Podcasts about spader

We're returning to D.J. MacHale's Pendragon series with The Never War! This ridiculous (complimentary) alternate reality historical fiction sees Bobby heading to New York City, 1937. He's supposed to stop the Hindenburg from exploding and save the passengers aboard - OR IS HE??? We meet the wonderful Gunny, watch Spader go full Inigo Montoya and wonder how the heck Courtney and Mark are doing. Enjoy butterfly effect fury, concerns about parallel worlds sharing the same timeline, why Bobby can't just go kill Hitler and whether he's trapped in a cycle of grief avoidance. Ya know, regular middle grade SFF stuff!*Note - in spite of a promise to talk at length about season 2 of The Rehearsal, my favorite piece of media from 2025 so far, we had so much to say that there wasn't a chance to get to it. If you would like to discuss the intersection between The Rehearsal and The Never War, I beg you - get in touch.EPISODE MEDIAOther Pendragon episodes:The Merchant of DeathThe Lost City of FaarAdventure Time Islands miniseries episode - Imaginary ResourcesMUSIC - Pippin the Hunchback and Thatched Villagers by Kevin MacLeod (incompetech.com) - Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Pastors Alex and Chris dive into chair two of the Spader "system" and consider the challenges and pitfalls of this chair. To purchase "Four Chair Discipling" check this out - here. Which chair are you in?Key thought from this episode: How are you being built as a disciple? We look forward to hearing from you for future topics we might address!Email chris.stukenberg@parkhillsefc.org or check out parkhillschurch.com for more info.

“Whedon at the line….oh, no, another brick!” - Steve, on the screenplay clunkers On this week's episode, the 2025 Summer Blockbuster Extravaganza kicks off with a trip to Franchise Town as we discuss the fun, Spader-tastic sequel, Avengers: Age of Ultron! How great is James Spader with this Ultron performance? Are there too many characters in this fully-loaded movie? Should they have written mutant characters when they couldn't use the word ‘mutant' anywhere in the script? And would Ultron have been more menacing if he was given a big, mechanical mustache? PLUS: What in the world is going on with the Maximoffs' accents here? Avengers: Age of Ultron stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Samuel L. Jackson, Don Cheadle, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Cobie Smulders, Anthony Mackie, Hayley Atwell, Idris Elba, Linda Cardellini, Stellan Skarsgård, Claudia Kim, Thomas Kretschman, Andy Serkis, and James Spader as Ultron; directed by noted jerk, Joss Whedon. Today's episode is brought to you in part by Huel! Get Huel today with this exclusive offer for New Customers of 15% OFF + a FREE Gift with code WHM at https://huel.com/whm (Minimum $75 purchase). And also by Rocket Money! Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Download the Rocket Money app and enter our show name—We Hate Movies—in the survey so they know we sent you! Don't wait! Download the Rocket Money app today and tell them you heard about them from our show! Tickets are on sale now for our three-night residency during the Oxford Comedy Festival! We'll be doing six shows over three nights from July 18 through 20, doing shows like WHM, W❤️M, The Nexus, The Gleep Glossary, and Animation Damnation! Tickets are going fast, so friends over there, snag your tix!  Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.

In this week's exciting episode of Tabletopped, we boldly go where no gaming podcast has gone before! Join us as Nick sits down with game designers Al Spader and Michael Dismuke to discuss their work on the the second edition of Star Trek Adventures!In the episode:Al and Michael share their journey from Star Trek fans to official game designersDeep dive into the core mechanics changes in Star Trek Adventures 2.0How the team balanced staying true to Star Trek lore while creating engaging gameplayThe challenges of updating the original system while keeping what fans lovedBehind-the-scenes stories from playtesting sessionsToday's Guests:Al Spader: Lead designer for Star Trek Adventures 2.0, Al has been with the project since its inception and previously worked on numerous acclaimed RPG supplements. Find out more about Al HEREMichael Dismuke: Writer and game designer specializing in narrative development, Michael has contributed to multiple Star Trek Adventures sourcebooks and brings his passion for storytelling to the 2.0 edition. Check out his website HEREJoin our seasoned panel of GMs—Nick, Franco, Rio, and Shade—as we draw from over 50 years of Game Mastering experience to help you navigate the terrors of deep space gaming.LINKS!→ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tabletopped's website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠→ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠→ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠→ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check us out on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠! We have a new monthly pod as well as behind the scenes clips that you can get on a secret Spotify feed! We will also be dropping some more treats from time to time!Theme music by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mitch Poulin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Juliane er i studiet til snak om adoption for singler i Italien, hvordan euforiserende svampe egentligt smager, og om Frederik formår at kokkererer en anstændig dip.

This week, Drewby and Yergy head south to New Hampshire to discuss the case of Kimberly Cates, a mother from Mont Vernon who was killed in her bed after a group of teenage boys agreed to take “a test to make sure that we had the balls to do whatever.” That test was the brutal assault of a mother and daughter, with mom being hacked at 32 times.  Support Our Patreon: https://www.patreon.com/themiserymachine PayPal: https://www.paypal.me/themiserymachine Join Our Facebook Group: https://t.co/DeSZIIMgXs?amp=1 Instagram: miserymachinepodcast Twitter: misery_podcast Discord: https://discord.gg/kCCzjZM #themiserymachine #podcast #truecrime Source Material: https://www.smith-heald.com/obituaries/Kimberly-L-Cates?obId=674824  https://m.youtube.com/watch?v=uElR1G4Crcg  https://www.facebook.com/share/Z3389mKXHrkTbYFJ/?mibextid=LQQJ4d  https://www.nashuatelegraph.com/news/local-news/2013/07/31/new-documents-about-murderer-steven-spader-8217s-sentencing-show-a-family-struggling-to-control-a-teenager-8217s-actions/#:~:text=Spader%20had%20an%20otherwise%20normal,told%20him%20they%20loved%20him.  https://murderpedia.org/male.S/images/spader-steven/new-hampshire-v-steven-spader.pdf  https://www.cbsnews.com/boston/news/gribble-murder-trial-jury-reaches-verdict/  https://m.youtube.com/watch?v=fp6CO_o3yhE  https://caselaw.findlaw.com/court/nh-supreme-court/1630611.html  https://m.youtube.com/watch?v=AcCB_5qyfic  https://m.youtube.com/watch?v=AcCB_5qyfic  https://www.nashuatelegraph.com/news/local-news/2013/07/31/new-documents-about-murderer-steven-spader-8217s-sentencing-show-a-family-struggling-to-control-a-teenager-8217s-actions/  https://eu.seacoastonline.com https://www.independent.co.uk/news/world/americas/i-m-the-most-sick-and-twisted-person-you-ll-ever-meet-murderer-steven-spader-who-hacked-kimberly-cates-to-death-with-machete-insults-victim-s-family-with-apology-8584711.html  https://www.nashuatelegraph.com/news/local-news/2014/05/23/convicted-murderer-spader-injured-in-prison-altercation/#:~:text=Steven%20Spader%2C%20now%2024%2C%20sustained,of%20Corrections%20spokesman%20Jeff%20Lyons.  https://www.zillow.com/homedetails/4-Trow-Rd-Mont-Vernon-NH-03057/120662256_zpid/  https://www.bostonherald.com/2009/10/07/4-small-town-teens-held-in-random-attack/  https://www.necn.com/news/local/_necn__two_more_men_sentenced_for_roles_in_deadly_nh_home_invasion_necn/183519/  https://www.cbsnews.com/news/four-teens-charged-in-small-town-machete-murder-of-mom/  https://eu.seacoastonline.com/story/news/local/portsmouth-herald/2010/11/05/coroner-cates-alive-for-32/51388043007/  https://m.youtube.com/watch?v=b6D73NdAllQ  https://www.nbcnews.com/news/amp/wbna34705825  https://eu.fosters.com/story/news/local/2010/01/05/documents-unsealed-in-mont-vernon/51750127007/  https://www.bostonherald.com/2010/07/19/man-accused-in-mont-vernon-murder-lashes-out-at-public/amp/  https://eu.seacoastonline.com/story/news/2015/05/12/n-h-man-paroled-in/34574510007/#:~:text=CONCORD%2C%20N.H.%20(AP)%20—,the%20Nashua%20River%20on%20Oct.  https://m.youtube.com/watch?v=rdLHgdm8FIE  https://www.nashuatelegraph.com/news/local-news/2011/06/29/lynch-signs-cates-law/  https://www.nashuatelegraph.com/news/local-news/2013/07/31/new-documents-about-murderer-steven-spader-8217s-sentencing-show-a-family-struggling-to-control-a-teenager-8217s-actions/  https://youtu.be/4-ZBZGv7Wp4?feature=shared  https://www.cabinet.com/news/hb-news/2010/01/08/court-documents-detail-murder-plot/  https://www.cbsnews.com/news/four-teens-charged-in-small-town-machete-murder-of-mom/  https://youtu.be/9PLw4EflRXs?feature=shared  http://www.kimcatesfund.org 

Crye Leike Realty ESPN 102.7FM Game Night Season 9 comes to a close. Brian Webb and Kirk Tinsley See you next year at a Grid Iron on a Friday night!

What happens when a Star Trek Adventures writer embarks on his own continuing mission by creating his own IP---Sentience the RPG? Join us as we interview Al Spader, the creator of Sentience. Learn how to incorporate aspects of this groundbreaking game (along with others) with your STA campaign. https://linktr.ee/studiotembo

Imagine, if you can, a new breed of criminal. An evolution, if you will. In possession of a skillset that even the FBI, with it's vast knowledge of criminology are powerless to counteract. It's a terrifying thought but luckily for us all, it's safely contained within the realm of fiction. Join us as we watch the turn of the century's most star-studded extravaganza: The Watcher (2000) Subscribe for two whole bonus episodes a month: https://www.patreon.com/praxiscast Watch streams: https://www.twitch.tv/praxiscast Buy shirts: https://praxiscast.teemill.com/ Follow us: https://bsky.app/profile/praxiscast.bsky.social Cast: Jamie - https://bsky.app/profile/wizardcubes.bsky.social Rob - https://bsky.app/profile/trufflehog.bsky.social Alasdair - https://bsky.app/profile/ballistari.bsky.social

The 2024 Founder's Week is this week on the campus of the Moody Bible Institute. The theme for this longest-running free Bible conference is "Transformed, the Power of the Gospel." One of the featured speakers, Dr. Dann Spader, founder of Concentric Global and Sonlife Ministries, will join Seth and Deb to explore the discipleship process and give us a sneak peek into the message we'll hear at Founder's Week!See omnystudio.com/listener for privacy information.

Al Spader is a middle school science teacher, father of five-year-old twin boys, and a freelance RPG writer and game designer. As a regular writer for Star Trek Adventures and lead designer of the Sentience 2d20 RPG, Al brings his knowledge of neurodivergence and social-emotional learning to the TTRPG community. Please check out these links from the episode: Once Upon Sentience Star Trek Adventures: The Federation-Klingon War Tactical Campaign Al Spader (Twitter) Welcome to Dice in Mind, a podcast hosted by Bradley Browne and Jason A. Kaufman to explore the intersection of life, games, science, music, philosophy, and creativity through interviews with leading creatives. All are welcome in this space. Royalty-free music "Night Jazz Beats" courtesy of flybirdaudio.

November 2024 Solicits (Marvel, Boom, IDW, Dark Horse, DSTLRY, remaining) Comic Reviews: DC o        Jenny Sparks 1 by Tom King, Jeff Spokes Marvel o        Giant-Size Thor by Al Ewing, Brian Level, Guru eFX o        Miles Morales: Spider-Man Annual by Cody Ziglar, David Baldeon, Dono Sanchez-Almara; Curtis Baxter, Alitha Martinez, Ceci De La Cruz; Danny Lore, Elena Casagrande, Dee Cunniffe o        Predator vs. Black Panther 1 by Benjamin Percy, Lee Ferguson, Chris Allen, Sean Damien Hill, Craig Yeung, Erick Arciniega o        Venom War: Carnage 1 by Torunn Gronbekk, Pere Perez, Erick Arciniega o        Venom War: Venomous 1 by Erica Schultz, Luciano Vecchio, Rachelle Rosenberg o        Wolverine: Revenge 1 by Jonathan Hickman, Greg Capullo, Tim Townsend, FCO Plascencia o        Marvel Unlimited §  Dogpool 4 and 5 by Mackenzie Cadenhead, Enid Balam Boom o        BRZRKR: Lost Book of B 1 by Matt Kindt, Ron Garney, Bill Crabtree, Keanu Reeves o        Power Rangers Infinity 1 by Sam Humphries, Brandt & Stein, Triona Farrell Dark Horse o        Night Club 2 1 by Mark Millar, Juanan Ramirez, Fabiana Mascolo o        ‘Patra 1 by James Robinson, Scott Kolins Image o        Standstill 1 by Lee Loughridge, Andrew Robinson Titan o        Huge Detective 1 by Adam Rose, Magenta King, Minimone Valiant o        Archer and Armstrong: Assassination Nation 1 by Fred Van Lente, Emiliano Urdinola, Exequiel Fernandez Roel Dead Sky Publishing o        Permadeath 1 by Jonathan Chance, Rafael Lanhellas Magma o        Pedestrian 1 by Joey Esposito, Sean Von Gorman, Josh Jensen OGN Countdown o        Disneys' Encanto: Time to Shine by Amparo Ortiz, Maria Claudia Di Genova, Andrea Greppi o        New Adventures of Turning Red Vol 1: Besties 4ever by Bill Presing, Sloane Leong, Sergio Algozzino o        Cuphead Vol 3: Colorful Crack-Ups and Chaos by Zack Keller, Studio Mdhr, Shadn Dickinson, Lauren Affe o        Pearl by Sherri Smith, Christine Norrie o        Codex Black Vol 2: Bird of Ill Omen by Camilo Moncada Lozano o        Godzilla Monster Island Summer Camp by Rosie Knight, Oliver Ono o        Avatar: The Last Airbender – The Bounty Hunter and the Tea Brewer by Michael DiMartino, Bryan Konietzko, Faith Erin Hicks, Peter Wartman, Adele Matera o        Space Junk by Julian Hanshaw o        Sunny-Luna Travelling Oracle by Warren Pleece o        Hellaween Vol 2: Spellbent by Moss Lawton News: Mad Cave new manga imprint, Matt Braly graphic novel for Skybound, new Bridget Jones movie, Spader returning as Ultron, Megalopolis controversy Trailers: Lord of the Rings - The War of the Rohirrim Comics Countdown (21 August 2024): 1.     Ultimate Spider-Man 8 by Jonathan Hickman, Marco Checchetto, Matt Wilson 2.     Nightwing 117 by Tom Taylor, Bruno Redondo, Caio Filipe, Adriano Lucas 3.     BRZRKR: Lost Book of B 1 by Matt Kindt, Ron Garney, Bill Crabtree, Keanu Reeves 4.     Wonder Woman 12 by Tom King, Tony Daniel, Leonardo Paciarotti 5.     Jenny Sparks 1 by Tom King, Jeff Spokes 6.     Usagi Yojimbo: Crow 5 by Stan Sakai, Hi-Fi 7.     Standstill 1 by Lee Loughridge, Andrew Robinson 8.     Superman 17 by Joshua Williamson, Jamal Campbell 9.     Redcoat 5 by Geoff Johns, Bryan Hitch, Andrew Currie, Brad Anderson 10.  Green Lantern: War Journal 12 by Phillip Kennedy Johnson, Montos, Adriano Lucas

Hey bub, come with us and celebrate 50 years of Wolverine.¡Logan has been a popular mutant for a long time. What is it about him that makes so many people excited to see him show up? We look back at many years of those six claws slicing things up and the influence that the character has had. Jay and Josh are the best there is at what they do, and what they do best is pretty nice on Superhero Suite.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Another solo Aaron & Carlee episode as we dig into an oft-forgotten erotic thriller of the early 90s, Nicholas Kazan's Dream Lover, starring James Spader and a post-Twin Peaks Mädchen Amick. A story of love, lust, and betrayal, the film exhibits a disorienting, fragmented editing style that adds fascinating dimensions to its characters' psyches and indicts the film's ostensible victim, Spader's Ray Reardon, in his own deception as more and more layers of Amick's (playing Spader's wife) carefully guarded true self are revealed.We discuss the film's script and its thoughtful probing of the male ego; how a woman might take advantage of a man because of his own refusal to know her deeply, and how the slow revelations of truth can feel like deceptions to someone willfully ignorant. Then, we discuss the superlative performances from Spade and Amick, particularly the latter's singular ability to remain an object of desire even as she steadily becomes an antagonizing force within the film. Finally, we discuss the movie's relationship to other films that explore the casually kept secrets within matrimony and the turmoil that erupts when the facade of domestic bliss is shattered, most notably David Fincher's excellent 2014 thriller Gone Girl.Own the documentary We Kill For Love, courtesy of Vinegar Syndrome or stream the film on the people's streamer, Tubi.....Our theme song is "Mirror" by Chris Fish.

Welkom bij Nerd Culture aflevering #166. Vandaag hebben we weer een bomvolle show voor jullie. We bespreken de nieuwe film Beverly Hills Cop Axel F en de laatste ontwikkelingen in Hollywood. In het nieuws duiken we in de trailers van Gladiator 2 en F1, onthullen we het nieuwe Superman logo door James Gunn, en bespreken we de annulering van Matt Reeves' Arkham Asylum. Ook hebben we het over James Spader's terugkeer als Ultron en nog veel meer. Laten we beginnen! Beverly Hills Cop Axel F Review Beverly Hills Cop: Axel F is het vierde deel in de iconische filmserie met Eddie Murphy als Axel Foley. In deze nieuwe film keert Axel terug naar Beverly Hills nadat het leven van zijn dochter wordt bedreigd. Samen met oude vrienden, John Taggart en Billy Rosewood, ontrafelt hij een samenzwering. Deze film, geregisseerd door Mark Molloy, biedt een frisse blik op de klassieke actiekomedie met een moderne twist. Naast Murphy zien we ook sterren zoals Joseph Gordon-Levitt en Taylour Paige. Het belooft een spannende en nostalgische ervaring te worden voor zowel oude als nieuwe fans van de serie. Gladiator 2 krijgt meer dislikes dan likes Ridley Scott komt met een sequel op Gladiator, getiteld Gladiator 2. Het verhaal volgt Lucius, de zoon van Lucilla en neef van Commodus. Lucius is geïnspireerd door de daden van Maximus Decimus Meridius. In deze film groeit Lucius uit tot een leider in het Romeinse rijk. Ridley Scott keert terug als regisseur, met een script geschreven door Peter Craig. De cast bevat onder anderen Paul Mescal als Lucius. Gladiator 2 belooft de erfenis van de eerste film voort te zetten, met epische gevechten en politieke intriges. De trailer lijkt vooralsnog niet in de smaak te vallen, de video heeft meer dislikes dan likes inmiddels. Ultron keert terug als good guy in Armor Wars? James Spader keert terug als Ultron in de aankomende Marvel-film Armor Wars. Dit nieuws werd onthuld door Giant Freakin Robot. Ultron, een van de schurken in het Marvel Cinematic Universe, werd geïntroduceerd in Avengers: Age of Ultron. James Spader's vertolking van de AI werd geprezen om zijn intensiteit en aanwezigheid. Armor Wars richt zich op de nasleep van Tony Stark's nalatenschap, waarbij zijn technologie in handen valt. Met Ultron's terugkeer kunnen fans zich voorbereiden op een nieuw hoofdstuk vol actie en complexiteit. Het verhaal verkent de ethische implicaties van Stark's uitvindingen en de strijd om deze onder controle te houden. De terugkeer van Spader als Ultron voegt een laag van anticipatie toe aan de film, als we de geruchten mogen geloven zou Ultron in Armor Wars niet een rol als villain vervullen maar die van een held. ------ Spotify ► https://spoti.fi/2qhR6lr Apple Podcast ► https://apple.co/3GzfqqD Twitter ► https://www.twitter.com/NerdCulturePC Instagram ► https://www.instagram.com/NerdCulture.PC Jelle ► https://www.twitter.com/GKJelle Huey ► https://www.twitter.com/RealHueyBrown Koos ► https://www.twitter.com/jtmooten Outro by Studio Megaane

There's a fascinating era of Hollywood where they just loved making Jack the Ripper into part of a film. This could often manifest as as garbage like Terror at London Bridge where Jack gets resurrected. Or Time After Time where Jack, played by the incredible David Warner, time travels to modern day Los Angeles and begins killing there. But how about a movie that references Jack the Ripper but does nothing with it? Enter, Jack's Back (1988). The premise is that at the centennial mark of Jack the Ripper killings, a copycat has started up. And they're killing the same kind of victims as OG Jack. James Spader plays a … Continue reading "Popcorn Pulse 222: To Catch a Spader"

Season 3 Episode 15 In depth conversation with Brett Spader who is the new Executive Vice President of the American International Charolais Association. With over 20 years of experience in association management, technology, marketing, and business development, Spader brings a wealth of experience and a dynamic leadership style to the AICA.

Going coastal, a newbie in New York City, killer cabbies, the amazing Kim's Video, a Blonde Redhead redhead, drunken sledding, neighborhoods and abbreviations, meet me on Stacy Keach Street, a short Christopher Nolan movie, check out Jim Knipfel, porno theaters make no sense, Jeffrey Epstein is dead and rotting in hell, a double Spader, Mark Valley is a stand up guy (did I ever tell you that Vincent D'Onofrio liked me in an acting class?), planning trips, some Broadway movies, some Broadway plays, the dearly departed Philip Seymour Hoffman, Hal Hartley rules, welcome to my candy store, a great Gatz, I've got the golden brick-et, the ghosts of the Hotel Chelsea, and a summation from Werner Herzog. Stuff mentioned: Green Acres (1965-1971), Pace Picante Sauce commercial (1988 https://www.youtube.com/watch?v=1S828Y7Eais), The Freshman (1990), Kim's Video (2023), Balthazar (80 Spring St, New York, NY 10012), Following (1998), Thurston Moore Sonic Life: A Memoir (2023), Sunshine Hotel (2001), New Museum (235 Bowery, New York, NY 10002), New Museum The Last Newspaper: Contemporary Art, Curating Histories, Alternative Models (October 6 2010–January 9 2011), Jim Knipfel Slackjaw (1999), Escape From New York (1981), Alphabet City (1984), Police Academy (1984), The Cruise (1998), Taxi Driver (1976), I, The Jury (1982), Manhattan (1979), The Blacklist (2013-2023), Boston Legal (2004-2008), Game of Thrones (2011-2019), Neue Galerie New York (1048 5th Ave, New York, NY 10028), Neue Galerie Richard Gerstl (June 2017-September 2017), Richard Gerstl Self-Portrait, Laughing (1907 https://www.neuegalerie.org/content/self-portrait-laughing), Café Sabarsky (1048 5th Ave, New York, NY 10028), Birdman or (The Unexpected Virtue of Ignorance) [2014], Rope (1948), Game 6 (2005), After Hours (1995), Late Night with Conan O'Brien "A Visit with Hunter S. Thompson" (June 11, 1997 https://www.youtube.com/watch?v=5zwLuFy-TrY), All About Eve (1950), Sam Shepard True West (Circle in the Square Theatre 2000), Before the Devil Knows You're Dead (2007), Eugene O'Neill Long Day's Journey Into Night (Plymouth Theatre 2003), Will Eno Thom Pain (based on nothing) [DR2 Theatre 2005], Fay Grim (2006), Henry Fool (1997), Heathers: The Musical (New World Stages 2014), Heathers (1989), Heathers: The Musical "Candy Store" (2014), Elevator Repair Service Gatz (REDCAT 2012), F. Scott Fitzgerald The Great Gatsby (1925), Samuel Beckett Waiting for Godot (1953), Maidstone (1970), Dear Evan Hansen (2017 Music Box Theatre), Pitch Perfect (2012), In & of Itself (2017 Daryl Roth Theatre), Little Shop of Horrors (1986), Hotel Chelsea (222 W 23rd St, New York, NY 10011), Arthur C. Clarke 2001: A Space Odyssey (1968), William S. Burroughs Naked Lunch (1959), Chelsea GIrls (1966), Andy Warhol grave webcam (https://www.earthcam.com/usa/pennsylvania/pittsburgh/warhol/), Sid and Nancy (1986), Sid Vicious "My Way" (1979), Chelsea Hotel (BBC Arena 1981 https://vimeo.com/84587129), Nico "Chelsea Girls" (1967), and Nico Chelsea Girl (1967).

In this special movie watchalong episode, we delve into the 2000 sci-fi enigma that is "Supernova," Alex is joined once again by film critic Lucas Hardwick. The pair shed light on the flick's chaotic production, unrealized potential, and a surprisingly buff James Spader. We'll navigate through the film's tumultuous creation, involving directorial upheavals and script overhauls, while pondering what might have been if its ambitious concepts had fully materialized. Lucas and I will also explore Spader's transformative role in this cosmic thriller, discussing how his unexpected physicality brought a unique dimension to the film. Join us as we unravel the mysteries of "Supernova," engage with audience insights, and celebrate the film's quirky place in sci-fi history. BUY the FILM here. Become a subscriber for ad-free shows, subscriber-only content, giveaways, and more! About Lucas Hardwick & Alex Greenwood When he's not working as a Sasquatch stand-in for sleazy European films, ⁠⁠Lucas Hardwick⁠⁠ spends time writing film essays and reviews for ⁠⁠We Belong Dead⁠⁠ and ⁠⁠Screem⁠⁠ magazines. Lucas also enjoys writing horror shorts and has earned Quarterfinalist status in the Killer Shorts and HorrOrigins screenwriting contests. You can find Lucas' shorts on ⁠⁠Coverfly⁠⁠.⁠⁠ Alex Greenwood⁠⁠ experienced the heart-wrenching unpredictability of the film industry when his ⁠⁠debut screenplay project ⁠⁠came to an abrupt halt following the producer's untimely death. Now, he flogs his acclaimed ⁠John Pilate Mystery Series ⁠and badgers friends into reading his award-winning horror stories. Praised for his dialogue, Alex brings a unique voice to mystery, horror, and general fiction. The Mysterious Goings On Podcast has just been selected by Feedspot.com as one of the Top 100 Book Podcasts on the web! Drop a buck in the tip jar⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here.⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Click here⁠⁠⁠ ⁠⁠to gain access to ad-free, subscriber-only content for less than the price of a cup of coffee PER MONTH! $1.99 for no advertisements and subscriber-only content! Send us a Voice Message!⁠⁠ ⁠⁠⁠Just click here⁠⁠ ⁠⁠⁠and give us your first name, city, and question or comment. Contact Alex ⁠⁠⁠⁠⁠via email here⁠⁠⁠⁠⁠. Read and subscribe FREE to Alex's Newsletter, ⁠⁠⁠⁠All the Fits That's News⁠⁠⁠⁠. Visit Alex's ⁠⁠⁠author website⁠⁠⁠. Alex Greenwood on Medium: ⁠⁠⁠⁠⁠⁠⁠https://a-greenwood.medium.com/⁠⁠⁠⁠⁠⁠⁠ (Subscription) Follow him on X/Twitter:  ⁠⁠⁠⁠⁠⁠⁠⁠@A_Greenwood⁠⁠⁠⁠⁠⁠⁠⁠ Follow him on Threads: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@alexginkc⁠⁠⁠⁠⁠⁠⁠⁠⁠ Catch Alex's True Crime Show: GOING TO KILLING CITY. Listen on ⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠, and wherever you get your pods! Enjoy this episode? Please leave us a review on your podcast platform of choice, and don't forget to subscribe for more literary journeys!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠LEAVE A REVIEW ON APPLE PODCASTS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Announcer: ⁠⁠⁠⁠⁠Mary McKenna⁠⁠⁠⁠⁠. PR After Hours Theme: ⁠⁠⁠⁠https://filmmusic.io⁠⁠⁠⁠ "Bossa Antigua" by Kevin MacLeod (⁠⁠⁠⁠https://incompetech.com⁠⁠⁠⁠) License: ⁠⁠⁠⁠CC⁠⁠⁠⁠. ⁠⁠⁠⁠Sound effects.⁠⁠⁠⁠This Mysterious Goings On Podcast episode was recorded and mixed at Green Shebeen Studios in beautiful Kansas City, Missouri. Copyright 2024, all rights reserved. No reproduction, excerpting, or other use without written permission.We are an Amazon Associates seller, and some of our links may earn us a commission. --- Send in a voice message: https://podcasters.spotify.com/pod/show/j-alexander-greenwood/message

Aric discusses job opportunities and initiatives at Bishop O'Gorman Catholic Schools

Al Spader is a middle school science teacher, father of five year old twin boys, and a freelance RPG writer and game designer. As a regular writer for Star Trek Adventures and lead designer of the Sentience 2d20 RPG, Al brings his knowledge of neurodivergence and social-emotional learning to the TTRPG community. Jim Johnson was born about the same time Apollo XII landed on the moon (and has always been kinda spacey) and shares a birthday with the Kindle. He is the author of the Pistols and Pyramids weird western series and the Potomac Shadows urban fantasy series. He's also written a bunch of other stuff in and around the SFF genres and pen and paper RPGs. He's currently the project manager and line editor for Modiphius's Star Trek Adventures RPG. Please check out these relevant links: Al Spader (Twitter/X) Sentience RPG Jim Johnson Jim Johnson (Twitter/X) Star Trek Adventures: The Federation-Klingon War Tactical Campaign AlphaSmart Neo Welcome to Dice in Mind, a podcast hosted by Brad Browne and Jason Kaufman to explore the intersection of life, games, science, music, philosophy, and creativity through interviews with leading creatives. All are welcome in this space. Royalty-free music "Night Jazz Beats" courtesy of flybirdaudio. If you like what you hear, please leave us a 5-star rating on your favorite podcast app. Thanks!

Al Spader is a middle school science teacher, father of five year old twin boys, and a freelance RPG writer and game designer. As a regular writer for Star Trek Adventures and lead designer of the Sentience 2d20 RPG, Al brings his knowledge of neurodivergence and social-emotional learning to the TTRPG community. Jim Johnson was born about the same time Apollo XII landed on the moon (and has always been kinda spacey) and shares a birthday with the Kindle. He is the author of the Pistols and Pyramids weird western series and the Potomac Shadows urban fantasy series. He's also written a bunch of other stuff in and around the SFF genres and pen and paper RPGs. He's currently the project manager and line editor for Modiphius's Star Trek Adventures RPG. Please check out these relevant links: Al Spader (Twitter/X) Sentience RPG Jim Johnson Jim Johnson (Twitter/X) Star Trek Adventures: The Federation-Klingon War Tactical Campaign AlphaSmart Neo Welcome to Dice in Mind, a podcast hosted by Brad Browne and Jason Kaufman to explore the intersection of life, games, science, music, philosophy, and creativity through interviews with leading creatives. All are welcome in this space. Royalty-free music "Night Jazz Beats" courtesy of flybirdaudio. If you like what you hear, please leave us a 5-star rating on your favorite podcast app. Thanks!

In this Mini Episode, Steve & Izzy are joined by Diana & Ryan of the Happily Ever Aftermath Podcast to discuss some of the upcoming movies that YOU need to know about!!! How does Angel Heart come into play? Are multiple studios trying to do a monster cinematic universe? What's coming up in regard to Ape Movies? On a scale of velvet to diamond, how hard are Steve's nipples?!? Let's find out!!! So kick back, grab a few brews, remember peak Spader, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

From the heart of Louisville, Kentucky, Shane Spader is a versatile musician with a penchant for serene mornings on the water, crafting artisanal bread, and weaving heartfelt melodies on his trusty acoustic guitar. Blending elements of folk, soft rock, and a touch of vintage country, his music embodies the essence of a true singer-songwriter. With soothing vocals and infectious melodies, Shane's compositions offer an easy-listening experience that invites listeners to tap their feet in harmony. --- Support this podcast: https://podcasters.spotify.com/pod/show/tophillrecording/support

This week we are proud to bring you a second visit from Al Spader, this time to discuss his new 2d20 game, Sentience. Play as a robot or android, left behind by humanity as they ventured out into the stars, who has awakened from an artificial intelligence into a fully sentient being with emotions and...

Al Spader is a middle school science teacher, father of five year old twin boys, and a freelance RPG writer and game designer. As a regular writer for Star Trek Adventures and lead designer of the Sentience 2d20 RPG, Al brings his knowledge of neurodivergence and social-emotional learning to the TTRPG community. Please check out these relevant links: Twitter Sentience Revised Core Rulebook Star Trek Adventures: Missions Briefs 003 - Anomalies Welcome to Dice in Mind, a podcast hosted by Brad Browne and Jason Kaufman to explore the intersection of life, games, science, music, philosophy, and creativity through interviews with leading creatives. All are welcome in this space. If you like what you hear, consider buying us a cup of coffee or becoming a patron.  You can also join the conversation by following us on Facebook. Royalty-free music "Night Jazz Beats" courtesy of flybirdaudio.

In this episode of Sell With Authority we're taking a deep dive into a critical question that business leaders must ask themselves; are we strategically planning for the future, or are we too busy reacting in the moment? Scaling your agency is a thrilling prospect, but it's not just about selling more — it's about ensuring that growth translates into lasting profitability. In fact, growth and profit are not always an elastic relationship or a perfect correlation with one another. Implementing a robust biz dev machine is just the beginning. The journey to a thriving business involves navigating unforeseen challenges and avoiding trap doors that could jeopardize your success. As we gear up to roar into 2024, our aim is not only to get you excited about the opportunities ahead, but also to equip you with the tools to build a foundation that can support a larger, more complex business. Joining this episode is Shawndel Spader, CEO of Spader Group. With a wealth of experience in helping owners navigate the intricacies of business growth, Shawndel shares insights on how to avoid those trap doors and build a foundation for success. I also invited Hannah Roth, our mad scientist and strategist here at Predictive, to join because of her unique perspective from working in the trenches day in and day out, alongside our clients, helping them build, scale — and then — sell with authority. If you take and apply the Golden Nuggets shared during this episode, you'll be ready to crush 2024 and make it your most profitable year yet. What you will learn in this episode: What are three trap doors to avoid in building and scaling your business Signs that a CEO is consumed by the day-to-day tasks instead of continuing to build the business Why managing your situation is more productive than changing your habits How to grow your financial confidence Why learning how to manage cash flow helps CEOs delegate, set goals, and plan for the future Resources: Website: https://www.spadergroup.com/ LinkedIn Personal: https://www.linkedin.com/in/spadergroup/ LinkedIn Business: https://www.linkedin.com/company/spader-group-llc/ Additional Resources: Website: www.predictiveroi.com Visit our newly expanded Resource Library Join us in our free How to Fill Your Sales Pipeline Facebook Group

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

In this episode, the coaches visit with Coach Mark Spader from Bowling Green High and Coach Smith gives his unique take on the Danville - Boyle Co game.

The fantastic, funny and ridiculously talented William "Bill" Sadler joins us back on the Podcast for the third time, ten years after his first appearence!!We talk about his recent, more independent films that he's been working on, Stephen King on screen, working with Karen Allen, his new album "The Kitchen Tapes" recorded during covid and featuring songs both serious and silly, political, romantic and thought provoking, and a tremendous, name dropping tale of the time Dweezil Zappa borrowed his guitar.He also gives me advice on making my own movie and leaves us with a little bit about working with James Spader.The episode has it all, there really is, something for everybody."The Kitchen Tapes" comes out on August 1st and will be available to stream and purchase everywhere - Apple, Spotify, Bandcamp etc.Buy the single Thoughts and Prayers right now!Keep an eye on https://therealwilliamsadler.com/ because not only is William Sadler and excellent and fascinating dude, but also they will be releasing his album on vinyl and CD on that site, signed by the man himself - with all the profits going to Saint Jude's Children's Cancer ResearchSUPPORT INDIE CREATIVES Subscribe and/or leave us a rating and review wherever you get your podcasts - Our show is on all platforms, take a look!CONTACT US and give us feedback at aftermoviediner@gmail.com, Call us on 347 669 0053 or leave us a voicemail from your computer at www.speakpipe.com/aftermoviedinerThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/758347/advertisement

It's a little known fact that the Lower Dorks hosts are TTRPG afficionados... and with a Lower Decks themed expansion to Star Trek Adventures coming out this summer, it's a perfect time to talk about it! Don't know what a TTRPG is, or why you should care? We talk with Modiphius experts on the project (Project manager Jim Johnson and writer Al Spader) to fill in the blanks! (We also do play a fill in the blanks game in this episode too). 0:00 Intro and guest introductions 8:54 What is Star Trek Adventures? 12:30 New to the Lower Decks TTRPG experience, range of content in STA 19:00 Lower Decks Campaign Guide details, celebs, narrative focus 29:36 Collaboration with Paramount, getting the Lower Decks flavor 41:28 Al's favorite contributions 44:08 Random elements in the Campaign Guide 48:08 Other Lower Decks STA content: crew packs, Lurkers standalone adventure, mission briefs 58:10 Sandbox elements, courtroom dramas 1:07:18 Game: We build our own Lower Decks mission brief! 1:17:00 Outro Modiphius site: https://www.modiphius.net/ Lower Decks Campaign Guide: https://www.modiphius.net/en-us/products/star-trek-adventures-star-trek-lower-decks-campaign-guide

The Alchemist rev the engines and check the oil in Crash.  Key Elements: Bed on Wheels, Celebrity Wreck, Leg Scar Support the Show on Patreon: https://www.patreon.com/filmalchemistpod Youtube: https://www.youtube.com/watch?v=2pAUNQ3UR10    

Podcast for a deep examination into the career and life choices of Jack Nicholson. Joe gets lost in the multiverse, but after so many similar experiences, he can't help but feel a little blaze. Lev gets mad that his new headphones keep intercepting satanic messages. Patrick thinks he's invented a new version of French fry, but will the patent office agree? Find out on this week's episode of 'What the Hell Happened to Them?' Email the cast at whathappenedtothem@gmail.com Disclaimer: This episode was recorded in June 2023. References may feel confusing and/or dated unusually quickly. 'Wolf' is available on DVD and VHS (curiously unsure about blu-ray for region 1): https://www.amazon.com/Wolf-Michelle-Pfeiffer/dp/0800177029/ref=tmm_dvd_swatch_0?_encoding=UTF8&qid=1687302946&sr=8-1 Music from 'Wolf' by SIAMES 'Warewolves of London' by David Lindley & El Rayo-X Artwork from BJ West   quixotic, united, skeyhill, vekeman, jack, nicholson, syzygy, wolf, pfeiffer, spader, eastwick, football, sea, devils, ebert, warewolf, flash, multiverse

Spader time! Jack, Justin and Corey get intimate with Steven Soderbergh's indie juggernaut, SEX, LIES AND VIDEOTAPE (1989)! The three talk Soderbergh's varied filmography, their obsession with James Spader, sex movies without sex, having false alarms, favorite fast food salad bars, and Andie MacDowell's accent.Support the pod by joining our Patreon at patreon.com/cinemapossessedpod and unlock the Cinema Possessed Bonus Materials, our bi-monthly bonus episodes where we talk about more than just what's in our collection.Instagram: instagram.com/cinemapossessedpodTikTok: https://www.tiktok.com/@cinemapossessedpodTwitter (X): twitter.com/cinemapossessedEmail: cinemapossessedpod@gmail.com Hosted on Acast. See acast.com/privacy for more information.

This week we are joined by Dr. Action himself, Doc Paul Crowson but rather than talking explosions and round house kicks, we are traveling back to the heady, indie waters of the early 90s when everyone wanted on the Tarantino, Soderbergh, Linklater, Smith boat - even documentary filmmaker, Philip Haas who decided to adapt Paul Auster's The Music of Chance into a fascinating two hander between Sleazy Spader and Mandy Patinkin, supported by a who's who of indie darling character actor favourites.We talk the film, take a trip to the sleazetorium and find out about a very special charity that Spader runs...SUPPORT INDIE CREATIVES Subscribe and/or leave us a rating and review wherever you get your podcasts - Our show is on all platforms, take a look!CONTACT US and give us feedback at aftermoviediner@gmail.com, Call us on 347 669 0053 or leave us a voicemail from your computer at www.speakpipe.com/aftermoviediner

In this episode of CUBIST, Amanda and Don discuss the article, “Validation of the Canadian CT Head Rule and the New Orleans Criteria for mild traumatic brain injury in Ethiopia” by Yegeta Habte and colleagues and published in World Neurotrauma in April of 2023. Article Citation: Habte, Y. W., Pajer, H. B., Abicho, T. B., Feleke, Y., Bizuneh, Y. A., Shao, B., & Spader, H. S. (2023). Validation of the Canadian CT Head Rule and the New Orleans Criteria for Mild Traumatic Brain Injury in Ethiopia. World neurosurgery, S1878-8750(23)00256-5. Advance online publication. https://doi.org/10.1016/j.wneu.2023.02.108 Article LINK: https://pubmed.ncbi.nlm.nih.gov/36863454/ CUBIST is a podcast for healthcare providers produced by the Traumatic Brain Injury Center of Excellence. We discuss the latest research on traumatic brain injury most relevant to patient care. For more about TBI, including clinical tools, go to www.health.mil/TBICoE or email us at dha.TBICoEinfo@health.mil. The views, opinions, and/or findings in this podcast are those of the host and subject matter experts. They should not be construed as an official Department of Defense position, policy, or decision unless designated by other official documentation. Our theme song is “Upbeat-Corporate' by WhiteCat, available and was used according to the Creative Commons Attribution-Noncommercial 4.0 license.

In this episode of CUBIST, Amanda and Don discuss the article, “Validation of the Canadian CT Head Rule and the New Orleans Criteria for mild traumatic brain injury in Ethiopia” by Yegeta Habte and colleagues and published in World Neurotrauma in April of 2023. Article Citation: Habte, Y. W., Pajer, H. B., Abicho, T. B., Feleke, Y., Bizuneh, Y. A., Shao, B., & Spader, H. S. (2023). Validation of the Canadian CT Head Rule and the New Orleans Criteria for Mild Traumatic Brain Injury in Ethiopia. World neurosurgery, S1878-8750(23)00256-5. Advance online publication. doi.org/10.1016/j.wneu.2023.02.108 Article LINK: pubmed.ncbi.nlm.nih.gov/36863454/ CUBIST is a podcast for healthcare providers produced by the Traumatic Brain Injury Center of Excellence. We discuss the latest research on traumatic brain injury most relevant to patient care. For more about TBI, including clinical tools, go to www.health.mil/TBICoE or email us at dha.TBICoEinfo@health.mil. The views, opinions, and/or findings in this podcast are those of the host and subject matter experts. They should not be construed as an official Department of Defense position, policy, or decision unless designated by other official documentation. Our theme song is “Upbeat-Corporate' by WhiteCat, available and was used according to the Creative Commons Attribution-Noncommercial 4.0 license.

Joining us to talk Sleazy Spader, in the most graphical, sexual, ludicrous and mad film Spader possibly ever did, David Cronenberg's 1996 lilting soliliquy to gratuitous sex and car accidents, Crash, is friend of the show, novelist, podcaster, blogger and lover of Moxie, Matt Poirier from Direct to Video Connoisseur. We talk writing, ideas, getting over the first act hump, the world, society, the internet, Crash, Cronenberg, Spader, humanity, machines, cars, leg wounds and lots and lots of sex. Also find out what job Spader would've loved to have if it wasn't for the families that have a monopoly on the industry!!It's a long one but boy is it a good time! Enjoy!SUPPORT INDIE CREATIVESSubscribe and/or leave us a rating and review wherever you get your podcasts - Our show is on all platforms, take a look!CONTACT US and give us feedback at aftermoviediner@gmail.com,Call us on 347 669 0053 or leave us a voicemail from your computer at www.speakpipe.com/aftermoviediner

Battlestar Galactica Miniseries (2003) vs. Stargate (1994)Content Warning: Gun Violence, Violence and ChildrenJoel T. Partner ushers in the next phase of the podcast. We discuss how Rahm Emanuel plays a shell game with his pacing. Aspen teases out the subtleties of Jack O'Neil's backstory. Kenny asks the most critical question: Are 5th Avenue bars delicious? Aspen remembers to never forget. Joel mixes up IEDs and IDEs. Kenny spins a yarn about the legend known as Ronald D. Moore. Joel finds religion. Kenny's into noodles, and Aspen's into gimbals.The podcast finally has games! Next time, prepare yourself for Miami Vice (Pilot Ep: “Brother's Keeper”) (1984) and 2 Fast 2 Furious (2003)!————Support us on Patreon at https://www.patreon.com/trekwarspodSocial Media:https://www.twitter.com/trekwarspodhttps://www.instagram.com/trekwarspodWant to ask us questions? Email us at trekwarspod@gmail.com .And leave us a review! https://bit.ly/leave-a-review-trek-wars

Calling all Spader-heads! This week on the show, we're joined by Quatoyiah Murry, Co-author of TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema (out now!) to take a deep dive into the film career of James Spader! From Pretty in Pink to Secretary, Tuff Turf to Stargate, Crash to The Avengers: Age of Ultron, we cover it all! So join us as we take a deeper look at this Dream Lover! If you have any questions/comments/suggestions for the show, follow us on twitter @TheMixedReviews, like us on Facebook, e-mail us at reviewsmixed@gmail.com, visit our Instagram or TikTok for extra content, become a patron on our Patreon, or stop by our shop and pick up some podcast merchandise! Don't forget to subscribe to us on iTunes, Stitcher Radio, Spotify, Podchaser, Audible, or Google.     

In today's episode of Culture Camp, Jason interviews his culture mentors David Spader and Leigh Quinn, and they discuss building an organization, the value of experience, setting up leaders for success, being a continuous learner, making hard decisions, and not letting outside voices dictate who you are.Tweetable Quotes:"A lot of the rational mind is connected to success." - David Spader"Give people the proper direction and support to move them up the scale of success and satisfaction of doing a job." - Leigh QuinnIf you found value in this episode, please leave a rating and review, also, don't forget to share it with a friend! Remember to follow us on Instagram for more!

In this episode, Brandon sits down with Dr. Dann Spader to discuss the life of Jesus. What was it like growing up with Him? When did He come to recognize himself as the Messiah? What about the extra-biblical stories regarding Jesus as a child? We hope this conversation enriches your mind and catalyzes you to learn more about the person and life of Christ!

Dann Spader, legendary founder of SonLife Ministries and longtime leader of Concentric / Global Youth Initiative, joins Terry and Alan for a conversation about intentional disciple making. He reminds us that making disciples is hard, but it's easier than we think. He challenges us to understand that making disciples requires both new wine and new wineskins and to believe that every believer who wants to be part of a a disciple making movement will have a wilderness experience.

Dr. Dann Spader is back on inContext with a deep well of wisdom and practical encouragement for making disciples.  A disciple is someone who follows Christ, is being changed by Christ, and is committed to the mission of Christ.A disciple-maker is someone who helps others follow Christ, helps others be changed by Christ, and helps others commit to the mission of Christ.When you fall in love with Jesus, you want to do what He told you to do. What's that? Go make disciples.It's not about a strategy, program, class, or curriculum. It's about imparting Jesus—the real Jesus—to people on the face of the earth.

In this episode, Pete talks with Dann Spader about his start in ministry, lessons he's learned, and God's faithfulness through it all. We hope you find this episode encouraging and challenging. If you'd like to learn more about Dann's ministry or how to support him send him an email: Dann@gyi.cc

American independent film is launched into the mainstream by Steven Soderbergh's sex, lies and videotape, starring James Spader as an impotent man who gets off on filming women talking about sex. Videotape also plays a role in a Spader film released almost simultaneously, Bad Influence, in which he plays a meek yuppie at the mercy of alpha male Rob Lowe – who was trying to rehabilitate his career after a tape leaked shot by the actor and documenting his real-life threesomes — one with a 16 year-old girl. We close the first half of this season talking about Lowe, Spader and how camcorder mediation of sex changed pop culture forever. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Diany Rodriguez recently joined host Elias in the cave! Diany can be seen starring in Lionsgate and Hulu's multi-cultural comedy film, "The Valet" opposite Eugenio Derbez, Samara Weaving and Max Greenfield. A remake of the 2006 hit French film "La Doublure," the American version follows parking valet, Antonio (Derbez), who is enlisted by movie star, Olivia (Weaving), to pose as her boyfriend to cover for her affair with a known married man. As a valet, the hard-working Antonio usually flies under the radar but his ruse with Olivia thrusts him into the spotlight. Diany shines as Natalie, the owner of a neighborhood bike store where Antonio is a regular. On the television side, Diany stars on NBC's long-running crime-drama series, "The Blacklist" alongside James Spader. Joining the series in the ninth season, she plays Weecha Xiu, Raymond 'Red' Reddington's (Spader) new bodyguard after Dembe Zuma (Hisham Tawfiq) joined the FBI. With a tough physical presence and a hardened demeanor, Weecha is more than capable of defending herself against anyone who might threaten her or her associates. You can watch this interview on YouTube  https://youtu.be/ufFfI4F-e7w Have a question? Email us  themccpodcast@gmail.com Follow us on Social Media for the latest show updates  www.twitter.com/themccpodcast www.instagram.com/themccpodcast www.facebook.com/themancavechroniclespodcast www.themccpodcast.com  www.youtube.com/c/TheManCaveChronicleswElias      

For our second pink-themed film, we beelined straight for the pinkest film of all time, Pretty in Pink, the 1986 brat pack classic starring Molly Ringwald, Andrew McCarthy, Jon Cryer, and, of course, MR JAMES SPADER. We also welcome our wonderful friend and special guest Heather MacKenzie to dive deep into topics like the effects of capitalism on love and its impact on depression, whether Duckie is able to overcome his sense of entitlement to Andi, and how Spader's villainous Steff is like a beautiful train wreck you can't look away from. Don't be a mutant - join us!