Podcast appearances and mentions of Sarah Douglas

Jay, Allyson and Chelsea shot part one of their Emagine policy trailer with Sarah Douglas.

Tread Perilously's month of treading safely concludes with a top episode of Night Court: "A Day in the Life." When Judge Harry Stone's courtroom is called upon to adjudicate 200 cases before midnight, Dan's salacious plans are threatened. Will he, Christine, Harry, Mac, Roz, and Bull survive an onslaught of would-be gods, dueling Moses-es, amateur magicians, irate Nielsen families, and Barry Manilow? Will NBC boss Brandon Tartikoff be called upon as a character witness? And will Dan get to score with his recurring, um, "sex interest" in her van before she drives away to California forever? Also, will slow talking prove to be the most important form of comedy ever devised? Justin once again reveals his mother let him watch Night Court as a child, which hits differently after this episode. He also explains the show doesn't really coalesce until season 4. Erik defends visiting New York, but can't imagine living there. Justin warns people off watching any season 9 episode of Night Court. John Larroquette once again proved to be the MVP even if his character is kind of a sex pest. Markie Post's unfortunate 1980s style gets critiqued as Erik recalls the "Shoulderpads Arms Race." Justin chooses a new search engine and surprise discussions about Twin Peaks and Sarah Douglas occur.

Take a step into the Pyun'iverse again, as Will and Matt watch what it would be like for Albert Pyun (Nemesis) to make his very own James Bond. Lance Henriksen stars as an American accented spy on her majesty's secret service... but let's focus on his Olympiad gymnast daughter instead... Also starring Tim Thomerson and Tim Thomerson's hair! DISCLAIMER: Language and Spoilers!SPITFIREdir. Albert Pyunstarring: Lance Henriksen; Debra Jo Fondren; Sarah Douglas

Join us on this inspiring episode of "What Gives" as host Erin Satzger welcomes two distinguished guests, Emma Off and Sarah Douglas, from CincyTech. Emma, the CEO, President, and Partner at CincyTech, brings her extensive legal expertise and deep-rooted community involvement to the table. With a rich background in mergers and acquisitions and accolades such as "Lawyer of the Year," Emma discusses the critical role of legal frameworks in nurturing high-growth companies and how these structures support entrepreneurial success.Sarah Douglas, a Director at CincyTech, shares her journey from analyzing investment portfolio performance at Cambridge Associates to leading venture capital initiatives that transform scientific research into groundbreaking commercial products. She delves into the excitement and challenges of funding technologies that promise to change lives, providing listeners with an inside look at the venture capital process and its impact on healthcare and technology sectors.Together, they explore how their roles intersect and complement each other in driving innovation and supporting startups. Whether you're a seasoned philanthropist, a sports enthusiast, or just passionate about making a difference, this episode will inspire and equip you to contribute more effectively to your community.Tune in to discover how these two leaders use their expertise to solve complex problems and encourage community engagement through thoughtful investment and legal insight.

TRIGGER WARNING- This podcast contains discussion on sexual abuse. The ripples of harm from the PBCC extend beyond their own church. Meet Sarah - an ex member of the Shanklin Gospel Hall. This small group are believed to be an offshoot of the Exclusive brethren or PBCC as they are now known. Sarah is an author and accredited researcher that has spent much of her time uncovering her own past and the links to spiritual abuse. She has been also diagnosed with autism and goes into her links of abuse with those that are autistic. Elders of this church followed the teachings of JT Jr. The absolute belief that their way is right and any other pathway is darkness will resonate with all ex members of the PBCC and could serve to help those inside to realize that there are many totalitarian religious groups who belief they are the only ones with ‘the truth' This coercion, used to uphold this belief, is now acknowledged as spiritual abuse. This type of abuse is becoming more recognized and there is a strong movement adding to the already agreed list of abuses. Join us as we explore exactly what spiritual abuse is and how to spot the warning signs of it. Link to Sarah's book- https://www.amazon.co.uk/Understanding-Autistic-Relationships-Across-Lifespan/dp/0367491036?ref=d6k_applink_bb_dls&dplnkId=f860ca26-5d6b-4bb1-9e66-0f477f16f3c8 Links for help- https://www.replenished.life/ https://survivorsvoices.org/ https://humanists.uk/community/faith-to-faithless/ Link for insiders- https://www.dropbox.com/scl/fi/dwtlfwhf3qepi3d94axsa/Get-A-Life-podcast-with-Sarah-Douglas.mp4?rlkey=ma88ksxqlz6pzr83r12wn2f56&dl=0 To share your story or be a guest on the show, email info.getalife@proton.me Leavers GOFUNDME support - https://gofund.me/5582d1f3 PayPal link for USA- https://www.paypal.com/pools/c/8Tz4n35OJ8 Ross Turner GoFundMe- https://gofund.me/390b7528 Heidi McCamley Custody Battle GoFundMe- https://gofund.me/6711fc74 Olive Leaf Network- https://oliveleaf.network/ Thinking of Leaving Pamphlet and resources - https://oliveleaf.network/resources/ Preston Down Trust Decision- http://www.charitycommission.gov.uk/media/591398/preston_down_trust_full_decision.pdf Aberdeen incident- https://drive.google.com/file/d/1riImgAqwaqGwjYq6vRQIr4_jscJA0eQN/view?usp=sharing If we walk in the light letters- https://drive.google.com/file/d/14WlgJladl1r95YGxW0FbZ0prYfjlg7FU/view?usp=sharing Admin/Legal email address: Stouffville-GAL@protonmail.com Office address: 22 Braid Bend Stouffville ON L4A 1R7 #plymouthbrethrenchristianchurch #pbcc #abuse #church #cult #religion #trauma #religioustrauma #sexualabuse #mindcontrol #brainwashing #conversation #exmembers #exposingtruth #expose #exposure #whistleblower #getalifepodcast #getalife #podcast #rules #strict #exclusivebrethren #brucehales #BruceHales #BDH #BruceDHales #UniversalBusinessTeam #UBT #RRT #RapidReliefTeam #Aberdeen #OneSchoolGlobal #OSG #johnhales #shutup #withdrawnfrom #worldly #excommunicate #assemblydeath #christiansect #christiancult #canadiancult #canadiansect #sect #worldwidesect #worldwidecult #cultescape #cultescapestory #bully #bullying #brokenfamily #awareness #cultescape #cultandculturepodcast #cultescapee #cultescapeer #cultescapeeinterview #askingforhelp #unispace

Domestic Abuse and Violence International Alliance files petition to defund The United Nations Edward Bartlett speaking on behalf of DAVIA is available Read the petition here The United Nations has been beset by numerous scandals in recent years. December witnessed two more scandals at the international body. As a result, a growing number of persons have issued calls to reform, or even defund the United Nations. GUEST AVAILABLE: Edward Bartlett, Founder of SAVE , an organization focused on fairness and due process on college campuses. BIO: Bartlett is the Founder of SAVE. He received his PhD from Johns Hopkins University. Former faculty member at three universities, and former federal regulator at the Department of Health and Human Services. Author of over 100 peer-reviewed articles and editorials. Proud father of three and an avid bicyclist. READ MORE ON THE STORY: The UN's Universal Declaration of Human Rights affirms the “dignity and worth of the human person” and the “equal rights of men and women.” (1) But UN agencies have ignored this principle in order to embrace Marxist concepts of “oppressors” and “the oppressed.” In the first incident, Sarah Douglas, Deputy Chief at UN Women, endorsed 153 tweets accusing Israel of “genocide” and other crimes. Douglas addressed a UN meeting via webcam with a large “Palestine” poster in the background. Such actions represent a breach of UN staffers' obligation to be neutral and impartial (2). In the second case, UN Women issued thousands of tweets making the claim that violence against women and girls “remains the most widespread and pervasive human rights violation worldwide.” (3) In truth, women commit domestic violence as often as men (4), and twice as many males as females are killed by injuries and violence (5). The United Nations has expressed concerns about the problem of disinformation (6). But inexplicably, the UN General Assembly remained silent in the face of these repeated instances of disinformation by UN Women. A range of other ethical, scientific, and human rights violations have been committed by UN agencies, as well: · Human Rights Council (7) · UNICEF (8) · UNRWA, the United Nations Relief and Works Agency for Palestine Refugees (9) · World Health Organization (10) Last month, U.S. senator Mike Lee introduced a bill to defund the United Nations (11). Days later, Israeli UN ambassador Gilad Erdan called fo

On Episode 146 of the RETROZEST podcast, Curtis engages on a celebration of the 45th Anniversary of the premiere of SUPERMAN: THE MOVIE! This is a 1978 superhero film based on the DC Comics superhero Superman, played by Christopher Reeve. It is the first of four installments in the Superman film series starring Reeve as Superman. It was directed by Richard Donner based on a screenplay by Mario Puzo, David Newman, Leslie Newman, and Robert Benton. In addition to Reeve, the film features an ensemble cast including Marlon Brando, Gene Hackman, Jeff East, Margot Kidder, Glenn Ford, Phyllis Thaxter, Jackie Cooper, Trevor Howard, Marc McClure, Terence Stamp, Valerie Perrine, Ned Beatty, Jack O'Halloran, Maria Schell, and Sarah Douglas. Assisting Curtis in this endeavor with an exclusive interview is DIANE SHERRY CASE, the actress who portrayed Smallville cheerleader and Clark Kent's teen crush Lana Lang in the film. In addition to her role in Superman, Diane is known for her work on the films Hawaii (1966) and Pretty Maids All in a Row (1971). She also played Bing Crosby's daughter in the TV. series The Bing Crosby Show, and appeared in numerous other series, as well as two Superbowl commercials. More recently, Diane has published numerous short stories and authored two novels. With a grant from the American Film Institute, she wrote and directed two short films, Spa-tel and Valentine's Day. Her digital series House Poor, which she also wrote and directed, is a available on Amazon Prime. Be sure and check out Diane's Facebook , Twitter (X) and Instagram pages! Incidentally, you may help the RetroZest podcast by purchasing a unique RETRO-THEMED T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

UBS Art Advisory Specialist, Matthew Newton, is joined by Sarah Douglas, Editor-in-chief of ARTnews, to discuss the 2023 Top 200 Collectors List, which was released this past September. The Top 200 Collectors List has been around since its first issue back in 1990 and has become a definitive source on some of the world's most active and important collectors since. In addition to identifying the top collectors globally, the list dives into their collecting habits and provides a view into some of the artworks they have been adding to their collections.

In this week's edition of the ArtTactic Podcast, we recap Art Basel Miami Beach 2023 with Sarah Douglas, Editor-in-Chief of ARTnews and Art in America. First, Sarah shares what the mood was like at the fair this year and explains why everyone was asking about it during the fair. Then, she identifies some of the most noteworthy sales at this year's edition of the fair as well as some of the aesthetic trends relating to the art on view. Also, Sarah addresses if Art Basel Miami occurring at the end of the year is having a negative impact on the fair. Lastly, she reveals how market participants are feeling heading into 2024.

Today we welcome back Lee Parkhill to recap the action at the 2023 Pan Am Games, from his terrific gold medal performance, to other medals for Ali Tenhove and Mariah Millen, Sarah Douglas and Will Jones and Justin Barnes, as well as a recap of all of the other classes.  We get into the  heartbreakingly close finishes, performance improvements and an atmosphere about which Lee commented "I don't know if I've experienced a regatta in my career where the team was so connected!"

Unmask the origin story of Jay Towers' deep-seated love for Superman, a passion that not only inspired him to host "The Caped Wonder Superman Podcast" but also landed him a remarkable cameo in the Superman universe. Prepare to be enchanted by tales of fandom turned reality as we explore the heartfelt connection between Jay and the beloved superhero.   My guest, Jay Towers, and I discuss: Hosting "The Caped Wonder Superman Podcast" with Jim Bowers, celebrating Christopher Reeve's legacy, classic Superman movie series, and their respective creators. Exploring Jay's love for Superman and its journey from being a passion to hosting the podcast and securing a cameo in Zack Snyder's "Batman V. Superman." Delving into the making of "Superman: The Movie" and the intriguing behind-the-scenes drama. Sharing anecdotes and insights from the productions of "Superman II," "Superman III," and "Superman IV." Spotlighting Niagara Falls as a must-visit destination for Superman enthusiasts. Discussing the Christopher Reeve Legacy Reunion at Motorcity Comic Con, featuring iconic stars like Mariel Hemingway, Mark Pillow, Sarah Douglas, and Marc McClure. Exploring Jack O'Halloran's fascinating background and his role as Non in the Superman franchise. Highlighting Superman 3's significant impact on pop culture, apart from the iconic Superman character himself. Plus, many more memories and stories! Other Superman episode mentioned in this episode: #51 w/Jack O'Halloran and #137 Superman Legacy Episode   You're going to love my conversation with Jay Towers Caped Wonder Superman Podcast (Apple) Jay Towers Twitter Jay Towers Facebook Jay Towers Instagram Jay's morning show Jay's IMDB CapedWonder Website CapedWonder Instagram CapedWonder Twitter   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Love the books I talk about on the show? Here is my Amazon store to shop.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

HoofNit with Sarah Douglas, she is General Manager, certified in Equine Facilitated Learning a Level 1 Practitioner for the program at “A Different View Equine Center”.  If you Are you are active duty military, a veteran, 1st responder, or family member. This program is for you. In this interview Sarah shares her journey that led her to this program. Her passion and experience working with clients and horses for healing mental health. #hoofnitpodcast@hoofnitpodcast#horsesforhealinginc@horsesforhealinginc

June 20-26, 1987 THE TV GUIDANCE COUNSELOR MATT-A-THON CONTINUES! This week's Matt is fellow North Shore kid, the man behind over 25k songs, filmmaker, podcaster, it's Motern Media's Matt Farley. Ken and Matt discuss New England eccentric driven artists, the motivational power of spite, the power of novelty, putting in the work, using non-actors, making money as an artist, being a consumer, Strawberries, regional Mass record stores, Coconuts, how Lechmere curated your musical tastes, The Liberty Tree Mall, meeting Scott Baio, the power of mico-niche, Markie Post, Sledgehammer,  bad sports, The Red Sox, badnwagons, K-Mart Swimwear, Jello, cigarette ads, Dana Hersey's Movie Loft, Spenser for Hire, Karl's Sausage Kitchen, Golden Girls, celebrity kids, Scott Bakula as Batman, investments, renting movies, loving 80s horror flicks, Friday the 13th, Prom Night, horror comedy, Winterbeast, Neon Maniacs, athletes as actors, Brian Bosworth, Alf, rigging the Nielson Ratings, My Sister Sam, Newhart, Kate & Allie, the weird pseudo documentary format, multi cam sitcoms, roller skating, rug burn, Who's the Boss, Mannys, Sarah Douglas, having no shame, how TV Guide wrote show synopsis, movie reviews, Perfect Strangers, I Love Lucy, that frigging chocolate scenes, not finding the funniest TV moments of all time funny, Johnny Carson, Facts of Life, Stacey Q, shark jumping, hunting things down, testing board games, where the Maine Children are, Back to School, starting in the middle of a movie, The Hitcher, writing fan fiction about strangers in public, art reflecting the crimes, hindsight, The Cosby Show, Family Ties, Ellen, Billy Vera, Cheers, influence of Woody's The Kelly Song, Mr. Belvedere, laugh tracks, David Rasche, the faceless nature of the nameless '00s, Police Squad, Rambo, Beef Battles, and being proud of where you come from. 

Born in Burlington, Ontario, Sarah started sailing at the age of seven on the island of Barbados. Starting in the Optimist, she competed in North American and World Championships before the age of 15. After outgrowing the boat, Sarah returned to Canada and transitioned into the Laser Radial class. From there she quickly became one of the top youth sailors in Canada. In 2010, an opportunity was presented to qualify Canada and represent the country at the inaugural Youth Olympic Games in Singapore. After coming second at the 2010 Youth Nationals, Sarah lost the love of competing and decided to coach youth athletes at Ashbridge's Bay Yacht Club for two summers. By 2014, her dream to compete at the Olympics was awoken by Canadian medalist who inspired Sarah to get back into the game and pursue her goal of winning an Olympic medal. Having completed a Bachelor of Commerce in Marketing Management at the University of Guelph in 2017 and is sailing full time. Sarah won the 2019 Pan Am Games Gold medal and finished a historic 6th place at the Tokyo 2020 Olympic Games. Now Sarah is hungrier than ever to step onto the podium in Paris 2024. Join Hear Her Sports Patreon https://www.patreon.com/hearhersports Support the show and women's sports media https://www.buymeacoffee.com/hearher Find all episodes http://www.hearhersports.com/ Find Hear Her Sports on all social @hearhersports Find Sarah Douglas at https://www.sarahdouglassailing.com/ Find Sarah on Twitter and IG at @sarahdouglas__

Welcome back to A DREAM GIVEN FORM: A BABYLON 5 PODCAST...Hosts Baz and Luke continue their look back at a season one of Babylon 5 with guest Zach Moore, as they discuss Deathwalker. There's plenty of moral dilemma, evil Sarah Douglas and Kosh being Kosh in this episode...Host / EditorBaz GreenlandCo-HostLuke WinchGuestZach MooreExecutive ProducerTony BlackFind us on Twitter: @ADreamGivenFormWe Made This on Twitter: @wmadethiswemadethisnetwork.comTitle music: Galactic Battles (c) Bonnie Grace via Epidemic Sound

Published 25 June 2023We chat to Sarah Douglas, Canada's, (Canadia's, Northern Australia's) ILCA representative at the Tokyo Olympics. This is just a really good conversation, a lot of fun. But Sarah also gives some really great detail around the psyche of being a top athlete. It's a good one if you are an up and comer and you are trying to get your head space right. Be warned though, you will become a fan of Sarah. We did!#sarahdouglas_ #theoceanrace #sailcanada #airliebeachraceweek #ilca_sailing #olympicsailing #paris2024 #finnclass  #barkarate #sailingpodcast #barkaratesailorslarger #barkarateconversations #worldsailingofficial #sailing #boat #ocean #sport #voile #sail #sea #offshore #sailors #sailingworld #extremesailing #foils #yacht #yachts #saillife #instayacht #sailingblog #instasail 

From 2017, talented actor plays Dr Miles in Displacement, an interesting time anomoly thriller. She also shares memories of working on Christopher Reeve's Superman and the then upcoming super villain reunion in 2017.

Today we're excited to welcome Sarah Douglas back to the podcast.  Sarah recently WON the Semaine Olympiques Française in the ILCA 6 class, beating 2020 gold medalist Anne Marie Rindom by one point in the process.  She also qualified to be nominated to the Pan Am Games.  We get to listener questions, talk about her match racing strategy in the medal race, and don't try to port tack at the start if she's at the pin!

Nate is back from la-la-land and rubbing shoulders with the A-List. He tells us all about attending the Party of the Year (TM) and we discuss some recent art and meals back New York way. Of course we have to touch on what museum curator seems to have side hustle in helping patrons.... deaccession works from their collection via the private market. We are then joined by Sarah Douglas, Editor-in-Chief, ARTnews and Art in America to discuss her life in the arts, the recent history and trajectory of art media AND some juicy gossip. All that AND MORE on the ONLY ART PODCAST. --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support

Josh, Matt, & J.T. from Batyard Productions discuss Superman II. Subscribe/rate/review our show on iTunes, Anchor, Spotify and more! Follow us on Instagram @batyardsfinestpod. Find our hosts on Instagram as well! Josh & Mateo: @batyardproductions, @batyardsfinestpod. Follow us & Subscribe to the Batyard Productions YouTube Channel. Superman II is a 1980  Superhero film directed by Richard Lester and written by Mario Puzo and David and Leslie Newman from a story by Puzo based on the DC Comics character Superman. It is the second installment in the Superman film series and a sequel to Superman (1978). It stars Gene Hackman, Christopher Reeve, Terence Stamp, Ned Beatty, Sarah Douglas, Margot Kidder, and Jack O'Halloran. The Richard Donner Cut - Kryptonian villain Gen. Zod (Terence Stamp) and his henchmen are accidentally freed from their outer-space imprisonment and threaten Earth with destruction, just as Superman (Christopher Reeve) decides to renounce his superpowers for his new love, Lois Lane (Margot Kidder). This alternate version of the film is based on footage shot by director Richard Donner before being replaced on the project, and it includes material not seen in the film's original 1980 release.

When we last left Russ and Jared, they were talking about how Emily and Amber were about to go outside sledding. The guys are powering through to finish A Christmas Prince (2017), starring Rose McIver, Ben Lamb, Alice Krige, Honor Kneafsey, Sarah Douglas, Emma Louise Saunders, Theo Devaney, and Daniel Fathers. Stay tuned for a new Trailer Trash for a special New Year's movie in 2023!

Happy belated Christmas (if you celebrate) from the ITMT family to yours! Russ and Jared are diving into the somehow-beloved-by-critics flick, A Christmas Prince (2017), starring Rose McIver, Ben Lamb, Alice Krige, Honor Kneafsey, Sarah Douglas, Emma Louise Saunders, Theo Devaney, and Daniel Fathers. Enjoy some of the finest Hollywood Pitches of the year, classic inside jokes, and the scene-by-scene breakdown of the first half of this horrible holiday hit! Stay tuned for part 2 on Thursday.

Welcome to the Whitecap year end spectacular!! Counting down the top 7 stories of 2022 with Nova Scotia coach of the year and pro sailor Chris Watters!   The stories were determined exclusively by host Dave Cripton, using unscientific means and no journalistic credentials.    #7 Awarding of the first annual Whitecap Cup for diversity, equity and inclusion.  The awards go to Saskatchewan Sailing Association AND the Broader Reach program from Armdale Yacht Club.   #6 The class of 2022 Inductees to the Canadian Sailing Hall of fame   #5 The new Canada Offshore Racing team entering the world of short handed offshore racing. The program has with the goal of being the first Canadian boat to finish the Vendée Globe with skipper Scott Shawyer.    #4 The proliferation of the foiling scene in Canada, with foiling week in Halifax, team Zigzag in BC, and the Sail GP program.   #3 49er and Nacra 17 worlds in Hubbards NS    #2 Sarah Douglas's historic win at the Princess Sophia Regatta in Palma    #1 The formation and tremendous success of Canada's Sail GP team!

It's the most wonderful time of the year again! Russ and Jared are diving into a loved holiday movie and taking it down a peg. If you didn't listen to Love Actually last year, check it out, and get ready for this one as the guys talk about the trailer for A Christmas Prince (2017), starring Rose McIver, Ben Lamb, Alice Krige, Honor Kneafsey, Sarah Douglas, Emma Louise Saunders, Theo Devaney, and Daniel Fathers. Stay tuned for the full, scene-by-scene breakdown next week! And happy holidays from our ITMT family to yours!

Randi talks about entertainment surrounding the Holiday Season including Art Basel, Broadway, Virtual Entertainment and more! Plus she speaks with Jenny Just - one of the 23 self-made female billionaires in the United States -- about how she's powering Fintech firms and empowering women on money and financial decisions. Guests include: Sarah Douglas, Editor-in-Chief for ARTnews – the oldest and most widely circulated art magazine, Eric Nix, the Vice President of Product Operations at Second Life a 15+ year Second Life resident, Ken Davenport, a two-time Tony Award-winning theatre producer, blogger, and writer, and Jenny Just - one of the 23 self-made female billionaires in the United States 

This week brings us a special bonus episode, our interview with Julie Caitlin Brown, who played Na'Toth!Julie recounts her time as Sarah Douglas' stand in on Falcon Crest, reminisces about her experiences in the jungle with Jason Momoa, and reveals what JMS had planned for her character's original plot arc before she left the show.Julie awesomeness: 0:00:00 - 0:34:29We attempt to recover from our awe: 0:34:29Music from this episode:"Surf Punk Rock" By absentrealities is licensed under CC-BY 3.0"Please Define The Error" By Delta Centauri is licensed under CC-BY 3.0"The Haunted McMansion" By Megabit Melodies is licensed under CC-BY 3.0

If you grew up in the 60's, 70's, or 80's, you will love StarPodLog!On this adventurous episode of StarPodLog, we consider the contents of Starlog magazine from 1981 in issues 47 and 48.Read along with your personal issue from your collection or for free here:https://archive.org/details/starlog_magazine-047/mode/2upMark Newbold talks about the Star Wars radio play. https://www.fanthatracks.com/   Paul Mount gives us the lowdown on the Hitchhiker's Guide to the Galaxy creator, Douglas Adams.Kirby Barlett-Sloan helps us to catch up on Doctor Who.https://the20mbdoctorwhopodcast.podbean.com/Main Man Jamie discusses comics of the early 80s!Shocking Jon reminices about the toys that were released in 1981. Follow him on the Shocking Things podcast:https://anchor.fm/shockingthingsBert Bruce considers the amazing work of John Carpenter.Joe Mulinaro fills us in on what George Lucas was up to on the Skywalker ranch. Check out the Rule the Galaxy podcast!https://jfm3rhs.wixsite.com/websitePlus: Superman's Sarah Douglas, Raiders of the Lost Ark, boardgames, and more on this episode of StarPodLog!We will attending Music City Multicon on October 29-31. https://musiccitymulticon.com/Join us at ShadowCon January 6-8!https://www.shadowcon.info/Don't forget to join our StarPodLog Facebook group:https://m.facebook.com/profile.php?id=469912916856743&ref=content_filterLove Starlog magazine?Join the Facebook group:https://m.facebook.com/profile.php?id=303578380105395&ref=content_filterSuscribe to our YouTube Channel “StarPodLog and StarPodTrek”:https://www.youtube.com/channel/UCgE_kNBWqnvTPAQODKZA1UgMusic used with permission by Checkpoint Charley. Find us on Twitter and Instagram: @StarPodLog Reddit: u/StarPodTrek Visit us on Blogger at https://starpodlogpodcast.blogspot.com/ or iTunes or Spotify or wherever you listen to fine podcasts!If you cannot see the audio controls, listen/download the audio file hereDownload (right click, save as)

It's my SUPER visit to Motor City Comic Con with Titans' Jason Todd, Curran Walters – PLUS, a Christopher Reeve Superman tribute with film stars Sarah Douglas, Marc McClure, Mariel Hemingway, Mark Pillow, Aaron Smolinski, Superman ‘78 comic creators Robert Venditti and Wilfredo Torres, and Caped Wonder's Jim Bowers and Jay Towers!Image TM & copyright […]

In this episode, host Stewart St John interviews Superman The Movie movie star Sarah Douglas who's reprising her role as The Empress in the exciting Tara Tremendous season finale; plus listen to exclusive trailers for the upcoming Tara Tremendous vs Tremendous Boy battle and the debut of The A.I.M.E.E. Allen Show!

In this episode, host Stewart St John interviews Superman The Movie movie star Sarah Douglas who's reprising her role as The Empress in the exciting Tara Tremendous season finale; plus listen to exclusive trailers for the upcoming Tara Tremendous vs Tremendous Boy battle and the debut of The A.I.M.E.E. Allen Show!

Entre Olas de calor que convierten este verano en uno de los círculos del infierno, hacemos la maleta y nos metemos en un juego de espejos. FanCineFan. Vamos primero al Fancine de Lemos, que tuvo lugar a principios de Julio en un sitio tan especial como Monforte de Lemos en Lugo. Contamos con los audios de Jurados, miembros de la organización, conversaciones sobre adaptación de videojuegos al cine, todo mezclado con el palmarés de Fancine y sus proyecciones más destacadas. Luego, con el salakof bien calado, llegamos al final de Julio y a la segunda parte del espejo el CineFan de Úbeda que este año cumple 10 años; nuestra primera toma de contacto con un evento espectacular en el que pudimos interaccionar con nombres míticos del cine como Sarah Douglas o Sylvester McCoy. Hacemos un repaso de los tres días que pasamos en el Cine Fan y todo lo que hicimos en un lugar tan especial como el patio del Hospital de Santiago. Asimismo, también pudimos hablar con Alberto Bang y Goize Blanco sobre el rodaje de la película Veneciafrenia de Alex De La Iglesia. Abríos una bebida fría, esconderos en la sombra y darle al play para descubrir unos grandes planes para las futuras vacaciones. Coméntanos en jdonate@terrorweekend.com, ¡Larga vida al género y comparte la palabra!

Zach & Zo are on summer vacation in Metropolis when they witness something seemingly impossible: a man flying unaided. They here tales of this flying man performing amazing feats of strength and he seems to be bulletproof. They decide to investigate the man people are calling "Superman".Episode Segment Time StampsOpening Credits . . . . . . 00:01:51Favorite Parts . . . . . . . .  00:07:46Trivia . . . . . . . . . . . . . . . .01:07:03Critics' Thoughts . . . . .  01:27:53Back Look Cinema: The Podcast Links:www.backlookcinema.comEmail: fanmail@backlookcinema.comTwitter: @backlookcinemaFacebook: The Back Look Cinema Podcast Instagram: backlookcinemapodcastTicTok: @backlookcinemaBack Look Cinema Merch at Teespring.comBack Look Cinema Merch at Teepublic.com

Listen along as we discuss Netflix's one hundred and ninety-eighth film, the 2019 Christmas romantic comedy ‘A Christmas Prince: The Royal Baby' directed by John Schultz starring Rose McIver, Ben Lamb and Sarah Douglas.   Please follow us at Flix Forum on Facebook or @flixforum on Twitter and Instagram and answer our question of the week, 'What could a fourth film be about?'   You can listen to us on Apple Podcasts, Spotify and Podbean so please subscribe and drop us a review or 5 star rating.    If you're interested in what else we are watching, head on over to our Letterboxd profiles; Jesse  MJ   We also have our own Flix Forum Letterboxd page! Links to all our past episodes and episode ratings can be found there by clicking here.    Next week we have 'Marriage Story', so check out the film before then. You can see the trailer here.   Flix Forum acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Wurundjeri and Bunurong people of the Kulin Nation. We pay our respects to their Elders past, present, emerging and extend that respect to all Aboriginal and Torres Strait Islander cultures. 

Are you ready to believe a podcast can fly? Many stars from the legacy Superman movies reflect on the movie, Christopher Reeve, and more! On May 13th I had the honor of being a part of a special press event at the Motor City Comic-Con.  I'm excited to share with you 6 chats from that event Mariel Hemingway Sarah Douglas Jack O'Halloran Marc McClure Aaron Smolinski Robert Venditti Wilfredo Torres AND if that was Superman enough for you I am finally releasing, from the vaults, an interview with Jeff East - young Clark Kent from Superman: The Movie as well as part of this super-sized episode. (Jeff wasn't part of the MCCC event) In this episode, you will learn the following: 1. What was it like for the guest to work with Christopher Reeve? 2. What was the guest's favorite memory from the movie? 3. What was it like for the guest to be part of the Superman legacy? Christopher & Dana Reeve Foundation The MCCC Event Foundation website Hashtag Fun: Jeff dives into recent trends and reads some of his favorite tweets from trending hashtags. The hashtag featured in this episode is #DeepThoughtsFromSuperman from @OpenMicRejects. Tweets featured on the show are retweeted at @JeffDwoskinShow Follow Hashtag Roundup to tweet along with fun hashtags daily! Follow @HashtagRoundup on Twitter! Download the Hashtag Roundup app Follow Jeff Dwoskin: Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah is a member of the Canadian sailing team, a Pan Am games Gold medalist, placed 6th at the 2020 Olympics in the Laser Radial which is the highest finish for any Canadian Laser sailor male or female in the history of the Olympics. She recently absolutely crushed the fleet at the World Cup in Palma winning by 31 points with a race to spare.  She and Dave talked about trusting the process over performance, how to increase inclusion and diversity in sailing and the incredible pressure of an Olympic medal race.  

This week, the guys discuss the comic-book sequel The Return of Swamp Thing along with recurring guest and comic book aficionado Joshua Kotsabasakis. Does this movie pre-date The Shape of Water with a very sexy human/monster romance? You damn right it does! The guys get into ALL topics including Locklear's conversations with her houseplants, the two most annoying children on the planet, windows that lock from the outside, the single most bizarre (and source material-accurate) sex scene of all-time and much, much more. Check our social media on Sunday for the Sunday Screencrap and take a guess at our next movie! What We've Been Watching: Ambulance "Cinematic Titanic" Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Return of Swamp Thing stars Dick Durock, Heather Locklear, Sarah Douglas, Monique Gabrielle and Louis Jourdan; directed by Jim Wynorski. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah N. Douglas, PhD is an Associate Professor in the Department of Human Development and Family Studies. She started her career as a special education teacher for children with disabilities and complex communication needs, and continued on to academia obtaining a degree in Special Education from Penn State University. Her research focuses on autism, developmental disabilities, paraeducators, augmentative and alternative communication including interventions and technologies to support social and communication skill development for children with disabilities. Many of her interventions are conducted via telepractice and she gathers much of her research data using telepractice approaches. When she's not hanging out in academic settings Sarah likes to spend time in nature (hiking, kayaking, seeing beautiful foliage) and travel. Website: https://raddlab.hdfs.msu.edu Facebook: https://www.facebook.com/RADDlabMSU Email: sdouglas@msu.edu Podcast: https://www.3cdigitalmedianetwork.com/telepractice-today-podcast  

We Interview Director / Actor Stacey Souther On The Life Box Media Channel Radio Podcast Stacey Talks About His New Movie About Academy Award Nominee And Movie Star Valerie Perrine Find Out What Happened To This Movie Star From Lenny To Superman To Her Current Condition Watch The Movie And Listen To Some Of Hollywood's Biggest Stars Talk About Valerie Perrine Including George Hamilton, David Arquette, Valerie Perrine, Angie Dickinson, David Ladd, Richard Donner, Howard Hesseman, Andrea Brooks, Sarah Douglas, Jeff Bridges, Stacy Keach Here A Link To Watch The Valerie Movie Links Out Now https://www.valeriemovie.com/ Valerie Movie On YouTube https://youtu.be/wWYAmC3sMpI Valerie Movie On I-Tunes https://itunes.apple.com/us/movie/valerie/id1620601329 Valerie Movie DVD https://www.amazon.com/dp/B09RM46VVQ/ref=cm_sw_r_cp_api_i_W1S9KYJ06JV31YHDVAX8 To Help Valerie Perrine With Her Medical Expenses You Can Donate To Her Go Fund Me https://gofund.me/91567527 Thank You To Stacey Souther For Taking The Time A Huge Thank You To Ms Valerie Perrine You Are A True Movie Star As A Person And On The Screen Much Love And Prayers THANK YOU To Our Listeners And Our Fans In All 67 Countries For Enjoying The Life Box Media Channel Radio Podcast THANK YOU Please Comment Follow Like And Subscribe To Our Show And All Of Our Social Media TheLifeBoxMediaChannel.com https://linktr.ee/TheLifeBoxMediaChannel Thank You God Bless Episode # 344

Welcome back to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn and Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.Greetings and welcome back to the season of comic adaptions on The Tubi Tuesdays Podcast with your trio of Super Marcey, Bede Jermyn and Prof. Batch. This week was Bede's pick and as usual Batch and Marcey are a little nervous ... however Bede did pick The Return of Swamp Thing (1989) and it keeps the unintentional tradition alive of not doing the first film in s franchise for Tubi Tuesdays. Does Bede get to keep having picks? Did this film deliver on some Tubi goodness? Listen in and find out!The Return of Swamp Thing was directed by Jim Wynorski and it stars Louis Jordan, Heather Locklear, Sarah Douglas, Dirk Durock, Joey Sagel, Ace Mask and Monique Gabrielle.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Let the sequels continue!* Prepare for a lot of Tommy Lee jokes ...* So many rubber costumes, like so so many.* Swamp Thing lives in the weirdest swamp.* The kid in the film sounds like little Joe Exotic and looks like little John C. Reilly.* Bede really doesn't like comb over guy and hairy chest guy.* So Swamp Thing gives thumbs up and the bird ... wow!* Wait, there's a bonus scene?!* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast as well as the video version!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all.Please Visit Our Sponsors For This Episode SurfShark VPNFor More http://linktr.ee/TheTubiTuesdaysPodcast Hosted on Acast. See acast.com/privacy for more information.

Why can't men be more like plants or podcast hosts? Trey and Jesse bring you The Return of Swamp Thing as a case of sequelitis continues! Thank you for listening 80s Revisited, hosted by Trey Harris. Produced by Jesse Seidule. We look forward to comments and questions sent via e-mail to 80srevisited@gmail.com.

Welcome back to purgatory!!! Mike is back!!! Thank Ar!!! On this episode Mike and Jeremy talk about The Beastmaster from 1982 Directed by the great Don Coscarelli and staring Marc Singer, Tanya Roberts, Rip Torn, John Amos, Joshua Milrad and Rod Loomis. We also discuss the straight to VHS sequel Beastmaster 2: Through the portal of time from 1991 directed by Sylvio Tabet and staring Marc Singer, Kari Wuhurer, Sarah Douglas, Wings Hauser, James Avery, Robert Fieldsteel, Robert Z'Dar and Michael Berryman Thanks for checking us out and if you'd like to leave us any feedback please do at pcppodcast666@gmail.com Outro song "I wanna be your hero" By Bill Wray from the Beastmaster 2 soundtrack. https://youtu.be/h82b1fq-4zA  

35 Years After His Final Flight In Superman IV, The Love And Admiration For Christopher Reeve Both On Screen And In Life, Is Stronger And More Inspiring Than Ever! Jay & Jim Make the BIG Announcement! This Spring Motor City Comic Con & The Caped Wonder Superman Podcast Proudly Present "The Christopher Reeve Legacy Reunion"A Three Day Celebration With Stars From All 4 Superman Films! Aaron Smolinksi, Marc Mcclure, Sarah Douglas , Jack O'Halloran, Mark Pillow and Mariel Hemingway. From The Spectacular Superman '78 DC Comic Series, Writer Robert Venditti And Artist Wilfredo Torres with a Motor City Comic-Con Exclusive! A Limited Edition "Variant Cover" Of Superman 78' #1, With A Portion Of Proceeds Benefiting The Christopher & Dana Reeve Foundation. May 13th- 15th. Tickets Available Now at motorcitycomiccon.com This is the Superman Celebration you've been waiting for.

#311 Tyler(@JTyPatrick) interviews Ursa herself the wonderful @TheSarahDouglas for The Multiverse Fundraiser.  https://themultiversefunraiser.com #SupermanAndLois #Superman #dccomics #Superboy #Krypto #Krypton #YoungJustice #Batgirl #SUPERPETS #ActionComics #Batman #TheBatman For all things Krypton Report: https://linktr.ee/Kryptonreport Our new TEE Public Store: http://tee.pub/lic/gJJ3wcW9NCE Help Keep Krypton from Exploding join the $1 a month Patreon: https://www.patreon.com/kryptonreportpod

Episode 295 of On Screen & Beyond - Sarah Douglas has played may roles over her career, including a long run on "Falcon Crest", but many remember her as Ursa, the Kryptonian villian in "Superman" and "Superman 2' with Christopher Reeve! Sarah joins us for an engaging talk! --- Send in a voice message: https://anchor.fm/on-screen-and-beyond/message

Another week and another solid guest star coming from the Superman franchise. Sarah Douglas graces us in the AB Chrysalis. This episode is my personal favorite of the very wonky and up and down Season 2 thus far! And our regular reminder, we are going through Space: 1999 in the production order, not broadcast order. […]

Sarah Douglas, Chief Executive Officer at AMV BBDO, chats with Jim Lesser about her ability to recognize and develop great ideas and the importance of self-care.

Today on The Neil Haley Network's Lyrically Lyme Show, Peyton Leonard and The Total Tutor Neil Haley will interview Celebrity Courtney Hope of CBS' Show The Bold and The Beautiful. Courtney Hope is currently seen as Sally Spectra on "The Bold And The Beautiful." She plays the great-niece of the famous original Sally Spectra played by Dalene Conley for 19 years on the show. Courtney is also known as 'Beth Wilder' in the hit video game and embedded TV show "Quantum Break", by Microsoft Studios (Xbox One) and Remedy Entertainment. She also filmed "Allegiant" (the Divergent Series) this past Summer in Atlanta, is a lead in the Indie Film, "Displacement" which won the Best Sci-Fi Movie at the Hollywood Film Festival this year (along with Golden Globe Winners Bruce Davison, Susan Blakely and Superman actress lead, Sarah Douglas), as well as, will be seen in Season 3 of the hit TV show, "Transparent", in a recurring role.    

From Oxfam to the United Nations, allegations of sexual abuse and misconduct have rocked the humanitarian sector. In episode 07 we speak with Hendrica Okondo, who has 20 years of experience in humanitarian contexts within UN organizations; Robin Yaker, who has worked for the International Rescue Committee and Raising Voices; and Sarah Douglas, who is the deputy chief of peace and security at UN Women. All three reflect on the heartbreaking abuse that takes place in humanitarian settings, the organisational cultures that keep it in place, and their courageous stories of standing up for the safety, security and dignity other women. As we dig deeper, we discuss that there is not enough awareness of the problem, that awareness and formal policies are not enough and the importance of feminist leadership. The women share strategies for creating the deeper culture shifts necessary to dismantle not only the gender hierarchies, but the influences of colonialism, elitism and racism still present in these contexts.