Podcasts about seen what

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of homophobia and transphobia, robbery, death, police shooting, police violence. It’s finally awards season, and we had so much fun with last year’s Oscar series, we decided to come back for another round of a year in Oscars. And after our Spielberg series, watching and loving Jaws, we saw the list of contenders and realized - we needed to do another full-year series. So welcome to 1975, a year of movies from tons of different directors, actors, and screenwriters from a wide range of stories and styles. And we’re kicking it off with a bank heist movie that’s so much more, even though it’s also a giant mess. What’s good in this movie is great, but what’s bad is really sloppy. Still, there’s several performances worth the price of admission here, including the finale to Al Pacino’s masterful run in the early 70’s that showed us what a range he had. Grab your handkerchiefs, we’re talking about Dog Day Afternoon as we kick off our Oscars ‘75 series of Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken of the introduction to the 48th Annual Academy Awards, arranged and conducted by John Williams, and performed by the Academy Awards Orchestra; and announced by Hank Simms. Excerpt taken from “Amoreena,” written by Elton John and Bernie Taupin, and performed by Elton John. Copyright 1970 This Record Company Limited. Clips from the film Dog Day Afternoon are copyright 1975 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “Sarabande Main Title” from the film Barry Lyndon, composed by Georg Friedrich Handel, adapted and conducted by Leonard Rosenman, and performed by the National Philharmonic Orchestra. Copyright 1975 WEA Recordings Ltd.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, espionage, conspiracy, murder, nuclear bombs. We’re closing out our Series: Impossible with a movie that isn’t the best…but it also isn’t the worst. The story for this movie hinges on a boring MacGuffin and a ton of easter eggs that only people who’ve watched the whole franchise closely (aka US) will appreciate. The characters are all spread too thin, the plot’s watered down to nothing, and even the stunts are a little underwhelming compared to the last installment. AND YET. We get to see more fun and quips from Benji and Ethan, more thoughtful development of Ethan and Claire’s relationship, a new character with ties to the first movie - there’s a lot of character development to chew on. And at the end of the day, it’s still a hell of a popcorn movie. We finish our “Series: Impossible” with Mission: Impossible - Fallout this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records. Excerpts taken from the film Mission: Impossible - Fallout are © 2018 Paramount Pictures Corporation. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, espionage, trauma, gaslighting, panic/anxiety. At some point you just knew we were going to run across a movie in this series for which we had some differences of opinion. Turns out it’s this 2015 entry, which is both fun as hell and also very derivative of another spy we’ve talked about extensively on this show. But Bond aside, there’s a lot of humor, a lot of intrigue, and a lot of character growth for Benji in this installment. Our villain, though, is pretty lackluster, and this movie just…drags…on. And of course, we’d be remiss if we didn’t mention the absolutely bonkers stunt of holding on to dear life to an actual jet airplane as it takes off from a runway. Because, why not, says Tom Cruise. We continue our “Series: Impossible” with Mission: Impossible - Rogue Nation this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records. Excerpts taken from the film Mission: Impossible - Rogue Nation are © 2015 Paramount Pictures. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, espionage, trauma, gaslighting, panic/anxiety. If M:I III was the forerunner of the Mission: Impossible franchise, then this week’s film proved the franchise was immensely profitable. And it also happens to be a pretty fun movie, with Ethan fulfilling a more senior role as he leads three relatively fresh and raw agents through (checks notes) THE HIGHEST STAKES IN THE HISTORY OF EVER. The threat of nuclear destruction of the entire world hangs in the balance of a not-so-proven team of spies, and those stakes, along with some script development issues, really hinder the believability of this film. Which is frustrating, because this might be the most fun you can have watching a Mission: Impossible movie - the jokes, the banter, the charm are on full display, and it really makes for a great watch. Just - maybe make it a little less complicated, please? We continue our “Series: Impossible” with 2011’s Mission: Impossible - Ghost Protocol this week on Macintosh & Maud Haven’t Seen What?! PLUS: New Movie Reviews of Mank and Ma Rainey’s Black Bottom! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records. Excerpts taken from the film Mission: Impossible - Ghost Protocol are © 2011 Paramount Pictures. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, murder, espionage, body horror/suspense, trauma. It took 6 years before the next movie in the M:I franchise got released, but it might be the most successful in the franchise. Which is interesting, considering this movie went through absolute development hell, and passed through several writers and directors before finally landing in the hands of a then unproven film talent - J.J. Abrams. It’s not shocking that J.J. made this transition, and in hindsight, it’s also not shocking that there was no doubt he’d deliver with this movie. Still, this movie is firing on all cylinders, with Tom Cruise’s natural charm and intensity blending together for the best Ethan Hunt yet in this series. And then they brought in the magnificently talented Philip Seymour Hoffman, fresh off his Oscar win for Capote, to be the most stone-cold villain in modern action movies, and he absolutely crushes it. Throw in some very personal stakes for Ethan, lots of wild stunts, and a dash of fun jokes, and you get one hell of a ride. We continue our “Series: Impossible” with 2006’s Mission: Impossible III this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records. Excerpts taken from the film Mission: Impossible III are ©2006 by Paramount Pictures. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, espionage, gaslighting, abuse, sexual assault. Well, it usually takes a while to get to the worst movie in a series, but with Mission: Impossible, they got it out of the way quickly. We’re not exactly versed in the cinema of John Woo, but if this is your introduction, it’s pretty damning. It’s not so much that Woo made a lackluster movie, there’s plenty going on, but the film has plot holes the size of the canyon Tom Cruise is climbing over at the beginning of the movie, and the characters are flat as a piece of paper. There are some big name actors in this film, and they all are giving the most phoned-in performances we’ve seen in some time, including Cruise. Still, it did its job and made a ton of money. Just - let’s hope we don’t hit this low point again. Series: Impossible continues with 2000’s Mission: Impossible II this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Take a Look Around (Theme from M:I-2,” written by Fred Durst and Lalo Schifrin, and performed by Limp Bizkit. Copyright 2000 Flip Records and Interscope Records. Excerpts taken from the film Mission: Impossible II are ©2000 by Paramount Pictures. All Rights Reserved. Excerpt taken from “I Disappear” written by James Hetfield and Lars Ulrich, and performed by Metallica. Copyright 2000 Paramount Pictures.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Violence, espionage, gaslighting, espionage, workplace romance. Tom Cruise is truly a fascinating character, with enough energy and zeal for stunts that could power whole cities, and a ruthless loyalty to whatever he sets his mind to - particularly the Church of Scientology. But we’re not here to talk about the Church today. No, we’re here to talk about the movie franchise that has truly created the unique movie star/producer that is Tom Cruise as we know him today. He was already a movie star when our first film was made, but this was the franchise he decided to jump on, and 25 years later, there’s no signs of stopping. And why would he, after this movie? He’s got the bold vision of Brian de Palma, an incredibly talented crew of screenwriters, and a cast of some of the best actors in the business, some of whom die in the first 20 minutes of the film. Cruise is definitely reserved and nervous here, and why wouldn’t he, seeing as he’d foregone his salary to produce the film. But there’s a reason the franchise still exists, and without this movie, we wouldn’t have as much to talk about. We’re kicking off Series: Impossible with 1996’s Mission: Impossible this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records. Excerpts taken from the film Mission: Impossible are © 1996 by Paramount Pictures. All Rights Reserved. Excerpt taken from “Take a Look Around (Theme from M:I-2,” written by red Durst and Lalo Schifrin, and performed by Limp Bizkit. Copyright 2000 Flip Records and Interscope Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of grief, mental illness, war, slavery, racism, white saviorism, racist propaganda. Here we are, ending our journey through Spielberg’s catalog on a film that’s got to be a sure-fire smash. It’s got an impeccable cast, a great screenwriter, and one of the most compelling people in history around which to build a story. Which is precisely why we’re so angry about this movie. Yes, it’s clearly Oscar bait, and yes, any story about Abraham Lincoln is going to read very, very hollow given the growing movement for racial justice in our country. But it’s the self-indulgent, sentimental and somber framing of a story that refuses to find any real humanity in its protagonist that really gets our goat here. We know Steven’s got a hell of an ego, but it’s never more on display than watching this way too self-important film. For a movie about one of the most interesting human case studies in our nation, there’s very little that we can learn about or empathize with the 16th President. He’s just a portrait in a room, and this is just a WIkipedia entry of a movie. We’re wrapping up with Spielberg’s flat biography of Lincoln on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "The People's House" from the soundtrack to Lincoln, composed and conducted by John Williams. Copyright 2012 Dreamworks II Distribution Co., LLC. Excerpts taken from the film Lincoln are © 2013 DreamWorks II Distribution Co., LLC and Twentieth Century Fox Film Corporation. Excerpt taken from “Theme from Mission: Impossible,” written by Lalo Schifrin, produced and arranged by Larry Mullen with David Beal, and performed by Adam Clayton and Larry Mullen . Copyright 1996 mother records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of drug addiction, loss of a child, harmful drug tropes, gaslighting, relived trauma, murder, child abduction, assault, violence, injuries to eyes. The early-to-mid 2000’s were not a banner time for filmmaking, across the board. Sure, there’s some diamonds in the rough, but blockbuster films of that 5-6 year period were all dark and gritty, overexposed and filtered with silver or blue lights. For some directors, it could yield great results - David Fincher made an entire career from that scheme. But we’re not talking about Fincher - we’re talking about the master of epic, sweeping, blockbuster shots, Steven Spielberg. And there’s not a lot about this movie that’s good. Steven definitely put in the effort to create a futuristic world for the characters to live in, but at what cost? Nobody is particularly great in this movie, including the master of charm and screen presence, Tom Cruise. And don’t get us started on the lackluster, wandering script with enough holes that you don't need a precog to see through them. We’re reviewing Steven Spielberg’s messy vision for Minority Report on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Minority Report” from the soundtrack to Minority Report, composed and conducted by John Williams . Copyright 2002 Fox Film Music Corp., SKG Music LLC. Excerpt taken from "The People's House" from the soundtrack to Lincoln, composed and conducted by John Williams. Copyright 2012 Dreamworks II Distribution Co., LLC.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER STRONG CONTENT WARNING: Incest, rape, forced separation from children, forced separation of family, physical abuse, verbal abuse, gaslighting, racism, generational trauma, violence. Listener discretion is advised. We weren’t ready for this week’s movie, nor were we disappointed. Spielberg’s first “serious” film packs one hell of a punch, telling a Black story of incredibly complex trauma and survival in a way that’s incredibly difficult to ignore. There’s so many movies in recent years that try to accomplish the balance of emotional impact, stark, disturbing reality, and tenderness - but they all get that balance wrong. Yet this film gets it so, so right, in the best possible way. Spielberg is on top of his game here, fusing his quasi-magical brand of filmmaking with an incredibly powerful and at times brutal story. And it’s never to the detriment or sentimentalizing of Alice Walker’s classic novel. it just draws the audience ever closer, so that when the final moments pay off, you’re weeping with these characters because you too care so much about them. We’re watching 1985’s incredible, powerful adaptation of The Color Purple on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Miss Celie’s Blues (Sister)” from the soundtrack to The Color Purple, written by Lionel Richie, Quincy Jones, and Rod Temperton, and arranged by Quincy Jones. Copyright 1985 Warner Bros. Inc., phonographic copyright 1986 Warner Bros. Inc. Excerpts from the film The Color Purple are © 1985 Warner Bros. Entertainment Inc.. All Rights Reserved. Excerpt taken from “Minority Report” from the soundtrack to Minority Report, composed and conducted by John Williams . Copyright 2002 Fox Film Music Corp., SKG Music LLC.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Alien abduction, being treated as mentally ill, fear, obsession. Spielberg’s second film was intended to be his motion picture debut, a passion project of his since making an adolescent film in the mid-60’s. In many ways, it’s his personal love letter to sci-fi, and there are moment of sublime beauty and awe in this film. You could probably just watch the last 35 minutes of the movie showing the moment where humans make contact with alien life, and leave a movie theater buzzing with joy. Except there’s an hour-and-a-half of movie before it, and that movie is pretty hit or miss. Steven has no lack of vision, it’s fair to say, but if there’s anything to learn from this film, it’s that Spielberg should stay away from writing movies, and that every director needs to take a couple months away from a film before trying to edit. Add to that technical complications completely unforeseen because, well, they were literally remaking the rules of cinema, and you’ve got one heck of a technical achievement that winds up being a bit of a bore. But wow, those effects - they’re well worth the ride. Pile up the mashed potatoes and watch out for your electronics, we’re watching 1977’s Close Encounters of the Third Kind on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from “Main Title and Mountain VIsions” and “Theme from ‘Close Encounters of the Third Kind’” from the Close Encounters of the Third Kind soundtrack, composed and conducted by John Williams. Copyright 1977 Arista Records Inc. Clip from the film Close Encounters of the Third Kind is copyright © 1977, 1980 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from "Main Title" from the Star Wars soundtrack, composed and conducted by John Williams and performed by the London Symphony Orchestra. Copyright 1977 Twentieth Century Fox Film Corporation.

CLICK TO SUBSCRIBE ON the original summer blockbuster, defying all conventional movie business logic and studio conjecture. And all it took was nearly 6 months of shooting, a very young director on the verge of a nervous breakdown, a few stars with egos and tempers as big as their talent, and a very, very temperamental fake shark. Yeah, you probably know which movie this is now, but are you prepared for just how much it took to even get this movie made, let alone how this film became the biggest box office success of all time (for a couple of years)? Do you know how the people of Martha’s Vineyard reacted to this film crew taking over their town for three times as long as expected? Do you know the most epic counter-prank story of all time? Load up your air tanks, shark cage, harpoons and barrels as we talk about the first summer film hit, 1975’s Jaws, on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Journey to the Island” from the Jurassic Park soundtrack, composed and conducted by John Williams. Copyright 1993 MCA Records Inc. Excerpt taken from “Main Title (Theme from Jaws)” from the Jaws soundtrack, composed and conducted by John Williams. Copyright 1975 MCA Records Inc. Clips from the film Jaws are copyright © 1975 Universal Studios. All Rights Reserved. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Clip from the film Close Encounters of the Third Kind is copyright © 1977, 1980 Columbia Pictures Industries, Inc. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Intense gore and violence, intense body horror, animal death, paranoia, murder, death, suggestions of mental illness, isolation. We’re finishing up our horror series with a movie Macintosh has had on his list for a long time, while Maud has mostly been indifferent. But this isn’t a movie that warrants a medium opinion. Critics at the time considered this one of the worst horror movies ever made; nearly 40 years later, it’s become a horror classic and even on some people’s lists for one of the best movies ever made. Leave it to us to feel very differently about this movie. It’s a benchmark of movie-making, for sure, but is it truly great cinema? Get your flamethrower ready as we finish off our spooky season with 1982’s The Thing on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Murder, occult rituals, sacrifice, demon worship, gore, alcoholism, family trauma, childhood trauma. Continuing our watch of some of the best new horror out, we caught up with this horror farce that’s as much Clue as it is The Hills Have Eyes. And given that this was a fairly low-budget production with little int terms of actual star power, what these filmmakers pulled off is absolutely incredible. There’s some truly haunting and awful moments that are almost immediately followed by gut laughs at jokes that came straight from Fawlty Towers. Add to that a female lead, impeccably played by Samara Weaving, with loads of agency and pure emotional intensity that just jumps off the screen. This movie is a popcorn-chomping ride that also happens to have a lot of moral quandaries and thoughtfulness, and it makes it one of the best and most approachable new horror movies in recent years. Grab your card and meet up with us in Mr. LeBail’s chambers as we watch 2019’s Ready or Not on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

What have Ted Jones and Pat been SEEN? WHAT are they watching? We have a NEW poster gal in the Corner- Katie, who enjoys a good reality show and KNOWS her films. Golden Age of TV...? The Oldies are fresh too. Always stay CHILL. Dirty or Messy same thing? Katie the poll worker? This was quite the diverse episode ~WE LUV YALL

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. STRONG CONTENT WARNING: This episode discusses the 2020 remake of The Invisible Man, and deals directly with domestic abuse, gaslighting, stalking, manipulation, self-harm, self-defense, violence against loved ones, and violent murder. If any of these topics or related topics are harmful to you, please skip ahead to 56:38 seconds to listen to our second review, or hold off listening to this episode until a later date. Please take care of yourselves first. Rarely do we have an opportunity to discuss a movie as recent as this with its source film, which is nearly 90 years old at this point. And in doing so, we may have found one of the best movies of 2020, and definitely one of the best horror movies in recent years. Leigh Whannell is already a bit of a legend in horror circles for his work on Saw, Insidious and the recent techno-body horror-action thriller Upgrade. But his most recent effort is an exercise in restraint and clarity of vision, and in doing so, he’s created a movie more terrifying and anxiety-inducing than anything we’ve seen in quite some time. Meanwhile, its distant cousin is a Hollywood horror classic, though not as well known as the more heralded Dracula and Frankenstein. It suffers from the production limitations of the time, and an almost comic tone that lingers too much to let the real terror shine. But there’s something about the story and Claude Rains that still kept us engaged enough to appreciate its possibilities. We’re watching the 1933 and 2020 versions of The Invisible Man this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Attack” from the film The Invisible Man (2020), written and produced by Benjamin Wallfisch. Copyright 2020 Back Lot Music, a division of Universal Studios Music, LLLP. Clips taken from the film The Invisible Man (2020) are © 2019 Universal Studios. All rights reserved. Excerpt taken from the theme to The Invisible Man (1933) were composed by Heinz Roemheld and are © 1933 Universal Studios. All rights reserved. Clips taken from the film The Invisible Man (1933) are © 1933 Universal Studios. All rights reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Murder, voodoo, racism, suicide, serial killers, possessed dolls, child endangerment, childhood trauma, blaming the victim, parents not believing children, violence, technological horror, artificial intelligence, gore. On paper, it’s the most ridiculously laughable premise for a horror film. Mom buys kid a doll possessed by the soul of a serial killer, doll terrorizes family, have to kill doll. It sounds like a movie destined for video trash greatness. Instead, 1988’s Child’s Play is a taut thriller with awesome horror elements, and because of the budget and craft that went into the making of the film, the premise is elevated to a pretty great horror movie. In fact, having seen the recent 2019 reimagining, we’re tempted to say the original might hold up better, even with some of its very tone-deaf and problematic material. Both movies play in some interesting and occasionally frustrating waters, but we have to give credit to the filmmakers for these two movies - they’re bold takes on the horror genre. Grab your Buddy dolls as we watch the 1988 and 2019 versions of Child’s Play on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Murder, misogyny, “purity” tropes, blood, violent death, mental illness, dissociation, knives and blades, snakes. The fact that we hadn’t seen the mother of all slasher movies weighed pretty heavy on us, so we finally decided it was time to fix that. And wow were we pleasantly surprised. As was most of the country - in a year where John Carpenter’s The Fog and Kubrick’s reimagining of The Shining were dominating theaters, this tiny film became one of the most profitable blockbusters of all time. That’s not to say it’s great cinema; the dialogue is just awful, the editing is bare bones, and it’s definitely limited by a tiny budget. But its story leaves a mark, especially in the final turn, so much so that critics were willing to take drastic measures to get people not to see this movie. Join us for the ultimate cash grab as we watch 1980’s Friday the 13th on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpttaken from “Overlay of Evil / Main Title” from the film Friday the 13th, composed by Harry Manfredini. Copyright 1980. Clips taken from the film Friday the 13th are © 1980 Paramount Pictures. All rights reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Death, haunting, paranormal occurrences, body horror, grave desecration, kidnapping, suggested sexual assault, clowns, skeletons, dead bodies. We’re back from our hiatus and we’re ready to get scary and spooky for Scaretober 2020! This week, we’re kicking things off with a horror film that kinda traumatized children, since it gave Steven Spielberg a one-two “family-friendly” punch at the box office. His credited directing role in E.T. is the stuff of legend, a timeless and timely classic about a wrinkly alien and some very 80’s latchkey kids. He doesn’t receive the same credit for this film, and that’s supposed to be by design, since he hired the man who made The Texas Chain Saw Massacre to go ahead and direct this script for him…or did he? Controversy aside, this is one of the spookiest and fun haunting movies ever made, and will thrill you while having you asking how did this get a ‘PG’ rating??? Forget It, we’re watching the real movie that made kids afraid of clowns - we’re talking about 1982’s Poltergeist on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Carol Ann's Theme” from the film Poltergeist, composed and conducted by Jerry Goldsmith. Copyright 1982 Metro-Goldwyn-Mayer Film Co. Clips taken from the film Poltergeist are © 1982 Warner Bros. Entertainment Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Discussions of violence, death, horror tropes, sex work, misogyny, prison, gore, body horror, war, transphobia, transphobic representation, politics and current events. Kristin Devine of Roll to Play Podcast Network, Powered by the Players, and Christmastide, OH joins us for the mother of all action antihero movies…and its sequel. It’s no secret that John Carpenter hates sequels; he famously refused to direct Halloween II because he didn’t think it needed to be made. Still, in 1981 he gave us an action/horror movie so incisive, direct, and badass that it begged for more of this character and story. Then-child star Kurt Russell broke his Disney mold and sneered his way into movie stardom, paving the way for a generation of jaded, broodier action heroes. Kurt poured himself into Snake Plissken, and there’s no doubt that he’s the reason a sequel was made. But the charm and scrappiness of the first film gets caught in a terrible, recycled script and some of the worst CGI we’ve seen in a major-studio movie. But there’s something there, something that feels even more prescient given the times we’re living in right now - we could really use some more Snake Plissken right about now. We’re finishing off our action series with Escape from New York and Escape from L.A this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Title” from the film Escape from New York, composed and performed by John Carpenter and Alan Howarth. Copyright 1981 Avco Embassy Pictures Corp. Clips taken from the film Escape from New York are © 1981 Avco Embassy Pictures Corp. All Rights Reserved. Excerpt taken from “Escape from New York Main Title” from the film Escape from L.A., composed by John Carpenter and Alan Howarth, and performed by John Carpenter. Copyright 1996 Paramount Pictures. Clips taken from the film Escape from L.A. are © 1996 by Paramount Pictures. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Discussionsof racism, transphobia, imprisonment and offensive tropes, toxic masculinity, murder, rape, death, plane crashes. One of the reasons we opted to do an action movie series was the specific purpose of watching the movies we’re covering today. The hype has been so massive, and ever-present, that we couldn’t ignore it any longer. And these movies did not disappoint. A lot of the talk is about Keanu Reeves, and rightfully so; these movies are the perfect blend of action, silence, and tension that Keanu is able to play so brilliantly. But the supporting cast, which at first glance could look like stuntcasting, is actually masterful. But it’s director Chad Stahelski, after a long career working directly with Keanu on so many of his best action roles, who really shines in these movies. His sense of action and creating scenes that use few special effects are mesmerizing, and he’s proven in these 3 films he’s a master director. We couldn’t just talk about one; we had to talk about them all, and special Keanu expert Andrew Gormley of Cool Breeze Over the Mountains joins us to wrap everything up. We’re watching the entire John Wick series this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Princes of the Universe,” written by Freddie Mercury and performed by Queen. Copyright 1986 Queen Productions Ltd. Clips taken from the film John Wick are © 2014 Summit Entertainment, LLC. All Rights Reserved. Clips taken from the film John Wick 2 are © 2017 Summit Entertainment, LLC. All Rights Reserved. Clips taken from the film John Wick 3 are © 2019, Artwork & Supplementary Materials, TM 2019 Summit Entertainment, LLC. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Discussionsof racism, transphobia, imprisonment and offensive tropes, toxic masculinity, murder, rape, death, plane crashes. Claudia Elvidge, creator of The Beacon, joins us this week for a discussion of a film renowned for its bonkers quotient. You know, that point where an objectively not great movie suddenly becomes awesome just by the sheer force of will of its cast and crew. This movie is one of the best examples of that phenomenon, bursting with incredibly talented actors across the board being asked to say and do ridiculous things. I mean, your three leads for this film are Nicolas Cage, John Cusack, and John Malkovich, all playing very against type at this point, and all going for broke even though the roles may or may not be right for them. There’s a very, very weird alchemy going on in this movie: its premise is enough to render the entire movie unbelievable, it’s got terrible dialogue and pretty big plotholes, and the director is all over the map on how he’s filming things. But it oddly works - it might be garbage, but it’s really, really fun garbage. We’re watching Con Air on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Con Air Theme,” composed by Mark Mancina and Trevor Rabin and conducted by Gordon Goodwin and Nick Glennie-Smith. Copyright 1997 Hollywood Records, Inc., Disney Enterprises, Inc. Clips taken from the film Con Air is © 1997 Buena Vista Entertainment. Clips taken from the film Once Upon a Time…in Hollywood is © 2019 Visiona Romantica , Inc. All Rights Reserved. Excerpt taken from “How Do I Live," written by Diane Warren and performed by Trisha Yearwood. Copyright 1997 MCA Records Nashville, a division of MCA Records, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Discussions of racism and racist action, Asian-American stereotypes, violence, snakes, danger to animals. AJ Ganaros of Straight Off the Top of My Headlines, Shattered Worlds RPG, and Christmastide, Ohio joins us this week to talk about a truly seminal piece of film. That word gets tossed around a lot for a lot of different movies, but it’s very literally true for this movie, in how it spurred the careers of several Hong Kong martial arts legends and proved that martial arts action films could be profitable for Western audiences. But it’s not just this movie’s influence that makes it so interesting - it’s the singular, visionary actor and mind behind it. Bruce Lee’s name is now iconic and legendary, and if you haven’t ever seen one of his movies, it might not be clear why. He’s effortless, graceful, funny, sexy, and altogether singular in how he both chews scenery while also being the coolest person in every room. And despite some significant flaws and constraints, Bruce Lee makes this movie a classic of cinema, let alone action movies. This week, we’re watching Enter the Dragon on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Theme from Enter the Dragon," composed and conducted by Lalo Schifrin. Copyright 1973 Warner Bros Records Inc. Clip taken from the film Enter the Dragon is © 1973 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “Kid Power” from the movie 3 Ninjas, written by Rick Marvin and William Griffin, and performed by Will Roc. Copyright 1992 Global Film Enterprises, Inc. Excerpt taken from “Fight to Survive” from the movie Bloodsport, written by Paul Hertzog and Shandi Sinnamon and performed by Stan Bush. Copyright 1990 Cannon Films, Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Discussion of misogyny, child sexual abuse, homophobia, violence, murder. Lindsey Nelsen of Historical Hotties is joining us this week for a movie that is mostly important because it resurrected Robert Downey, Jr.’s career and possibly got him the role of Iron Man. We shouldn’t pretend that wasn’t one of the reasons this movie became a semi-cult legend after RDJ was restored to movie star status. But this movie has some serious bona fides behind it. Shane Black of Last Action Hero and Lethal Weapon fame takes on the screenplay and directing for this movie, and as far as quippy noirs go, it’s not the worst. Val Kilmer is outstanding in a role that demands coolness and razor-sharp timing, and RDJ is a fairly bumbling, unlikeable character that nevertheless is scruffy and charming enough to keep us engaged. But this movie is very much of its time in 2005, and its pretty forward statements on women, romance, homosexuality, and child sexual abuse is both standard fare for the time and also incredibly awful. If this were a better movie, it would actually investigate those tropes and really uproot them - but this isn’t that movie, and it’s pretty galling that everyone was A-OK with the messaging here. It’s time for us to reckon with an otherwise fun movie as we watch Kiss Kiss Bang Bang on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Main Titles” for the movie Kiss Kiss Bang Bang, composed by John Ottman and performed by The Northwest Sinfonia. Copyright 2005 Warner Bros, Inc. Clips taken from the film Kiss Kiss Bang Bang are © 2005 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from “Playing With the Boys,” written by Kenny Loggins, Peter Wolf, and Ina Wolf, and performed by Kenny Loggins. Copyright 1986 CBS Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Audio of a gunshot, discussions of violence and murder, police officers. Becca of Magic Folk returns to our show to talk about another truly bonkers movie, and one that is so close to being good. Action comedies were definitely a thing when this movie came out, but this movie amped the satire to its maximum limit, making ridiculously dumb action tropes into high comedy by constantly leaning into them. The performances are mostly great, too, but this movie tanked at the box office, and while it opened against one of the greatest blockbusters ever made, it’s not just unfortunate timing that tanked this movie. A whole team of screenwriters actually hurt, not helped this movie, and especially outside its amazing fantasy world, the movie just trips over itself. It’s no wonder the great John McTiernan really had to rethink making Hollywood movies after this. We’re on a wild ride this week as we review 1993’s Last Action Hero on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Last Action Hero,” written by Brian Wheat, Frank Hannon, Jeff Keith, and Tommy Skeoch, and performed by Tesla. Copyright 1993 Sony music Entertainment Inc. Clips taken from the film Last Action Hero are © 1993 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from “Welcome to Jurassic Park,” composed and conducted by John Williams. Copyright 1993 MCA Records, Inc. Excerpt taken from “Big Gun,” written by Angus Young and Malcolm Young, and performed by AC/DC. Copyright 1993 Sony Music Entertainment Inc.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Mentions of violent death and injury. Tim Devine and Kent Blue of the Roll to Play Podcast Network are here to talk about Die Hard on a mountain. Or at least, that’s what this lesser-known 90’s action flick has been called in some circles. There’s similarities to that quintessential cat-and-mouse action movie, for sure, but for its time, and for its cast, this movie is surprisingly fresh and fun. There’s nothing new to be found in this week’s movie, and our baddies are more rough sketches than characters, but the performances, particularly from Sylvester Stallone, bring a level of nuance and grounded fear that is particularly refreshing for a 90’s action blockbuster. Match that with some truly epic and stunning visuals and stunts from one of action’s most ambitious directors, Renny Harlin, and you’ve got a movie that deserves to be way more well-known than it is. We’re discussing 1993’s Cliffhanger on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Cliffhanger Theme” from the original soundtrack to the film Cliffhanger, composed by Trevor Jones, and performed by the London Philharmonic Orchestra as conducted by David Snell. Copyright 1993 Scotti Bros. Records. Clips taken from the film Rumble in the Bronx are © 1993 Cliffhanger B.V. All Rights Reserved.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER. CONTENT WARNING: Blood, broken bones, gang violence, police, broad stereotypes. We’re back for a summer series packed with all sorts of action, and we’re kicking things off with the movie that broke Jackie Chan in America! And wow is this movie a wild ride. Imagine a Saturday-morning cartoon writing a martial arts film in New York, but then actually adding some severe scenes of violence and intense fighting so that it was supposed to be gritty, and you’re getting close to the vibe of this movie. It’s hard to tell if it’s the terrible script, the pressure to sell a movie to American audiences, or studio tampering with the cut are what makes this movie inscrutable. But DAMN if those fight scenes aren’t faster, more intense, and more acrobatic than most martial arts films. Jackie Chan is a treasure, and even if this isn’t his best starring role, there’s still a lot of fun to be had. We’re kicking off this summer series with 1996’s Rumble in the Bronx on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Main Title" from the original soundtrack to the film Rumble in the Bronx soundtrack, written and composed by J. Peter Robinson. Excerpt taken from “Cliffhanger Theme” from the original soundtrack to the film Cliffhanger, composed by Trevor Jones, and performed by the London Philharmonic Orchestra as conducted by David Snell. Copyright 1993 Scotti Bros. Records.

Find us at: iTunes Spotify Patreon This week on Macintosh & Maud Haven’t Seen What?! we take one final look at the 26 (!!!) movies we watched for the series, make some rankings, and talk about what’s coming after our hiatus! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Murder, killing, torture, violence to people’s eyes, trauma, parental secrets, memory, jealousy, family jealousy, adoption, sex. We’re wrapping up Part III of our Bond saga with Kent Blue of theRoll to Play Podcast Network, and we’re talking about what very well could have been Daniel Craig’s final Bond film. I mean, he drives off into the sunset with a woman who truly understands his pain and trauma, and gets the best of a long-time nemesis. What more could we ask for? Well, for one, the fact that Daniel Craig is still James Bond, at least for one more movie. More importantly, though, this movie wants to be too many things at the same time. Is it a throwback to From Russia with Love, or Thunderball? Is our main villain brute strength or dastardly, conniving evil? And why, oh why, did we not give Dave Bautista more screen time, even if he doesn’t have any more lines? We try to answer these questions and more as we discuss Spectre this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Spectre, copyright 2015 Danjaq, LLC, Metro-Goldwyn-Mayer Studios Inc. and Columbia Pictures Industries, Inc. All rights reserved. Excerpt taken from “Writing's on the Wall,” written by James Napier and Sam Smith, and performed by Sam Smith. Copyright 2015 Capitol Records Ltd. Excerpt taken from “Spectre,” written and performed by Radiohead. Copyright 2015 LLLP LP under exclusive license to XL Recordings Ltd.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Sexism, misogyny, murder and killing, mention of cyanide poisoning, childhood trauma, trauma, grief, betrayal, terrorism, sex. This week, Jamie O’Duibhir of the Anti-Church stream on Twitch joins us for a big Bond fight as Macintosh and Maud are throwing down on which of the Craig Bond films will be crowned the champion. Maud’s already gone on record as saying Casino Royale is the greatest Bond movie ever, or at least in the running. But Macintosh thinks this might be the movie to beat. Why, you ask? Well for one thing, this movie, directed by Great Director Sam Mendes with legend and master cinematographer Roger Deakins, is the most beautifully shot and crafted Bond film to date. Yet it’s also the most quintessentially James Bond film in a long time, with images and character elements that feel like they’ve transported right back to Sean Connery’s vision of the character. Add a healthy dose of Judi Dench, finally taking a major role, along with a badass new Moneypenny, and you’re really cooking with gas in this new era of Bond. We make the case for Skyfall this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Skyfall, copyright 2012 Danjaq, LLC, United Artists Corporation, and Columbia Pictures Industries, Inc. Excerpt taken from “Skyfall,” written by Adele Adkins and Paul Epworth, and performed by Adele. Copyright 2012 Melted Stone Ltd. under exclusive license to XL Recordings Ltd.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of sexual relationships with a minor, trauma, sexual abuse, physical and emotional abuse, transphobia and transmisogyny, drag, medical abuse and malpractice. This week, Angel, the creator of Finding Atlas (To Have and to Hold), joins us for a crossover with The Doghouse: A Riverdale Podcast to watch and review the 2001 film version of Hedwig and the Angry Inch before Riverdale comes back this week for their Hedwig musical episode. We’re getting very nervous about how Riverdale is going to handle this, given their track history visiting gratuitous, awful trauma on their queer characters. Because Hedwig is a complicated story about queerness, trauma, love, pain, and redemption, and with a singular vision of its creator, John Cameron Mitchell. It’s an outstanding film that’s both firmly rooted in the time it was made while also being incredibly universal and poignant. In fact, it’s probably the best rock opera ever produced, and we don’t say that lightly. So before Riverdale takes a crack at it, go watch the film and listen to our review of an amazing, profound, and extremely fun film in Macintosh & Maud Haven’t Seen What?!! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Interstitial music taken from "Make Up" from the compilation album Kamelot by Distortions. Licensed under an Attribution-NonCommercial-NoDerivatives 4.0 International license. To hear the song or get more information about the artist, visit the song page at Jamendo. Excerpts taken from the film Hedwig and the Angry Inch, copyright 2001 New Line Productions, Inc. All rights reserved. Excerpts taken from “Angry Inch” and “Wig in a Box” from the original motion picture soundtrack of Hedwig and the Angry Inch, with music and lyrics by Stephen Trask, and performed by John Cameron Mitchell, Miriam Shor, Perry James, Ted Liscinski, Stephen Trask, and Bob Mould. Copyright 2001 Hybrid Recordings.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of a cast member in brownface, racism, sexism, violence, drunkenness and drinking, grief, trauma, murder, revenge. This week, long-time friend of the pod Kate Harlow of The Space-Agers is here to rein in our expectations with the messy, lesser sequel of Casino Royale that is still seen as a relative low point in the Craig era. Nothing about this movie is particularly bad or patently ridiculous, but the sum of its parts don’t add up to a cohesive Bond movie. Director Marc Forster isn’t known for action, and he wasn’t even a big fan of the franchise. Mix in some extremely problematic casting for our Bond girl, and it’s off to the races with a decent film that never really stood a chance. We try to make sense of what went wrong as we review Quantum of Solace this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Quantum of Solace, copyright 2008 United Artists Corporation, Danjaq, LLC, and Columbia Pictures Industries, Inc. Excerpt taken from "Another Way to Die," written by Jack White and performed by Jack White and Alicia Keys. Copyright 2008 Columbia PIctures Industries, Inc. and Metro-Goldwyn-Mayer Studios Inc.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Sexism, misogyny, violence, murder, assassination, trauma, language. This week, Andrew of the incomparable Keanu-cast Cool Breeze Over the Mountain is here to praise the biggest game-changer in the entire Bond franchise. Like, no one was ready for what Barbara Broccoli was planning in 2006 when she finally got the rights to tell James Bond’s origin story. We’ve already talked about the travesty of the 1967 screwball comedy disaster, but this - this movie stands alone as a pretty damn good movie without any of the Bond baggage attached. There’s an origin story, breathtaking stunt work, a fully-realized set of characters including a cheeky, murderous Bond and truly real, vulnerable Bond Girl in Vesper. And oh, did we mention Daniel Freaking Craig?! Yeah, he’s here, making a big, BIG statement about what James Bond will be for the foreseeable future. We’re ushering in a new era as we discuss 2006’s Casino Royale this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Casino Royale, copyright 2006 Danjaq, LLC, United Artists Corporation, and Columbia Pictures Industries, Inc. Excerpt taken from "You Know My Name," written by Chris Cornell and David Arnold, performed by Chris Cornell. Copyright 2006 Suretone/Interscope Records. Excerpt taken from “Thunderball,” written and performed by Johnny Cash. Copyright 1965, 2013 Sony Music Entertainment. Excerpt taken from “Miserlou,” written by Chaim Tauber, Fred Wise, Milton Leeds, and Nicholas Roubanis. Performed by Dick Dale and his Del-Tones. Copyright 1962 Colonial Music Pub. and Monsour Publishing Co.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of whitewashing, racism, sexism, misogyny, violence, torture. Also, one clip that contains the sound of gunshots and breaking glass [7:32-8:09]. This week, Becca of Magic Folk is here to talk about the most wild, weird, so-bad-it’s-kind-of-amazing entry in the Bond franchise. I mean, this movie is bonkers, bouncing back and forth between a cartoon villain plot and some real dark struggles for Bond after being, let’s see, imprisoned and tortured behind enemy lines in North Korea. And if that’s not bonkers enough, how about a director who created a weeks-to-months long delay over, admittedly, a really cool car chase, or caused an international incident by opening his mouth to the press? For its 40th anniversary and 20th film, the Bond franchise took a huge swing for the fences and didn’t just miss, they threw the bat in the stands and fell on their faces. And yet - it’s not the worst Bond film we’ve seen??!?!? Join us for a wild ride through Die Another Day this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Die Another Day, copyright 2002 United Artist Corporation and Danjaq, LLC. Excerpt taken from "Die Another Day", written by Madonna and Mirwais Ahmadzaï, and arranged by Michel Colombe. Performed by Madonna. Copyright 2002 Warner Bros. Records Inc. Excerpt taken from “London Calling,” written by Joe Strummer and Mick Jones, and performed by The Clash. Copyright 1979 CBS Records.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of misogyny, sexism, violence, psychosexual relationships, abuse and codependence, "Stockholm Syndrome". This week, Kayla of Gates of Orchid and Iris and DM Dalliance joins us to go through a real low point for Bond. This probably isn’t the worst Bond movie we’ve seen, but it’s definitely in line to be the most mediocre Bond film we’ve seen. In fact, this movie has the unfortunate distinction of being the only time in our memories where we can pinpoint the exact line upon which this movie starts to nosedive into being terrible. The writing is just full of plotholes and character gaps, and the directing is completely off-base, but perhaps most disappointing is how tired Brosnan seems - we’d hoped not to see another Bond give up on the franchise, but it’s sure feeling like it in this movie. We’re struggling through The World Is Not Enough this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film The World is Not Enough, copyright 1999 Danjaq, LLC and United Artist Corporation. Excerpt taken from the film Tomorrow Never Dies, copyright 1997 Eighteen Leasing Corporation and Danjaq, LLC. Excerpt taken from “Tomorrow Never Dies,” written by David Arnold with lyrics by Don Black, and performed by Garbage. Copyright 1999 MCA Records, Inc. Excerpt taken from “Gimme the Prize (Kurgan’s Theme)” written by Brian May and performed by Queen. Copyright 1986 Raincloud Productions Ltd. / Queen Productions Ltd.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Murder, dead bodies, gaslighting, manipulation, paranoia, suggestions of dissociative identity disorder, drugs, memory loss, death, underage drinking. This week, our librarian friend James Wilcox joins us for a Bond film that really had no right being as good as it was. I mean, they started shooting a Thanksgiving release in April and had no completed script at that time. The whole set seemed chaotic and frantic, yet somehow, Canadian director Roger Spottiswoode managed to piece together a pretty good Bond flick with only one real problem - THE DIALOGUE IS SO BAD. I mean, it’s a pun every 3 minutes or so with little to no meaningful interaction between characters, and it’s just laughable. And those puns - EDIFICE COMPLEX?!?! Still, we’re decently impressed by this movie, and it’s worth rewatching even if it’s one of the sillier entries in the franchise. We’re discussing Tomorrow Never Dies this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Tomorrow Never Dies, copyright 1997 Eighteen Leasing Corporation and Danjaq, LLC. Excerpt taken from “Tomorrow Never Dies,” written and performed by Sheryl Crow. Copyright 1997 A&M Records Inc. Excerpt taken from “Surrender,” written by Don Black and David McAlmont and performed by k.d. lang. Copyright 1997 Metro-Goldwyn-Mayer Inc.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of misogyny and womanizing, sexual harassment. This week, Jen and Micah of I Never Saw That join us for a movie on their timeline and on our radar from 1995! It took 6 years to make the next Bond film after Licence to Kill, but the wait was most definitely worth it. Pierce Brosnan is hooooooottttt and yet also fun, charming, and roguishly dangerous. New writers and a new director are also in the mix and IT SHOWS, from top-notch, pedal-to-the-metal action sequences to a smart but simple plot, and characters that feel honest and real without distracting from what we’re all really here to see. It’s definitely a little cheesy, and a little over the top, but there’s no denying that this movie revived and maybe even truly established Bond as a legacy film franchise. We’re talking about GoldenEye this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film GoldenEye, copyright 1995 Danjaq, LLC and United Artists Company. Excerpt taken from “GoldenEye,” written by Bono and The Edge, and performed by Tina Turner. Copyright 1995 Metro-Goldwyn-Mayer Inc. All Rights Reserved.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of racism, violence, specific acts of violence in the film, sex, misogyny. It’s officially season 4 of Macintosh & Maud Haven’t Seen What?! but instead of taking a break, we’re already on the clock to finish our James Bond film watch before we see the 20th Bond film, No Time to Die. So we’re kicking things off with an epic double-feature of the Bond that time forgot, the man who could have been Bond as early as 1968. That, of course, is Timothy Dalton, an incredibly charming and dashing Bond with an undercurrent of violence and tension. Watching these two movies now, you’re left wishing Dalton had been on board as early as For Your Eyes Only to take over the mantle from the clearly gassed Roger Moore. By 1987, though, action films had been radically transformed, and even with a good-faith attempt to update their feel, Eon Productions failed to deliver satisfying stories and characters to match a strong vibe Dalton was bringing to the table. Secretly, many think Dalton might be the best Bond ever, but we can’t know because the team surrounding him just didn’t know how to make the leap into a new era. We’re discussing The Living Daylights and Licence to Kill this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Musical excerpts can be found at the episode website. Excerpt for the Spooky Bond segment taken from “Dark Drone.flac,” created by jdagenet on the Freesound platform. Licensed under a Creative Commons 0 License. Find the file on Freesound here.

Find us at: iTunes Spotify Patreon We’ve seen all the films, now it’s time to hear the awards. We wrap up Oscars ‘67 by discussing the 40th Annual Academy Awards with all the winners, surprises, and big moments. And, we even spend a little time wondering why the Academy doesn’t take a page from its past and re-introduce some elements from this broadcast that would work really well today. It’s a time-traveling Oscars-sode this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken of the introductory music for the 1968 Academy Awards, arranged and conducted by Elmer Bernstein, and performed by the Academy Awards Orchestra. Excerpts taken from archival footage of the 40th Annual Academy Awards, provided by the Academy of Motion Picture Arts and Sciences. The full playlist of available clips from the ceremony can be found on YouTube. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC.

Find us at: iTunes Spotify Patreon We’re here with our review of the 2020 Academy Awards, where the show is so self-congratulatory you can almost smell the collective heads up posteriors. Seriously, it was a boring mess of a ceremony, but that didn’t stop us from shouting with delight at Parasite taking home 4 Oscars, including Best Picture. In a year in which the Academy once again showed its uncanny ability to have no clue how movies work or what makes them good, it nevertheless honored the most outstanding, pointed, and meaningful film this year to a master director and a country that just might have one of the best cinema scenes in the world. Get hype, go see Parasite, and check out our special recap of the 2020 Oscars on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of murder, abusive husbands, abuse of power, abuse against women, violence, hanging, death penalty, true crime. For our final film in the Oscars ‘67 series, we’re tackling a movie that’s both ahead of its time but also not artful enough to make its point in a solid way. Truman Capote’s nonfiction novel invented the true crime genre, and this film brought it, along with neo-realism, to the big screen. But the closer this movie hewed to Capote’s story and the details of a Kansas murder, the more it rode into the uncanny valley. Robert Blake and Scott Wilson are making incredibly unique and interesting acting choices, but it doesn’t feel like they know how they relate to each other. The movie focuses so much on the details, the timeline, the plot, that it just completely misses the emotional weight this story offers. We finish our series with In Cold Blood (1967) this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “In Cold Blood,” composed and conducted by Quincy Jones. Copyright 1967 Colgems Records, Inc..

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of war crimes, rape, murder, misogyny, violence toward women, hanging, WWII executions, war, mentions of racism. We don’t watch a lot of war films here at Mac & Maud HQ, but as we worked through 1967, we couldn’t help but watch one of the most iconic action films of all time. It’s hard to enjoy this movie on its own merits, since so many other movies have used this premise since. At the time, though, this film was working on a much deeper and darker level, a re-examination of war and the men who fight it. By making the heroes of this film convicted war criminals, waiting for a hangman’s noose, the comedy and camaraderie of the men is meant to thrill and terrify us. At the time, this movie The Dirty Dozen (1967) this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Main Title from 'The Dirty Dozen'," composed by Frank DeVol. Copyright 1967 MGM Records, a division of Metro-Goldwyn-Mayer, Inc. Excerpts taken from the film The Dirty Dozen are 1967 Turner Entertainment, Co and Warner Bros. Entertainment. All Rights Reserved.. Excerpt taken from “In Cold Blood,” composed and conducted by Quincy Jones. Copyright 1967 Colgems Records, Inc..

Find us at: iTunes Spotify Patreon STRONG CONTENT WARNING: Racism as a plot point, and the use of two terms in the bio and description of two cast characters. Also, misogyny, discussion of anti-semitism, and abduction of women. We went into this one expecting a fun, whimsical romp of a musical to cleanse the palette after several serious films in a row. Instead, we got a fun, whimsical romp of a musical that just so happened to lean into racism in a truly awful way. About 75% of this movie is great and fun and different than just about any movie musical. But that other 25% - it creates a major plot point out of racial stereotypes that isn't just problematic, it's patently offensive. We love Julie Andrews and Mary Tyler Moore; we think Carol Channing is simply divine; and George Roy Hill's directing is entirely his own. But the story of this movie went so hard for such a terrible plot device, that as much as we enjoyed the main story, it's up in the air as to whether we can recommend this movie. This week, we’re watching Thoroughly Modern Millie on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Prelude: Thoroughly Modern Millie," arranged and conducted by Andre Previn and performed by Julie Andrews. Copyright 1967 MCA Records, Inc. Excerpt taken from the film Thoroughly Modern Millie is copyright 1967 Universal Studios and Ross Hunter Productions, Inc. Excerpt taken from "Main Title from 'The Dirty Dozen'," composed by Frank DeVol. Copyright 1967 MGM Records, a division of Metro-Goldwyn-Mayer, Inc.

Find us at: iTunes Spotify Patreon STRONG CONTENT WARNING: Racism and discussions of racism in the deep south. Also, violence, murder, misogyny and abuse of women. Last year, the Academy championed a film that explicitly whitewashed Southern racism by centering an amazing black story on his white chauffeur. It’s not the first time they would do this, and it certainly won’t be the last. But the bitter taste that Green Book left has colored most films dealing with racism and the South that we’ve viewed since then. Enter a breath of fresh air this week, with a movie that doesn’t try to hide the evil, pervasive nature of racism and Jim Crow. It’s not perfect, and it pulls its punches strategically, but it’s light years ahead of what Hollywood often accepts as commentary on racism. Perhaps it’s the crackling, tense energy of Sidney Poitier and Rod Steiger that elevates the film, but it might just be how honest and raw the movie feels. This week, we’re watching In the Heat of the Night (1967) for Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "In the Heat of the Night," written by Quincy Jones with lyrics by Alan and Marilyn Bergman, and performed by Ray Charles. Copyright 1967 United Artists Records, Inc. Excerpt taken from the film In the Heat of the Night are copyright 1967 Metro-Goldwyn-Mayer Studios Inc. All rights reserved. Excerpt taken from "L'il Red Riding Hood," written by Ronald Blackwell and performed by Sam the Sham and the Pharaohs. Copyright 1967 Metro-Goldwyn-Mayer, Inc. Excerpt taken from "Prelude: Thoroughly Modern Millie," arranged and conducted by Andre Previn and performed by Julie Andrews. Copyright 1967 MCA Records, Inc.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of incdeints of animal cruelty and negligence, mtions of racism and anti-Semitism. Well, we did it, everyone. We found the worst movie. Literally, this is now our worst rated film of all time, and it’s not even close. The entire production was a fiasco of epic proportions, and that’s before Rex Harrison’s complete and utter lack of energy in the role. Seriously, there’s nearly two hours of movie before anything of consequence happens in this movie, and even then it’s still pretty awful. And the only reason it’s on our list is that it got nominated for 9 Academy Awards. We continue our ‘67 Oscars series with the abominable, abysmal, awful Doctor Dolittle (1967) on this episode of Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Clip from the main title sequence of Doctor Dolittle was written and composed by Leslie Bricusse and conducted by Lionel Newman. © 1967 Apjac Productions, Inc. and Twentieth Century Fox Film Corporation. Renewed 1995 Twentieth Century Fox Film Corporation. Clip from "Star Wars (Main Theme)" composed by John Williams and performed by the London Symphony Orchestra, conducted by John Williams. Copyright 1977 Lucasfilm, Ltd. Excerpt taken from Babes in Toyland (1986), copyright 1986 Orion Pictures Corporation. All rights reserved. Excerpt taken from "In the Heat of the Night," written by Quincy Jones with lyrics by Alan and Marilyn Bergman, and performed by Ray Charles. Copyright 1967 United Artists Records, Inc.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussion of violence, torture, prisons, labor camps, sadistic wardens, death of a loved one, prayer and Christian iconography. 1967 was a year of change, with the growth in revolutionary ideas, escalation of the war in Vietnam, and the “Summer of Love”. So it’s fitting that one of the real big award contenders that year was a prison chain-gang movie about refusing to conform with societal standards. One that just so happened to have the dashing, blue-eyed, cooler than cool Paul Newman at its helm. And while this movie isn’t perfect - it suffers a bit of Kubrick rule fatigue and sometimes belabors the point - there’s something both charming and haunting at the core of this film. We’re brought to a place where even the most iron-willed person will eventually get broken by authority, even if that person might go out with a giant smirk on his face. We continue our ‘67 Oscars series with Cool Hand Luke on this episode of Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken of the introductory music for the 1968 Academy Awards, arranged and conducted by Elmer Bernstein, and performed by the Academy Awards Orchestra. Excerpt taken from “Main Title” from the motion picture Cool Hand Luke, composed by Lalo Schifrin. Copyright 1967 Warner Bros.-Seven Arts. Clips from Cool Hand Luke are copyright 1967 Warner Bros. Entertainment Inc. All rights reserved. Clip from the pilot episode of Cheers, "Ring Me Up Sometime," is copyright 2011 CBS Corp. Clip from the main title sequence of Doctor Dolittle was written and composed by Leslie Bricusse and conducted by Lionel Newman. © 1967 Apjac Productions, Inc. and Twentieth Century Fox Film Corporation. Renewed 1995 Twentieth Century Fox Film Corporation.

Find us at: iTunes Spotify Patreon We’re embarking on our most ambitious series yet for this movie review show - the major Oscar nominees of 1967. The year is loaded with classic movies that truly challenged the idea of what stories Hollywood could tell and what audiences wanted to see. And no movie embodies that more than this week’s entry, a dizzying, unpolished, proto-indie gangster movie about two of Texas’ most notorious bank robbers. This movie has some amazing technical feats and one of the coolest vibes ever. Yet there’s a big lack of substance and story in the writing, and no amount of great supporting acting or wild-paced editing can fix it. The result is a movie that’s truly iconic of its time and hugely influential, but just doesn’t hold up any more. We watched Bonnie and Clyde for this inaugural ‘67 Oscars episode of Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken of the introductory music for the 1968 Academy Awards, arranged and conducted by Elmer Bernstein, and performed by the Academy Awards Orchestra. Clips from Bonnie and Clyde are copyright 1967 Warner Bros. Entertainment Inc. All rights reserved. Excerpt taken from “Main Title” from the motion picture Cool Hand Luke, composed by Lalo Schifrin. Copyright 1967 Warner Bros.-Seven Arts.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions ofemotional abuse, neglect, and gaslighting of women and female characters; poor representation; horror themes and fears of children. We’re rounding out 2019 with holiday and Christmas(ish) movies this year, starting with this recent classic that one of us (cough David cough cough) hadn’t already seen. It’s not for lack of trying either - he’s probably seen the first half several times, but just never made the time to watch the whole film. But is that just quintessential Macintosh, or is this movie only for a specific audience? That, of course, being an audience who’s really into the dark moods and imagery of creative force Tim Burton and director Henry Selick. Danny Elfman plants his flag as one of our greatest living composers (and a damn fine singer) in this film, but despite everyone’s best efforts, there’s something a little flat about this canonical holiday movie - we’re just not exactly agreed on what that is. Join us for a review of The Nightmare Before Christmas this week on Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpts taken from “What’s This?,” “Kidnap the Sandy Claws,” and “Oogie Boogie’s Song” are all from the original motion picture soundtrack The Nightmare Before Christmas, with music and lyrics by Danny Elfman. © 1993 Buena Vista Pictures Distribution, Inc. and The Walt Disney Company, phonographic copyright 1993 Buena Vista Music Company. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Jingle bells effect taken from “Jingle bells.wav” created by user ‘juskiddink’ on the Freesound platform. Licensed under an Attribution 3.0 Unported (CC BY 3.0) license. To get additional information or download the sound, visit Freesound.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of insensitive jokes about pedophilia, fighting between siblings, excessive drunkenness, vomiting, collegiate drinking, poor depictions of suicidal characters. We finish up our road trip this week with the final film in our little Griswold excursion, and this time, it’s Rusty taking the family on a cross-country adventure. Automatically, though, there’s a shift for the better in this movie, which owes far more to Adam McKay, Judd Apatow, and Todd Philips than Harold Ramis or Chevy Chase. Ed Helms is even more oblivious than Clark ever was, but is also earnest and loving, and feels like a real dad. Christina Applegate gets to play the anti-Ellen Griswold, and is all the funnier being the badass mom we always wanted. And our two kids in this movie are trope-busting, profanity-stacked perfection. The movie’s got its problems, punching down too often, and milking really tough jokes for laughs when we really don’t need them to keep going. But still, it’s worth it for the closest we’ve come to a truly great Vacation film.. We review 2015’s Vacation on this week’s episode of Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt used from “Holiday Road,” written and performed by Lindsey Buckingham. Copyright 1983 Now Sounds Music (BMI). Phonographic copyright 1983 Warner Bros. Records. Clips from the film Vacation are © 2015 Warner Bros. Entertainment Inc. and RatPac-Dune Entertainment LLC. All Rights Reserved. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Jingle bells effect taken from “Jingle bells.wav” created by user ‘juskiddink’ on the Freesound platform. Licensed under an Attribution 3.0 Unported (CC BY 3.0) license. To get additional information or download the sound, visit Freesound.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of misogyny, gambling addiction, sex workers, teen gambling. Our movie this week is often thrown out as an absolute low point for Chevy Chase’s career. After a pretty dull run through the late 80’s and a disastrous attempt at a late-night talk show, Chevy clearly made a money grab for the character that made him America’s most oblivious dad. This time, though, the adults take a backseat to the kids, and Rusty and Audrey get major upgrades in writing and, honestly, acting from Mac & Maud faves Ethan Embry and Marisol Nichols. Mostly, though, the movie has a plot, sticks to it, and gives us some decent laughs along the way. And from a franchise like this, that’s about the best you can ask for. We review Vegas Vacation on this week’s episode of Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt used from “Holiday Road,” written and performed by Lindsey Buckingham. Copyright 1983 Now Sounds Music (BMI). Phonographic copyright 1983 Warner Bros. Records. Clips from the film Vegas Vacation are copyright 1997 Warner Bros. Entertainment Inc. All rights reserved. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of fatphobia, sexual harassment, sexual harassment of underage teens, sexism, misogyny. This week’s Griswold adventure is a true cable classic, and honestly, it’s earned that title. Amy Heckerling, a director we just cannot escape on this show, manages to punch up the funny and puts Clark and Ellen on equal footing. Which is good, because Beverly D’Angelo is kind of awesome. It’d just be nice if they could make the kids interesting at all, and not the absolute worst. There’s a good, healthy ick factor here, but as far as dumb 80’s comedies go, we’ve seen worse. We talk about National Lampoon’s European Vacation this week on Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt used from “Holiday Road,” written and performed by Lindsey Buckingham. Copyright 1983 Now Sounds Music (BMI). Phonographic copyright 1983 Warner Bros. Records. Clips from the film National Lampoon's European Vacation are copyright 1985 Warner Bros. All rights reserved. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of infidelity, womanizing, racism, death of an animal, anxiety, stress, threats of violence, family dysfunction, strong language. We’ve gassed up the Wagon Queen and we’re headed across country with the Griswolds to kick off this holiday season. Diana hadn’t seen any of the Vacation series except for Christmas Vacation, so what better time to revisit these comedy classics? Although we might have spoke too soon - perhaps classic isn’t the right term. This original film requires a lot of suspension of disbelief, mostly on the terms that Clark Griswold is a likeable, goofy dad. Because he’s actually kind of a creep. It doesn’t help that Ellen has little to no agency, and Rusty and Audrey are…fine… There’s still a lot of funny here, but maybe not as much as there used to be. Strap yourself on the roof and get ready for a Griswolds-Giving this month on Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt used from “Holiday Road,” written and performed by Lindsey Buckingham. Copyright 1983 Now Sounds Music (BMI). Phonographic copyright 1983 Warner Bros. Records. Clips from the film National Lampoon's Vacation are copyright 1983 Warner Bros Entertainment Inc. All rights reserved. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon STRONG CONTENT WARNING: This episode discusses Dissociative Identity Disorder (DID) and this film’s exploitative portrayal of that disorder. In the course of researching this episode, we learned that this film had a strong negative impact on the DID community, and that it has and could cause trauma for individuals with DID. As well, the film deals with child sexual abuse, kidnapping, violent murder, biological horror, obsessive-compulsive disorder, and cannibalism. Maybe don't watch this movie. On our first watch of the final film in our Shyamalan-tober series, we thought we might have a really great return from M. Night. There’s a compelling and interesting story on the backs of several outstanding performances - James McAvoy gives a master class in characterization while Anya Taylor-Joy takes the movie on her shoulders and keeps everything grounded and real. Yet after a few moments of reflection, it became staggeringly clear that this movie might be his most frustrating and harmful. By centering the entire premise of his movie around a villain struggling with a mental illness, and disregarding the very real trauma that people with such disorder have experienced, Shyamalan has made something worse than just a “bad movie.” He’s made a compelling, good movie with the message that “this mental illness creates monsters.” And in doing so, proved conclusively that he should never write his own scripts. We tell you the reasons you probably shouldn’t watch Split, even if it’s not that bad, this week on Macintosh & Maud Haven’t Seen What?!. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Clips from the film Split are copyright 2017 Universal Studios. All rights reserved. Excerpt used from “Holiday Road,” written and performed by Lindsey Buckingham. Copyright 1983 Now Sounds Music (BMI). Phonographic copyright 1983 Warner Bros. Records. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of disabilities and disabled people, male privilege, patriarchal attitudes. This year we’re celebrating the Halloween season with a review of the films of the polarizing master (?) of suspense, M. Night Shyamalan. Shyamalan’s always been a bit of a disputed figure in movies, and his track record has been mixed, but is that just critical opinion or is it reality? We’re starting things with a superhero movie that revels more in its mediocrity than its rich concept and film-making. There’s a lot that should work with this movie, but in the end we’re just left scratching our heads, and a little bored. Join us as we discuss 2000’s Unbreakable this week on Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Clips from the film Clueless are © 1995, 2006 Paramount Pictures. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CONTENT WARNING: Discussions of sexual harassment, a story choice involving step-siblings being romantically involved. We’re wrapping up our female directors series with the ur-teen comedy that helped kick off movies that defined a generation of high school teens - except maybe David, who hasn’t seen any of them. We’ve tackled some big movies on that list, but possibly none more formative and important than this 1995 film from Amy Heckerling, the director of another seminal teen comedy, Fast Times at Ridgemont High. While there’s jokes and premises that have aged very poorly, and some hit-and-miss performances, there’s a reason this film has lasted as a new classic. And that reason is Paul Rudd. Because, I mean, it’s Paul Rudd. We discuss 1995’s Clueless this week on Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including our review of Patrick Swayze's surfing classic with the majestic Keanu Reeves, Point Break! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Clips from the film Clueless are © 1995, 2006 Paramount Pictures. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CW: Violence including violence against women, casual sexism, and sexual harassment. Roger Moore…in a good Bond film? Who knew? Well, most Bond experts, but also Macintosh & Maud Haven’t Seen What?!, now that we’ve seen this arguably classic spy film. There’s giant boats and nuclear submarines, a car that goes underwater, a gorgeous KGB agent and THE HORNIEST JAMES BOND OF ALL TIME. Not creepy horny, just HORNY HORNY. It’s adorable, and we love it. So join us for a discussion of Roger Moore’s best Bond outing, The Spy Who Loved Me! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including two Bond specials, 1967’s Bond spoof Casino Royale and the 1983 non-Broccoli Bond remake Never Say Never Again! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Clips from The Spy Who Loved Me © 1977 Danjaq, LLC and United Artists Corporation. Excerpt taken from from "Main Title (Theme from Jaws)," written and composed by John Williams. © 1975 Universal Pictures, MCA Records, Inc. Clip from Austin Powers: International Man of Mystery © 1997 Dnew Line Productions, Inc. All Rights Reserved. Excerpt taken from from "Nobody Does it Better," written and composed by Marvin Hamlisch and Carole Bayer Sager, and performed by Carly Simon. © 1977 Elektra Records, United Artists Records. Excerpt taken from “Moonraker” written by John Barry and Hal David, and performed by Shirley Bassey. © 1979 Danjaq, S.A. & United Artists Music and Records Group, Inc.. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

harassment. This week, Macintosh & Maud Haven’t Seen What?! returns to the relatively safe harbor of mediocre Bond films. ‘Cause let’s be honest, anything would have been an upgrade from the garbage pile we witnessed last week. Roger Moore is really making his own space as Bond, and Christopher Lee really sells Scaramanga as a classic villain of the franchise, third nipple and all. On the other hand, both our Bond ladies are thoroughly one-dimensional, either the butt of jokes or the subject of Bond’s and Scaramanga’s violence. And then there’s the Wonderful World of Disney shooting gallery for Scaramanga…it’s just a bit much. it all evens out to middle this week as we review The Man With the Golden Gun! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpt taken from “You Only Live Twice,” written and composed by Leslie Bricusse and John Barry, and performed by Nancy Sinatra. ℗ 1967, 2012 Capitol Records LLC. Clip from On Her Majesty’s Secret Service © 1969 United Artists Corporation and Danjaq, LLC. Clips from The Man WIth the Golden Gun © 1973 United Artists Corporation and Danjaq, LLC. Clip from Fantasy Island © Sony 1978 CPT Holdings, Inc. All Rights Reserved. Clip from Mulan © 2004 Disney, All Rights Reserved. Excerpt taken from from "The Man with the Golden Gun," written and composed by John Barry and Don Black, and performed by Lulu. © 1974 Chelsea Records, United Artists Records. Excerpt taken from from “Man with the Golden Gun," written and performed by the Alice Cooper group. ℗ © 1973 Warner Bros. Records Inc. Excerpt taken from from "Nobody Does it Better," written and composed by Marvin Hamlisch and Carole Bayer Sager, and performed by Carly Simon. © 1977 Elektra Records, United Artists Records. Excerpt taken from “Thunderball” written and performed by Johnny Cash. © 1965, 2011 Sony Music Entertainment. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CW: Gaslighting, rape, casual misogyny, brief mention of incels, emotional abuse. We’re in between series right now, and as we reached for our grab bag, our listener Bill reached out and suggested this fairly fantastic John Cusack double feature! We’re here to swoon over the awkward, scruffy stray puppy charm of Lloyd Dobler and rip his evil, misogynist twin Rob Gordon to shreds. It’s fascinating watching these two movies back to back; while Cameron Crowe gives us high school love in its purest, most earnest form, Cusack and his writing partners find no redemption for Rob, a total villain and wretched man who learns nothing in 2 hours and change. This week, Macintosh & Maud Haven’t Seen What?! reviews Say Anything… and High Fidelity. Plus, we, like most of America, saw Avengers: Endgame, and we offer a very brief, SPOILER-FREE review. Because Thanos demands silence. Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Clips from Say Anything… © 1989 Twentieth Century Fox Film Corporation. All rights reserved. Clip from “In Your Eyes” written and performed by Peter Gabriel. ©℗ 1986 The David Geffen Company. Clip from “A Girl Like You” written by Pat DiNizio, performed by The Smithereens. ©℗ 1989 Enigma/Capitol Records. Clip from “Little Red Book” written by Burt Bacharach and Hal David, performed by Love. © 1966 Elektra Records. Clips from High Fidelity © 2000 Touchstone Pictures, All Rights Reserved. Excerpt taken from "James Bond Theme" written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon CW: War, Death, Abuse, Military, Suicide, Murder, Sex Work, Vietnamese and Asian stereotypes, harsh language, Fatphobia. Full Metal Jacket is a staggering portrayal of the inhumanity of war that was completely overshadowed by Oliver Stone’s war masterpiece Platoon. The production was legendarily lengthy, and by the time it was complete, the audience just didn’t show up. Yet despite the fact that this movie would probably be near-perfect if it ended halfway through, this movie has some of the best performances we’ve seen from a Kubrick film yet. it’s a bit of a mess, but Full Metal Jacket is arguably Kubrick’s best film…and we’ll debate that today on Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Clip from “Leonard” taken from the soundtrack to Full Metal Jacket, composed by Abigail Mead (aka Vivian Kubrick). © 1987 Warner Bros. Records Inc. Clips used from the film Full Metal Jacket, Copyright 1987 Warner Bros. Entertainment Inc. All rights reserved. Clip used from the television series Firefly © 2002 Twentieth Century Fox Film Corporation. Clip from “September” written by Maurice White, Al McKay, and Allee Willis and performed by Earth, Wind & Fire. From the album The Best of Earth Wind & Fire Vol. 1, ℗ 1975, 1976, 1977, 1978 CBS Inc. Clip from “Go for It! [Heart and Fire]” written by Michael Kelly, James Earley, Joey B. Ellis and Tynetta Hare; performed by Joey B. Ellis & Tynetta Hare. ℗ © Bust It/Capitol Records. From the film Rocky V. Clip from “Me So Horny” written and produced by Luke Skyywalker and The 2 Live Crew. ℗ © 1989 Skyywalker Records. Clip from “Musica Ricercata II (Mesto, Rigido E Ceremoniale)” composed by György Ligeti and performed by Dominic Harlan. ©℗ 1999 Reprise Records for the U.S. and WEA International Inc. for the World outside the U.S. Clip from “In Your Eyes” written and performed by Peter Gabriel. ©℗ 1986 The David Geffen Company. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon Space has never felt so epic, so real, and so vast as in Kubrick’s 1968 masterpiece, 2001: A Space Odyssey. The sheer scope and magnitude of the movie makes it one of film’s finest achievements, but does it hold up as a good science fiction movie? This week, we discuss the powder-colored spaceships of the future, Stanley Kubrick’s merits as a screenwriter, and just what happens when your very trippy finale happens to coincide with the emergence of LSD as the nation’s drug of choice. Take a ride beyond the moons of Jupiter and into a new evolution this week with Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify or your favorite podcatcher, and tell your friends. Clip from “Thus Spake Zarathustra” composed by Richard Strauss and performed by the Vienna Philharmonic Orchestra, conducted by Herbert von Karajan. ℗ 1996 Turner Entertainment Co. under exclusive license to Sony Music Entertainment, Inc. All Rights Reserved. Clip from “The Blue Danube” composed by Johann Strauss and performed by the Berlin Philharmonic Orchestra, conducted by Herbert von Karajan. ℗ 1996 Turner Entertainment Co. under exclusive license to Sony Music Entertainment, Inc. All Rights Reserved. Sound effect created by user kb7clx at Freesound.org. Sound licensed under a Creative Commons CC0 1.0 Universal (CC0 1.0) Public Domain Dedication license. Clip from “Echoes” written and performed by Pink Floyd from their 1971 album Meddle. ℗ 2016, copyright owned by Pink Floyd Music Ltd., marketed and distributed by Sony Music Entertainment. Clip from “Requiem for Soprano, Mezzo Soprano, Two Mixed Chiors and Orchestra” composed by György Ligeti and performed by the Bavarian Radio Orchestra, conducted by Francis Travis. ℗ 1996 Turner Entertainment Co. under exclusive license to Sony Music Entertainment, Inc. All Rights Reserved. Clip from “Space Station Docking” composed by Alex North. ℗ 2012 Dylanna Music. All clips from 2001: A Space Odyssey © 1968 Warner Bros. Entertainment Inc. All Rights Reserved. Clip from “Title Music for A Clockwork Orange” composed by Wendy Carlos, based on Henry Purcell’s “Music for the Funeral of Queen Mary.” © 1972 Warner Bros. Records Inc. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Spotify Patreon We’re back for our 3rd season of movies, and we’re kicking off the year by going through the works of legendary director Stanley Kubrick. For our first entry, David has Diana watch the 1964 Cold War satire Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb. This was David’s first foray into a life-long love of Kubrick, but as we quickly learn, Kubrick’s refusal to provide context will be a bit of an issue throughout our series. Peter Sellers is incredible, the airplane sequences truly hold up, but if you’re not read up on the insanity of Cold War America and the nuclear threat, this movie might leave you behind. It’s going to be a fascinating month as we explore the stories, the trivia, and the debates surrounding Kubrick’s work this month on Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including an upcoming episode on Kubrick's final film, Eyes Wide Shut! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Clip from “The Bomb Run” composed by Laurie Johnson based on the folk song “Johnny Comes Marching Home Again.” Performed by the Prague City Philharmonic Orchestra, copyright 1999 Silva Screen Records America, Inc. All clips from the film Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb © 1963, renewed 1991 Columbia Pictures Industries, Inc. All Rights Reserved. Clip from “Also Sprach Zarathustra” composed by Richard Strauss and performed by the Berlin Philharmonic, conducted by Karl Böhm. ℗ 1968 Polydor International GmbH (Hamburg). Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Find us at: iTunes Google Play Spotify Patreon Misery is an odd entry in the horror franchise. It’s written like a prestige drama, directed by a comedy and coming-of-age director and features performances by two leads not known for their horror prowess. Yet with all these disparate elements, and despite some odd directing choices, this film holds up remarkably well. It’s no coincidence Silence of the Lambs  swept the Oscars the year after this - it’s the first Hollywood prestige horror film, and we’re reviewing it today on Macintosh & Maud Haven’t Seen What?! Macintosh & Maud have started a Patreon! Any little bit you can contribute helps, and we have special contributor-only content if you donate at the $2 level, including upcoming reviews of Scream 3 and Scream 4! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Stitcher or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. “Gonna Fly Now” taken from the Score for Rocky, written and composed by Bill Conti. ℗ 2015 United Artists Corporation. Full soundtrack can be found at iTunes and Amazon.

You voted for it. So now you get to hear us complain about it. We think it's only fair.Hello and welcome again to Macintosh and Maud Haven’t Seen What?! This week, we try to decide what’s worse - how bad this movie is, or how bad Audrey Hepburn sings in it. Fred Astaire does his best to entertain, but nothing in the known universe can save a musical from a bad script, bad songs and bad awkward acting. You voted for it, and now you get to hear us complain about it. Enjoy our review of 1957’s Funny Face!After the break we very reluctantly give a spoiler-free review of the seriously big deal Avengers: Infinity War. Overall, it's got heart and humor, and we genuinely enjoyed it. And that's all we're gonna say for now, though there could be a spoilercast soon. We'll let you know.You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram (macintosh.and.maud) and Facebook.If you like the podcast, make sure to subscribe and review on iTunes or your favorite podcatcher, and tell your friends.Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.Excerpts from the songs "Funny Face," "'S Wonderful," "How Long Has This Been Going On?," "Bonjour, Paris," and "Clap Yo' Hands" all taken from YouTube. All songs are from the original soundtrack to Funny Face. ℗© 1996 The Verve Music Group, a Division of UMG Recordings, Inc. You can purchase the album on Amazon or iTunes. Or don't and spare yourself from Audrey Hepburn's really bad singing.Excerpt of the song "Venus" by Shocking Blue taken from YouTube. ℗© Red Bullet. Find this song and their other albums at Amazon or iTunes. Seriously, Shocking Blue is a killer psychedelic pop band from The Netherlands that's worth the price of admission.Excerpt of the song "New York, New York" from On The Town taken from YouTube. Copyright Heaven And Earth Music. The original soundtrack with Gene Kelly and Frank Sinatra is available on Amazon and iTunes.Excerpt of the "James Bond Theme" taken from YouTube. ℗ 2013 Trunk Records. Soundtrack to Dr. No can be purchased on Amazon or iTunes. 

Re-releasing last week's episode to fix iTunes feed issues. Happy listening!It's our FIRST EVER GUEST as James from Unabashedly Obsessed and Blink and You'll Miss It is here to help use tackle a coming-of-age classic.Hello, and welcome to part 2 of a special two-part Macintosh & Maud Haven’t Seen What?! Macintosh and Maud are joined by James from Unabashedly Obsessed and Blink and You’ll Miss It to talk through a truly epic teen comedy. We talk about the 90’s teen hive mind, agree to disagree about Tom Cruise, and talk through maybe one of the best soundtracks ever released. Enjoy this extra-special review of the 1998 classic Can’t Hardly Wait!You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram (macintosh.and.maud) and Facebook.If you like the podcast, make sure to subscribe and review on iTunes or your favorite podcatcher, and tell your friends.Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.Excerpts from the following songs were taken from YouTube and are available on the Can't Hardly Wait Soundtrack, available via Amazon or iTunes. ℗ 1998 Elektra Entertainment Group, A Division of Warner Communications Inc. for the United States and WEA International Inc. for the world outside of the United States. © 1998 Columbia Pictures Industries, Inc. "Graduate" - Third Eye Blind"Can't Get Enough of You Baby" - Smash Mouth"Dammit" - blink-182"I Walked In" - Brougham"Turn It Up (remix) / Fire it Up [Clean]" - Busta Rhymes"Hit Em Wit Da Hee (Remix)" - Missy Elliott & Missy Elliott feat. Lil' Kim and Mocha"Swing My Way (Remix)" - KP & Envyi"Flashlight" - Parliament"It's Tricky" - Run-DMC"High" - Feeder"Tell Me What to Say" - Black Lab"Farther Down" - Matthew Sweet"Can't Hardly Wait" - The Replacements"Umbrella" - Dog's Eye View"Paradise City" - Guns N' RosesExcerpt from "Turn It Up" by Busta Rhymes taken from YouTube. ℗ 1997 Elektra Entertainment Group. © 1997 Elektra Entertainment Group. You can buy the track or the album, When Disaster Strikes, at Amazon or iTunes.Excerpt from "Romeo and Juliet" by DIre Straits taken from YouTube. ℗ 1996 Mercury Records Ltd. (London), under license to Warner Bros. Records © 2000 Warner Bros. Records Inc. You can purchase the song at Amazon or iTunes.Excerpt from "6 Underground" by Sneaker Pimps taken from YouTube. ℗ 2000 Clear Up Records Ltd. under exclusive license to Virgin Records America. All rights reserved. © 2000 Clear Up Records Ltd. You can purchase the song at Amazon or iTunes.Excerpt from "Open Road Song" by Eve 6 taken from YouTube. Copyright 1997 BMG Entertainment. You can purchase the song at Amazon or iTunes.Excerpt from "Cold Beverage" by G. Love & Special Sauce taken from YouTube. (P) 1994 Sony Music Entertainment Inc. You can purchase the song at Amazon or iTunes.Excerpt from "Mandy" as performed by Me First and the Gimme Gimmes taken from YouTube. (C) 1997 Fat Wreck Chords. You can purchase the song at Amazon or iTunes.

This is it. The song that broke them through. The song that put Blink-182 ON THE MAP! It’s a crossover episode today! I recorded with David and Diana (macintoshandmaud.com, Macintosh and Maud Haven’t Seen What?!) and then after we recorded this episode, we sat down for 2 hours to talk about a movie that this … Continue reading Episode 31 – Dammit →

It’s the most nervous Macintosh has ever been as we discuss one of his all-time favorite foreign films... Hello! and welcome to another episode of Macintosh and Maud Haven’t Seen What?! This week Macintosh transports Maud to 1960’s Hong Kong for a timeless film that redefines what a screen romance can be. Though he is on pins and needles hoping this movie holds up as well as when he saw it in high school... Enjoy this review of Wong Kar Wai’s 2000 classic In the Mood for Love!Then, after the break, we saw Ready Player One. Maud enjoyed it as standard popcorn fare. Mac? Well...he might have some bigger opinions on the matter...You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram (macintosh.and.maud) and Facebook.If you like the podcast, make sure to subscribe and review on iTunes or your favorite podcatcher, and tell your friends.Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.Excerpt from “SexyBack” by Justin Timberlake feat. Timbaland taken from YouTube. (P) 2006 RCA/JIVE Label Group, a unit of Sony Music Entertainment. You can find this literally anywhere. It’s JT for crying out loud.Excerpt from "Yumeji's Theme" by Shigeru Umebayashitaken from YouTube. ℗ First Name Soundtracks / Lantis Company Limited © Lantis Company Limited. Soundtrack appears to be out of print, but the song can be purchased at Amazon or iTunes.Excerpt from “Aquellos Ojos Verdes” performed by Nat King Cole taken from YouTube. ℗ 2015 ISJRDigital. You can purchase the song at Amazon or iTunes.Excerpt from “Angkor Wat Finale” by Michael Galasso taken from YouTube. (P)(C) 2000 Block 2 Pictures / Paradis Films. Soundtrack is out of print, but you can find the CD, used, available at Amazon.Excerpt from "The Rockafeller Skank" by Fatboy Slim taken from YouTube. ℗ 1998 Skint Records under exclusive license to Astralwerks. You can purchase the song at Amazon or iTunes.

It's Mollie's wedding anniversary, and she steps out of her comfort zone and heads to the sex shop to get a gift for her husband. Special guest Tirzah from Cupid's Closet sits with Mollie, Sherry, and Jenny V. to discuss what's trending in sex, what new moms can do to get their groove back, and how to spice up your marriage! She answers all the questions Mollie was too embarrassed to ask when she was shopping. What is a MILF in box? Do you need one? Why should you buy sex novelties in a store where you could be SEEN? What do you do with your OLD sex items? Tirzah fills the ladies in, and for the first time Mollie is shocked into SILENCE!