this episode by emailing us at redshirtcinemaclub@gmail.com and support us on Patreon at patreon.com/redshirtcinemaclub for access to two bonus episodes per month as well as our newsletter, The Civilian Observer. Hosted on Acast. See acast.com/privacy for more information.

Today, we explore the sequel to the perfect movie, Back to the Future, Back to the Future Part II! It picks up right were the 1985 original film left off, but with a few slight changes to the cast. The creative team of Robert Zemeckis and Bob Gale stay the same, along with the cast of Michael J. Fox, Christopher Lloyd, Lea Thompson, and Thomas F. Wilson, but with the addition of Elisabeth Shue and Jeffery Weissman, who does his best Crispin Glover impression.

Amy & Paul zoom at 88 miles per hour into 1985's Robert Zemeckis time travel comedy Back To The Future! They ask why Eric Stoltz wasn't the right choice for Marty McFly, discuss the film's critique of Reaganomics, and debate whether Steven Spielberg has had too much influence on our brains. Plus: Was the DeLorean originally supposed to be a fridge? You can join the Unspooled conversation on Paul's Discord at https://discord.gg/ZwtygZGTa6 Follow Paul and Amy on Letterboxd for more of their movie hot takes! https://letterboxd.com/paulscheer/ https://letterboxd.com/theamynicholson/ Paul's book Joyful Recollections of Trauma is out now! Find it at https://www.harpercollins.com/products/joyful-recollections-of-trauma-paul-scheer Check out more of Paul's writing on his Substack https://substack.com/@paulscheer Episodic Art by Kim Troxall: https://www.unspooledart.com/ Learn more about the show at Unspooledpod.com, follow us on Twitter @unspooled and on Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Spotify or where you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

After our Luca Guadagnino episode, we are continuing our coverage of director in their "pump 'em out" phase with Yorgos Lanthimos' third film in as many years — Bugonia. Once again re-teaming with his muse Emma Stone, Lanthimos delivers an uproarious, mean-spirited conspiracy thriller. We discuss director jail, an updated rundown of Lanthimos' filmography, and a review of the film.

Great Scott! It's the end of the road Marty! Or I thought we didn't need roads... wait a minute, we're on a train track! Heading straight towards the end of season 3, with our franchise of the year. Doc and Marty are very much back, but this time in cowboy hats and Nee-Kays. Cap'n Pop and The Corndog watch the finale to the Back to the Future franchise and they discuss if it sticks the landing or if it's a fiery train crashing into the Eastwood Ravine.P.S. - This movie's Easter Eggs went crazy, and as a tip of the hat, we have an Easter Egg ourselves for this one because lightning strikes precisely 40 years later on the Just play It Podcast. This episode dropped November 12, 2025 at 10:04pm (Hill Valley Time, of course). Thanks for tuning in. For more, follow us on Instagram & YouTube @justplayitpodcast & X (fka Twitter) @justplayitpod

This week, hosts Laura Gommans and Elliot Bloom take on three standout releases. Benny Safdie's The Smashing Machine, a quirky biopic starring Dwayne “The Rock” Johnson as MMA legend Mark Kerr, prompts the question: did it really deserve a fifteen-minute standing ovation at the Venice Film Festival?To celebrate its 40th anniversary, Robert Zemeckis's blockbuster classic Back to the Future returns, as Laura and Elliot debate whether Marty McFly's story is truly as relatable as we think.Finally, they unpack Jafar Panahi's It Was Just an Accident, the Palme d'Or–winning film made secretly in defiance of the Iranian regime, which continues to censor and punish Panahi for his bold filmmaking.Get tickets to The Smashing Machine @ LAB111Get tickets to Back To The Future @ LAB111Get tickets to It Was Just An Accident @ LAB111

Today Alyshia sits down with Pierson Fodé: an actor who you likely have seen all over your Netflix homepage this year. Pierson breaks down the brutal soap-opera contract that became the "best acting bootcamp" he ever had, memorizing up to 120 pages a day, and how he later reinvented himself as an actor to shake casting directors' "soapy" perceptions. We also get into why he loves self tapes including the unconventional farm-boy slate that impressed James Gunn during his Superman audition. He shares his audition approach and belief that hard work is your luck in this industry. Pierson now stars in Netflix's upcoming holiday rom-com A Merry Little Ex-Mas and recently led Netflix's #1 film worldwide The Wrong Paris. Up next, he joins Jennifer Lopez in Robert Zemeckis' highly anticipated thriller The Last Mrs. Parrish. These are the unforgettable stories that landed Pierson Fodé right here. Credits: The Wrong Paris A Merry Little Ex-Mas Swiped The Man from Toronto The Last Mrs. Parrish Naomi & Eli's No Kiss List Based on a True Story Leverage: Redemption Animal Kingdom Supergirl The Real Bros of Simi Valley Dynasty The Bold and the Beautiful iCarly Guest Links: IMDB: Pierson Fodé, Actor, Producer THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - En este episodio de La Guarida del Hype, nos subimos al DeLorean para viajar a 1985, donde los ochenta olían a neón, sintetizadores y gasolina de plutonio. Hablamos de “Regreso al Futuro”, la joya atemporal de Robert Zemeckis que redefinió lo que era una aventura perfecta: humor, emoción y paradojas que siguen volando cabezas. Con Mario, Friki, Javi Carrillo, Fer, Pepe, Sauron y El Mamado, analizamos cómo una historia sobre un chico, un científico loco y una máquina del tiempo se convirtió en leyenda. Repasamos el impacto cultural, las curiosidades del rodaje, el magnetismo de Michael J. Fox y esa banda sonora de Alan Silvestri que aún hace vibrar el espacio-tiempo. ¿Y si tu madre se enamora de ti en el pasado? ¿Qué harías con un condensador de fluzo y 1,21 gigavatios? ¿Por qué seguimos soñando con volver a 1985? Ajusta el reloj, pisa el acelerador y ven con nosotros a los 88 millas por hora del podcast. Porque el futuro… empieza en La Guarida. Mas de la guarida aqui https://bio.link/laguaridadelsithEscucha este episodio completo y accede a todo el contenido exclusivo de La Guarida del Sith. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/31122

Back to the Future is a classic. A must-see for anyone that grew up in the Gen X era. The story of how Robert Zemeckis and Bob Gale managed to the get movie made is incredible. Starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Back to the Future: the movie that shouldn't have been made!

Alice and Doug have just returned from a surprise early birthday trip out of town. They've come back with stories of food, a 40th anniversary celebration, and a what-might-have-been involving an "adult playground."It's also National Candy Day, and...have you ever noticed how suggestive some candy slogans sound? Well, you're about to.Other discussion topics may include:- A tale of two mango sticky rices- Robert Zemeckis is a grossy- A nut-filled dream- The disappointment of *not* smelling manure- TITSOAK

Get ready to fire up the DeLorean — it's time for another episode of Cast-A-Role! This week, the crew travels Back to the Future to revisit Robert Zemeckis' legendary 1980s sci-fi classic. Before diving into the movie, Nick, Sam, and Jim share what they've been watching lately — from hidden gems to binge-worthy new releases. But when it comes to Back to the Future, things get heated fast… Jim goes full nuclear, unleashing his fury on one of the film's most beloved characters, while Sam and Nick try to keep the peace and dig into what makes this movie such a timeless pop culture icon. If you love movie debates, 80s nostalgia, and chaotic banter between friends, this episode is a must-listen!

Ghosts, gaslighting, and Harrison Ford like you've never seen him—Jackie and Danielle are pulling back the curtain on What Lies Beneath (2000) in this chillingly fun and nostalgic episode of the No More Late Fees podcast. Joined by their returning guest Ashley, the ladies dive into Robert Zemeckis's supernatural thriller with their signature blend of humor, trivia, and unfiltered pop-culture banter.They're breaking down everything from Michelle Pfeiffer's haunting performance to that unforgettable bathtub scene, mixing behind-the-scenes facts with hot takes that would make even Roger Ebert raise an eyebrow. Expect deep laughs, deep cuts, and deep water as they revisit one of the most stylish thrillers of the early 2000s.In this episode: • The real meaning behind Claire's ghostly visions and Norman's deadly secrets • Harrison Ford's rare villain turn and why it still shocks fans • Cinematic nods to Hitchcock and Zemeckis's visual storytelling • The film's feminist undertones and commentary on marriage • Box office performance, critical reception, and cultural legacy • Our favorite moments, plot holes, and wild “what if” theoriesIf you love eerie 2000s thrillers, movie trivia, and hilarious Blockbuster-era nostalgia, this episode will have you laughing, gasping, and questioning what really lies beneath.Don't forget to subscribe, rate, and leave a review—and tell us your favorite What Lies Beneath moment or theory in the comments!Keywords: What Lies Beneath podcast, Harrison Ford villain, Michelle Pfeiffer thriller, 2000s movies podcast, No More Late Fees, Robert Zemeckis, supernatural thriller review, film nostalgia podcast, movie trivia and commentary, Blockbuster nostalgia, early 2000s cinema, spooky movie discussion·Season 5 Episode 26·—No More Late Fees ⁠https://nomorelatefeespodcast.com⁠909-601-NMLF (6653)—Follow Us on Social:Instagramhttps://www.instagram.com/nomorelatefees TikTokhttps://www.tiktok.com/@nomorelatefees Facebookhttps://www.facebook.com/nomorelatefeesYoutubehttps://www.youtube.com/@nomorelatefees Twitterhttps://x.com/NoMoreLateFees —CONQUERing⁠⁠myconquering.com⁠⁠10% Off Code: JACKIE10—Ashley: Tik Tok https://www.tiktok.com/@smashleyboydInstagram https://www.instagram.com/smashleyboyd/Previous EpisodesHappily Ever After with Ashleyhttps://nomorelatefeespodcast.com/episode/happily-ever-after-with-ashleyEver After: A Cinderella Storyhttps://nomorelatefeespodcast.com/episode/ever-after-a-cinderella-storyBeyond the Claws: Ranking Guilty Pleasure Movies with Ashley Boydhttps://nomorelatefeespodcast.com/episode/beyond-the-claws-ranking-guilty-pleasure-movies-with-ashley-boydCatwomanhttps://nomorelatefeespodcast.com/episode/catwoman

What a treat! This month's Bonus Episode: What Lies Beneath is available for all! No subscription required :)PLEASE if you have not watched the movie, do that first and then listen to this episode!My friend, Priscilla, stops in for a deep dive into why this psychological thriller still stings: Michelle Pfeiffer's nerve and nuance, Harrison Ford's brilliant portrayal, and Robert Zemeckis's love letter to Hitchcock that uses mirrors, windows, and water to make the ordinary feel unsafe.We unpack the film's design from the ground up, including a Nantucket-style lake house built to glow in daylight and brood at dusk, multiple bathroom sets engineered for those impossible angles, and CGI used with restraint: steam that writes, reflections that betray, a ghost that returns for one exquisite moment of justice. The camera starts at eye level and sinks lower as dread rises, and Alan Silvestri's score threads anxiety through every door creak and bathtub ripple. It's meticulous craft serving a clean, propulsive plot: seance to possession, repressed memory to reveal, paralytic serum to bathtub suffocation, bridge crash to lakebed truth.At the heart is a theme that still resonates-- how a woman's intuition gets minimized when her evidence looks like superstition. Claire's haunted house becomes a map of gaslighting—neighbors who might be violent, a husband who “cares,” a past smudged by trauma. Step by step, the film tests what we believe and why, until the lake gives up what the living tried to hide. Whether you think the marketing blunted the twist or simply reframed the suspense, the story's spine holds: nothing stays buried forever.If you loved the breakdown, check out our Bonus Episodes (available on Patreon or Apple Podcasts) for more smart deep dives! Connect with us and suggest a great memoir!Follow us on instagram! @babesinbooklandpod

Langoy 399 - Aprovechamos el 40 aniversario de Volver al Futuro para divagar sobre esta genial peli, como fue cuando la vimos pro primera vez y algunas otras cosas que nos fuimos por las ramas, full baje de pepita.See omnystudio.com/listener for privacy information.

Life is like a box of chocolates — and this episode has a little bit of everything. Nathan is joined by longtime friend Abel Cass to revisit Forrest Gump, the 1994 Best Picture winner that defined a decade and divided movie fans ever since.Together they look back at what made Robert Zemeckis' sweeping Americana epic so unforgettable, from Tom Hanks' iconic performance to its groundbreaking special effects, timeless soundtrack and endlessly quotable lines. The two also reflect on how the film hits differently as adults and parents, why it resonated so deeply in the ‘90s and how its portrayal of love, history and innocence still sparks debate today.Plus, a nostalgic 90s Pop Quiz, memories of small-town movie theaters and a few laughs about homemade Forrest Gump reenactments.Run, Forrest, Run… back to 1994 with us.Read Nathan's thoughts on Forrest Gump.Support the podcast: https://www.buymeacoffee.com/moviesarelife

Hwæt a Movie is back! This time we dive deep into the uncanny valley epic Beowulf from 2007. Released at the height of Robert Zemeckis's motion-capture mania, this version of our favorite Old English classic promised to bring the poem to life like never before. It was slated to be an event like no other, at least for John and Andy. In this star-studded and CG-saturated film, Ray Winstone voices a Beowulf who looks suspiciously like an action figure and swaggers like he just killed nine nicors. He's accompanied by the ageless Wiglaf, played by Brendan Gleeson. The great Anthony Hopkins plays a jovial but somewhat mad King Hrothgar, Robin Wright plays the deeply troubled Queen Wealhtheow, and John Malkovich does his best John Malkovich as Unferth. But if we're honest, this is the Grendel family's movie from start to finish. Crispin Glover turns in a unforgettable performance as a Grendel who swells with anger and shrinks with vulnerability. Grendel's mother is a gold-dipped, shape-shifting femme fatale with stiletto feet. She's also very much Angelina Jolie. And then there's Grendel's little half-brother dragon. That's right, the dragon is part of the family! Is this adaptation a clever deconstruction of heroism and myth-making? Or just an excuse to get Beowulf naked on an animated dragon? Zemeckis, Gaiman, and Avary take some bold liberties with the source material in this one, and we're here to guide you through it all from the perspective of two curmudgeonly middle-aged medievalists. As always, this episode of Hwæt a Movie includes a thorough summary and discussion of the film, a brief Q&A, and our final ratings: how well the film handles Beowulf, Grendel, and Grendel's mother, plus our ever-important scores for faithfulness to the source and overall entertainment value. Beowulf (2007) was a wild ride to discuss, and we hope you enjoy it half as much as Beowulf enjoys shouting his own name. Or at least as much as Zemeckis likes cleverly blocking Beowulf's bare bits from view with conveniently placed objects. Once you've listened, let us know your thoughts. Is this the definitive Beowulf for the 21st century? Or just a fever dream in a damp cave? And do you forgive us for being grumpy when it comes to Beowulf movies? Reach out on social media and join the discussion: Sagathingpodcast on Facebook Sagathingpodcast on Instagram Sagathingpodcast on Bluesky Or join others like you on Saga Thing's unofficial official Discord All music taken from the film for this episode is written and produced by Glen Ballard and Alan Silvestri.

Michael J. Fox is an award-winning actor, author, and philanthropist whose talent, humor, and heart have inspired generations. Four decades after Back to the Future made him a global star, Michael J. Fox sits down with Willie Geist to reflect on the film that defined a generation and the resilience that's defined his life since. He opens up about the whirlwind of becoming Marty McFly at 23, the joy of rediscovering the movie as a fan, and the impact of the Michael J. Fox Foundation, which has raised more than $2.5 billion for Parkinson's research. Plus, through decades of challenges and triumphs, Fox shares why he still believes “everything is possible.” Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Mikey & Jeremy watch the Robert Zemeckis classic, Back to the Future. They discuss time travel theories, trilogies, and the tremendous cast. 

It's our fourth episode of the increasingly-inaccurately-titled Patreon Request "Month" 2025, and in the longest official episode of this podcast to date, the randomizer is going all the way back to 1988 to pick ArthurCrane's request for, quite simply, one of the greatest cinematic triumphs of all time, a tour-de-force of animation, live action and pre-CGI special effects wizardry, wrapped up in a still-relevant metaphorical fable about civil rights and gentrification set in an impossible fantasy world that combines a gritty film noir aesthetic with off-the-wall cartoon zaniness. Directed by future Oscar-winning blockbuster visionary Robert Zemeckis at the peak of his powers, with animation directed by often-underappreciated genius Richard Williams, and representing a Disney studio with new management eager to swing for the fences and conquer the world, this masterpiece was truly a once-in-a-lifetime perfect melding of artistry, ambition and anarchy. And granted, the whole project was blown out of the water just a few years later by the even greater achievement that was Ralph Bakshi's Cool World, but this movie was still pretty darn swell too. Join Tony Goldmark, Laura Barry, Sam Barry and Kit Quinn as they investigate WHO FRAMED ROGER RABBIT! Check out my guests' stuff! LAURA BARRY Website: https://www.laurabarryfinearts.com/  Twitter: https://twitter.com/laurabarry330   SAM BARRY Facebook: https://www.facebook.com/sambarry.author/  Twitter: https://twitter.com/sambarry  KIT QUINN  Podcast: https://channelkrtpodcast.libsyn.com/  Letterboxd: https://letterboxd.com/muppetvision3d/  And check out this show on social media! Bluesky: https://bsky.app/profile/vaultdisneypod.bsky.social  Host's Bluesky: https://bsky.app/profile/tonygoldmark.bsky.social  Twitter: https://twitter.com/efvdpodcast Host's Twitter: https://twitter.com/tonygoldmark Facebook Group: https://www.facebook.com/groups/972385353152531 YouTube: https://www.youtube.com/tonygoldmark Hear new episodes early and AD-FREE by supporting this show on Patreon: https://www.patreon.com/tonygoldmark

What if I told you there was a movie written by Robert Zemeckis and Bob Gale — the duo who would go on to create Back to the Future… directed by Steven Spielberg, fresh off the massive success of Jaws and Close Encounters… starring comedy legends John Belushi, Dan Aykroyd, and John Candy… and scored by the music genius behind Star Wars, Indiana Jones, Jaws, E.T., Jurassic Park — himself, John Williams? You'd expect a guaranteed blockbuster. Instead, what audiences got in 1979 was 1941 — Spielberg's first spectacular misfire.