Podcasts about Stephen Ward

Thank you for listening to Your Community Weekly. On today's episode, we have special guests Don Washburn and Stephen Ward from Camp Lookout talking about some of the exciting summer programs coming up this year. Register for Camp or find more information here: CAMP LOOKOUT You can find all OUMC registrations and event information by clicking here. If you are enjoying this podcast, be sure to show us your support by giving us 5 stars and write a short review.  Let's continue this discussion, email us your thoughts, comments, questions at podcast@ooltewahumc.com

From $500K to $8M — Without Losing Your Sanity or Your Soul | Stephen Ward on Beyond the Claim What does it actually take to scale a company without burning out or blowing up your team? In this episode of Beyond the Claim, I sit down with Stephen Ward — fractional integrator, systems genius, and the guy who helped grow a business from $500K to $8M using EOS (Entrepreneurial Operating System). We go deep on:

THIS WEEK (04-07-25) MY CREW AND I DID A MAJOR INTERVIEW WITH THE SELECTED CAST OF THE BRAND NEW INDIE FILM "DON'T SAY IT"! WE HAD A STAR STUDDED CAST STARRING: RICH GROSSO, STEPHEN WARD, STUART FRATKIN, MARIA PARIS, & P.J. MARINO! CHECK IT OUT ON ALL STREAMING PLATFORMS!   Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com – Or message us at bit.ly/44meos1 – Help support GFBS at this donation link - https://bit.ly/3vjvzgX - Access past GFBS Interviews - https://gfbsinterviews.podbean.com/ #gfbs #gfbestsource.com #grandforksnd #interview #local #grandforks #grandforksbestsource #visitgreatergrandforks @grandforksnd @THECHAMBERGFEGF #belegendary #followers #everyone #DONTSAYITTHEMOVIE #RENEGADERADIO 

In this episode of the 30 Screams or Less podcast we review ‘Cannibal Comedian' directed by Sean Haitz, written by Sean Haitz and Stephen Ward. Starring Aaron Prager (Charlie), Austin Judd (Chrystal), and Robert Dunne (Carrey) is about a psychopathic cannibal, fed up with his lack of ambition, takes a stab at stand-up comedy in an attempt to chase both his dreams and his victims. The post 30 Screams or Less 105: Cannibal Comedian appeared first on Shining Wizards Network.

In this episode of the 30 Screams or Less podcast we review ‘Cannibal Comedian' directed by Sean Haitz, written by Sean Haitz and Stephen Ward. Starring Aaron Prager (Charlie), Austin Judd (Chrystal), and Robert Dunne (Carrey) is about a psychopathic cannibal, fed up with his lack of ambition, takes a stab at stand-up comedy in an attempt to chase both his dreams and his victims. The post 30 Screams or Less 105: Cannibal Comedian appeared first on Shining Wizards Network.

In this episode of the 30 Screams or Less podcast we review 'Cannibal Comedian' directed by Sean Haitz, written by Sean Haitz and Stephen Ward. Starring Aaron Prager (Charlie), Austin Judd (Chrystal), and Robert Dunne (Carrey) is about a psychopathic cannibal, fed up with his lack of ambition, takes a stab at stand-up comedy in an attempt to chase both his dreams and his victims.Sponsored By:Beard Octane: Use the code 30SCREAMS10 at checkout for 10% off your order. https://beardoctane.com/Follow Us on Social Media: https://solo.to/30screamsorless

Fredericton retired journalist and professor of media ethics Stephen Ward describes his new book.

Depois de dois anos da Parte 2, finalmente finalizamos a trilogia sobre Andrew Lloyd Webber. Rafael Nogueira e Rafael Oliveira falam sobre os musicais Sunset Boulevard (1993), Whistle Down the Wind (1998), The Beautiful Game (2000), The Woman in White (2004), Love Never Dies (2010), The Wizard of Oz (2011), Stephen Ward (2013), School of Rock (2015), Cinderella (2021), Bad Cinderella (2023) e mais! Venha escutar e saber mais sobre o trabalho deste incrível compositor. Para a PARTE 1 da trilogia: #135 – Andrew Lloyd Webber, Parte 1 (feat. Rafael Oliveira) PARTE 2 #136 – Andrew Lloyd Webber, Parte 2 […]

fWotD Episode 2611: Well he would, wouldn't he? Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 28 June 2024 is Well he would, wouldn't he?."Well he would, wouldn't he?", commonly referred to as Mandy Rice-Davies Applies (shortened to MRDA), is a British political phrase and aphorism that is commonly used as a retort to a self-interested denial.The Welsh model Mandy Rice-Davies used the phrase while giving evidence during the 1963 trial of the English osteopath Stephen Ward. Ward is considered to have been made a scapegoat for the Profumo affair, a scandal involving John Profumo, the Secretary of State for War. Profumo had an extramarital affair with Rice-Davies's friend, the model Christine Keeler, lied about that affair to Parliament, and then publicly admitted that he had misled the House. Ward was tried for living on the earnings of prostitution; the prosecution alleged that Rice-Davies and Keeler were paid for sex by members of the British elite, and that they then paid Ward from their earnings. During the trial, Ward's lawyer James Burge asked Rice-Davies whether she was aware that Lord Astor had denied having an affair with her; Rice-Davies replied "Well he would, wouldn't he?"Since its widespread adoption following the Ward trial, political commentators, communications experts, and psychologists have interpreted "Well he would, wouldn't he?" as a political phrase that is used to indicate that the speaker believes that another person is making a self-interested denial. They have also stated that the phrase functions as a commonsense retort to the lies of elite political figures. Linguistically, the phrase has been noted for its use of the modal verb "would" to create rhetorical effect. The phrase has been included in the Oxford Dictionary of Quotations since 1979.This recording reflects the Wikipedia text as of 00:30 UTC on Friday, 28 June 2024.For the full current version of the article, see Well he would, wouldn't he? on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Aria.

People will do crazy things for desire. From the earliest human tales and histories to stories you can read in your newspaper today, there have been a never-ending number of crimes and betrayals committed because someone started getting hot under the collar. People will risk their relationships, their happiness, their lives for desire. Sometimes they'll even risk the safety of their nation. And that is the theory behind everybody's favorite spy tactic: The Honey Trap. A trap that ended up biting back against one government in the 60s. This is a spicy one, y'all: Spies, sex parties, knife fights in nightclubs...the whole shebang.Sources:The Secret Worlds of Stephen Ward by Anthony Summer and Stephen Dorrill Secrets and Lies by Christine Keeler with Douglas Thompsonhttps://spartacus-educational.com/SPYlewisJ.htmFollow us, campers!Patreon (join to get all episodes ad-free, at least a day early, an extra episode a month, and a free sticker!): https://patreon.com/TrueCrimeCampfirehttps://www.truecrimecampfirepod.com/Facebook: True Crime CampfireInstagram: https://gramha.net/profile/truecrimecampfire/19093397079Twitter: @TCCampfire https://twitter.com/TCCampfireEmail: truecrimecampfirepod@gmail.comMERCH! https://true-crime-campfire.myspreadshop.com/This 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/4251960/advertisement

The Evil Within, theurgy, theurgy in the ancient world, theurgy among the Harran Sabians, theurgy and Venice, theurgy post-Renaissance, talking statues, talking heads, the Getty family, J. Paul Getty, the Gettys in London, Getty links to the Profumo scandal, Thomas Corbally, Stephen Ward, elite sex rings, David Berkowitz, Long Island, the Hamptons, Andrew Getty, Andrew Getty's death, the decade plus production of The Evil Within, House on the Rock, references to House on the Rock in The Evil Within, geomancy, elite manors as temples, The Evil Within and basements, basements in LA, allusions to tunnels under LA?, Lookout Mountain, Stanley Kubrick, The Shining, "skin-face," "Wilson," Castaway, doubling in The Evil Within, alternate personalities, occult initiation in The Evil Within, The Evil Within as a depiction of possession, how The Evil Within toys with standard horror tropes, animatronics in The Evil Within, Andrew Getty's obsession with animatronics, amusement parks, Disney World, animatronics as a vehicle to be inhabited by an intelligence Music by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music by: The Octopushttps://riseaboverecords.com/product/supernatural-alliance/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

There is power in worship! We, as the church, can't rely on fantastic lighting, superb sound, and excellent production to produce a genuine encounter with God. We must rely on His presence. In this riveting installment of Ron + Hope: Unfiltered, Pastors welcome long-time friend, Pastor Stephen Ward to talk all about the world-shaking power of God's presence. Don't miss this dynamic episode!S2E41 (#93)Thank you to this week's sponsors: Nutrafol - Nutrafol.dot com and entering the promo code RAH to save ten dollars off your firstmonth's subscription – this offer is only available to US customers for a limited time.Chime - Get started at chime.com/ronandhope. That's chime.com/ronandhope.Are there any topics you'd like us to discuss?Do you have any questions you'd like us to answer?Send them to unfiltered@ronandhope.com. Follow Ron Carpenter @ron.carpenterFollow Hope Carpenter @pastorhope.carpenter Subscribe to Ron's YouTube page Subscribe to Hope's YouTube pageExecutive Producer is Riley Peleuses for YEA Networks / YEA Podcasts If you are interested in advertising on this podcast or having Ron and Hope as guests on your Podcast, Radio Show, or TV Show, reach out to podcast@yeanetworks.com

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.

Stephen Ward and Claire Hakeman join Mikey Burrows to discuss the VAR controversy and Wolves encouraging performance in the defeat to Man United. There's appreciation for Matheus Cunha and debate as to who comes into the team for Brighton, plus a look at the Women's start to the season this weekend against Derby. Wolves Weekly is brought to you by My Diesel Claim. If you owned or leased any diesel vehicle between 2009 and 2020, you can check your eligibility instantly and sign up at https://bit.ly/mydieselclaimpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In this podcast interview, the host welcomes CJ from Reach Metaverse. They discuss recent developments and updates in the project. CJ mentions that they have been focusing on making the platform more accessible and have seen growth and development.They have worked on improving the usability of their Builder tool, allowing individuals without 3D experience to easily create 3D environments in their metaverse. They have also introduced a dashboard and enhanced documentation using AI integration for better user support.The conversation then shifts to the token and its role in the ecosystem.CJ explains that the token provides access to their services, including subscriptions and the ability to build larger spaces. It can also be used within the metaverse for various functionalities and incentives.They are developing a marketplace and reward system where the token can be utilized.CJ mentions their collaboration with Stephen Ward from Wi-Fi and their work on building an economic model for long-term value and user incentives.They plan to launch their token through an initial coin offering (ICO) and are coordinating with Wi-Fi for utilities and partnerships.The podcast concludes with discussions about the ICO details, platforms, and processes, which are still being worked on.CJ encourages listeners to stay updated through their website and pinned tweet for more information on Reach Metaverse and the upcoming events.Key points and topics:Recent growth and development in Reach MetaverseImproving accessibility and usability of the platformIntroduction of the Builder tool for easy 3D environment creationDashboard and AI-integrated documentation for user supportThe role of the token in providing access to services and incentivizing platform usePlans for a marketplace and reward system within the metaverseCollaboration with Stephen Ward from Wi-Fi for tokenomics and economic modelUpcoming ICO and coordination with Wi-Fi for utilities and partnershipsDetails of the ICO still being worked on, updates to be provided through the website and pinned tweet.

Tom Mangold is one of Britain's top investigative journalists. From Fleet Street he moved to the BBC in 1964 and became a war correspondent covering numerous conflicts including Vietnam, Northern Ireland and Afghanistan. He then found himself at Panorama for 26 years making over 100 documentaries. He looks back on a career where he cultivated the Krays, became friends with Stephen Ward who was at the heart of the Profumo scandal and dissects the challenges that investigative journalism is under."The extent to which the use of libel actions against organisations doing investigative journalism, the way in which the libel courts are now being used makes it less and less easy to do good investigative journalism."Support the podcast by signing up here Find all our podcasts here @BeebRoger@RogerBolton@mastodonapp.ukemail: roger@rogerboltonsbeebwatch.com Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

What's around the corner? This edition of Airing Pain platforms four internationally recognised clinicians from the British Pain Society Annual Scientific Meeting    Recently healthcare technology and innovation has seen a rapid acceleration, particularly following disruption caused by the Covid 19 pandemic. In this edition we look around the corner and examine the most current technological advances for pain therapy, especially those that can be used with or even in replacement of conventional medical treatments.  The Airing Pain team attended the British Pain Society ASM in 2022, to listen and interview top thought-leaders on pain technology advancements and the projects they are working on. Hear them introduce their specialist areas of: new scientific evidence for fibromyalgia; neuropathic pain in the form of phantom limb and post-surgery back pain; and cutting-edge developments in neuromodulation techniques, specifically non-invasive Virtual Reality and Gaming for treating neurological distortions.   Contributors:  Dr Stephen Ward, Chair of Scientific Committee, St Thomas Hospital London  Dr Simon Thomson, Consultant, Pain Medicine and Neuromodulation, Mid and South Essex University Hospitals NHS Trust  Dr Owen Williamson, Pain Medicine Specialist, School of Interactive Arts and Technology at Simon Fraser University Vancouver British Columbia  Dr Timothy Deer, Interventional Pain Doctor West Virginia and President of The Spine and Nerve Centers  Time Stamps:  0:20 – Introductory quotes of internationally recognised Clinicians from the British Pain Society Annual Scientific Meeting (ASM).  1:24 - Introduction by Paul Evans to British Pain Society ASM attendance.  1:58 - Dr Stephen Ward, Chair of Scientific Committee, St Thomas Hospital London, on emerging scientific evidence for the study of Fibromyalgia.  5:16 - Dr Simon Thomson, Consultant, Pain Medicine and Neuromodulation, Mid and South Essex University Hospitals NHS Trust introducing the basics of neuromodulation and neuropathic pain, using secondary back pain as an example.  11:10 – Dr Simon Thomson on the process of Spinal Cord stimulation and equipment.  18:33 - Dr Owen Williamson, Pain Medicine Specialist, School of Interactive Arts and Technology at Simon Fraser University Vancouver British Columbia, on virtual reality (VR) for chronic pain treatment, particularly the uses of VR for painful distortions.  25:05 – Dr Owen Williamson on his talk titled ‘Modifying the Matrix: Virtual Reality' at the British Pain Society ASM.  30:22 – Dr Owen Williamson on potential drawbacks to using VR Therapy. Followed by a discussion of mitigation techniques; artificial intelligence and body sensors for patient-monitoring in virtual environments. 32:56 - Invitation to fill out our Online Survey  32:42 – Introducing Dr Timothy Deer, Interventional Pain Doctor West Virginia and President of The Spine and Nerve Centers of the Virginias on the future of personalised management and remote home programming to benefit those living with chronic pain.  39:08 - Dr Owen Williamson discussing the optimistic yet cautionary future of virtual reality and wider emerging technologies for pain therapy; the importance of preserving empathy as typically found in the doctor-patient relationship.  Special Thanks:   This edition of Airing Pain was possible thanks to support from the British Pain Society. More Information: Airing Pain 61: Deciding Together Pain Matters 73: Neuropathic Pain Issue Manage Your Pain leaflet Chronic Pain and Health Inequalities

In an industry where coaches and self-titled experts eject facts, recycle protocols, and base their competency on questionable sources… I was incredibly fortunate to connect with someone whose expertise is paralleled by few: Performance Consultant, Eoin Lacey. He's best known for creating the largest chain of Personal Training and Nutrition Centers in Ireland - the Irish Strength Institute - together with colleagues, John Connor and Stephen Ward.  Eoin dissects the solutions for visceral fat, metabolic flexibility, hormone optimization, gut health, and MUCH more… You'll learn: How to Use a Continuous Glucose Monitor for Metabolic Flexibility The WARNING Signs of Inflammation and Digestive Dysfunction Why Visceral Fat Accumulates, and the Solution to Lose it Three Simple Rules to Construct an Effective Performance Diet The BIG Levers for Glucose Control, Gut Health, and Cardiac Function The guide for today's episode is PACKED with actionable advice.  Pick it up at muscleintelligence.com/learn. If you're interested in my favorite continous glucose monitor, check out Levels at levels.link/muscleintelligence Learn more from Eoin: eoinlaceyeducation.com - use code BEN30 to get 30% off of ANY of Eoin's courses, through May 15, 2023! instagram.com/eoinlaceyeducation If you're a man over 35 looking for a simple, effective and personalized plan to help you look, feel and perform better than you did in your 20s, click here to learn more about our upcoming programs. P.S. In today's interview, Eoin takes a deep dive into gut health, and gives the audience an insight into some of his favorite supplements to support digestion. Unsurprisingly, Eoin's standard for the quality of his supplements are as high as mine. He uses the same BiOptimizers' enzymes and HCl products that I use and recommend consistently to clients. BiOptimizers' proteolytic enzymes, MassZymes, their powerful probiotic P3OM formula, and gastric support HCl breakthrough product are some of my top recommendations for anyone who understands the importance of optimal digestion. See the full suite of BiOptimizers products here and get 10% off!

Stephen Ward and Claire Hakeman join Mikey Burrows to discuss the win over Chelsea, including the performance of Joao Gomes, Toti's new role, Kilman's 100th appearance and whether the pundits could match Matheus Nunes' goal. Plus we find out what it's like to go on tour with Wolves Academy with preview the big match with Brentford. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Profumo affair is the scandal that has everything: sex parties in high places, Soviet agents, political resignations, dramatic court cases, drugs, deaths, cover ups and endless tabloid excitement, all at a critical moment in the Cold War and when, in London, the sixties are beginning to swing.But after so many years how much is here still to learn about the tangled relationships between John Profumo, Christine Keeler, Stephen Ward, Mandy Rice-Davies and Yevgeny Ivanov? And were other very highly placed men protected by an Inquiry so opaque that key documents are still kept under lock and key and will be for many decades to come?Our guest Stephen Dorril has written The Secret Worlds of Stephen Ward: Sex, Scandal and Deadly Secrets in the Profumo Affair (with Anthony Summers), and is author of MI6: Fifty years of Special Operations, which remains the definitive account of the UK's post-war secret intelligence service.Purchase Stephen Dorill's book below...MI6: Fifty Years of Special Operations.www.amazon.co.uk/gp/product/1857027019/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i1Andrew Lownie.twitter.com/andrewlowniePhil Craig.twitter.com/philmcraigYou can get in touch with the show hosts via...team@podcastworld.org (place 'Scandal Mongers' in the heading please)This show is part of the PodcastWorld.org network. For your own show please get in contact via the email address above.Production byTheo XKerem Isik Hosted on Acast. See acast.com/privacy for more information.

Johnny Vedmore comes on the show to discuss some of the mysterious deaths that took place in the London nightclub scene in the fifties and how these deaths may not be what they seem at first. One of these mysterious deaths is that of Esmeralda Gullan whose nightclub Esmeralda's Barn would start to have a host of strange characters patron the place after her passing. After discussing how these dead and missing women preceded the takeover of the London nightclub scene by gangsters and intelligence agencies, we discuss Horace Dibben who was a self-proclaimed satanist who would host sadomasochistic satanic orgies for the UK elite. We also discuss Stephen Ward of Profumo infamy, an abortionist with a strange penchant for reptiles, an art collector/inventor who helped the Nazis, an OSS/Kroll espionage agent, a woman married to a satanist sex party thrower who maybe slept with JFK and a host of other bizarre and sinister characters. And we also discuss a man who was a billionaire philanthropist who had homes in Palm Beach, France, New York and London and an island where had hosted sex parties for the elite and was connected to intelligence agencies...and he isn't Jeffery Epstein.Also, I at one point I goof while talking and combine the words raunchy and debaucherous and say raunchous so just know that I know that I am dumb.Check out Johnny's work:Johnny Vedmore, Author at Unlimited Hangoutjohnnyvedmore.com – Real Indie JournalismVedmore | Fungi Monkey | Cardiff

Mikey Burrows ushers in a whole new era and a new format for Wolves Weekly in an episode featuring former striker/full back Stephen Ward and Wolves Women Captain Anna Price as they review the draw at Fulham. Anna also discusses the womens title race and Ward previews the trip to Liverpool including reliving his winner at Anfield in 2010. There's also an exclusive interview with former midfielder Kevin McDonald on playing with Mario Lemina, facing Ruben Neves and Joao Moutinho and how kidney surgery hasn't changed him. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Part one of Episode 68, we learned that Stephen is the president and broker for Exceptional Properties Group.  He attributes EPG's success to the firm's clients whom Stephen refers to as the firm's mentors. In Part 2, Stephen shares some more about is business, its function and some some successful transactions that he deserves to be proud of. You'll also hear his take on the current state of the market, how he analyzes his leads and finds deals for his investors and more. Let's take it all in!  You can Join the Omaha REIA at https://omahareia.com/ Omaha REIA on facebook https://www.facebook.com/groups/OmahaREIA Check out the National REIA https://nationalreia.org/ Find Ted Kaasch at www.tedkaasch.com Owen Dashner on Facebook https://www.facebook.com/owen.dashner Instagram https://www.instagram.com/odawg2424/ Red Ladder Property Solutions www.sellmyhouseinomahafast.com Liquid Lending Solutions www.liquidlendingsolutions.com Owen's Blogs www.otowninvestor.com www.reiquicktips.com Stephen Ward on FB https://www.facebook.com/wardless Exceptional Properties Group https://epg3.com/about-epg If you like the content on Omaha REIA Radio, Be sure to give us a review on your favorite podcast platform to help others find us and leverage the knowledge and experience our hosts and guests have to offer. We greatly appreciate you for tuning in and see you in the next episode!! 

Stephen Ward is a native of Omaha, NE. You'd hear in his story that after graduating college, he got into the health and fitness industry, both in sales and personal training. It was while working in that industry that he found his first mentor, Mike Pettid, who introduced him to idea of Real Estate Investing. Stephen acquired his Realtor's license but quickly grew tired of the traditional Real Estate sales transactions. He wanted more challenging transactions and wanted to deal less with nitpicking homebuyers. He would eventually form his own Real Estate Team and begin pursuing bigger commercial deals in an uncommon way, of which you'll learn about in the episode. Stephen and Owen have a healthy business relationship. Stephen has earned the respect of other investors by his impressive sales and analysis techniques. He claims that his greatest sale was the process of convincing Prisca Gaba-Ward to be his best friend and his wife! Here's Part 1 of REIA Radio's Episode 68!You can Join the Omaha REIA at https://omahareia.com/ Omaha REIA on facebook https://www.facebook.com/groups/OmahaREIA Check out the National REIA https://nationalreia.org/ Find Ted Kaasch at www.tedkaasch.com Owen Dashner on Facebook https://www.facebook.com/owen.dashner Instagram https://www.instagram.com/odawg2424/ Red Ladder Property Solutions www.sellmyhouseinomahafast.com Liquid Lending Solutions www.liquidlendingsolutions.com Owen's Blogs www.otowninvestor.com  www.reiquicktips.com Stephen Ward on FB https://www.facebook.com/wardless Exceptional Properties Group https://epg3.com/about-epg If you like the content on Omaha REIA Radio, Be sure to give us a review on your favorite podcast platform to help others find us and leverage the knowledge and experience our hosts and guests have to offer. We greatly appreciate you for tuning in and see you in the next episode!! 

This week we recap the NCAA Cross Country Championships with head coach Danny Feldman. Plus, we talk to a pair of rookies who are making an immediate impact for their respective programs, and we look back at a win over an Ivy League opponent for the men's squash team. All that and more... Interviews this episode: 0:43 -- Danny Feldman, Head Coach, Cross Country. 7:24 -- Stephen Ward '24, Men's Basketball. 12:21 -- Elsa Daulerio '26, Women's Basketball. (Maine Rookie of the Week) 18:53 -- Max Cory '26, Men's Swimming and Diving. 25:39 -- Grace Wenger '24. Women's Swimming and Diving. (NESCAC Performer of the Week) 33:39 -- Jonathan Walker '23, Men's Squash.

Musical Director, Producer and Writer Alex Parker (My Fair Lady / The Light in the Piazza) co-hosts The West End Frame Show!Andrew and Alex discuss Strictly Ballroom (New Wimbledon Theatre, UK Tour) and the WhatsOnStage Awards, as well as the latest news about Wicked casting, The Woman in Black closing, the Nanny McPhee musical and lots more. Alex is currently the musical director for the UK & Ireland tour of My Fair Lady directed by Bartlett Sher.Additionally, Alex is currently producing and musical directing a concert staging of The Light in the Piazza at the Alexandra Palace Theatre on 27th November with an all-star cast including Elena Shaddow, Amara Okereke, Jordan Luke Gage, Rebecca Lock and Amy Di Bartolomeo.Alex made a splash on the theatre scene when he produced and musical directed the London premiere of Stephen Sondheim's Putting It Together at the St James Theatre (now The Other Palace) starring Janie Dee. Most recently he produced and musical directed Wonderful Town at Opera Holland Park, Gypsy starring seven Roses at the Alexandra Palace Theatre, Sunset Boulevard at Alexandra Palace Theatre & Royal Albert Hall and his own musical AmDram at Leicester Curve.Alex has also produced and musical directed A Little Night Music on two occasions, at the Palace Theatre in the West End and Opera Holland Park.Alex was the musical director for Mame at the Hope Mill Theatre, The Color Purple at Leicester Curve and My Left Right Foot for the National Theatre of Scotland. Other shows that he has worked on include Sweet Charity, Barnum, Secret Diary of Adrain Mole, Wonderland, Working, Les Misérables, Stephen Ward, The Pajama Game, Soho Cinders and so much more. The list is endless!The Light in the Piazza is staged at the Alexandra Palace Theatre on 27th November 2022. Visit www.alexandrapalace.com for info and tickets.Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

An intelligence expert reflects on the facts and fictions inherent in the UK's perception of secret intelligence and proposes a move away from unhelpful stereotypes. In the first episode of RUSI Journal Radio's third season, Demi, Emma and Ed are joined by Dan Lomas, a Lecturer in Intelligence and Security Studies at Brunel University. Dan's research specialises in the use of intelligence to support policymaking, and the history of the UK's intelligence community. He has written for RUSI on several occasions, and his most recent contribution to the RUSI Journal – co-authored with Stephen Ward – looks at public perceptions of UK intelligence.

Stephen Ward, Johnny Ward and Gavin Cooney were with John Duggan for OTB Football Saturday this afternoon. We reflected on Manchester City's 3-0 win at Wolves earlier, including a straight red card for Irish international Nathan Collins. The lads also talked Graham Potter's start at Chelsea, Shamrock Rovers' midweek loss, and Stephen Kenny's latest ROI squad. Football with @SkyIreland

Addressing Corporate Risk Management in the Global Environment With Stephen Ward, CEO of Polaris Risk Management With Host Richard Levick of LEVICK: Stephen Ward, CEO of Polaris Risk Management, an investigations and intelligence company with deployable services in over 85 countries, speaks with host Richard Levick of LEVICK about addressing security vulnerabilities that come from conducting business in a global environment. He addresses brand and Intellectual property protection, global investigations, executive protection, cyber security, supply chain security and more.

A $20,000 Boba Fett bootleg, an Empire Strikes Back Stormtrooper that sold for $10,000, the continued rise in Revenge of the Jedi proof card values, and the surprising out-performance and under-performance of Power of the Force carded figures! Plus, two Empire Strikes Back carded figures you may currently own that are now worth thousands of dollars! On the heels of Celebration Anaheim, Hake's Auctions offered an incredible assortment of 200 vintage collectibles for its first Star Wars Special Event Auction in June. Join host David Quinn for Part 2 of a conversation with fellow collector Matt George, as they explore the prices and trends from the most recent Hake's auction, with exclusive data you won't hear anywhere else. To view the pieces listed in Hake's Star Wars Special Event Auction: https://www.hakes.com/ To purchase Engineering an Empire: The Creators of Kenner's Star Wars Toys, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ To Listen to the Episode on the Prototype Archives Site: https://www.prototypearchives.com/podcast Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

A record-breaking Rocket Fett, a $40,000 carded Vinyl Cape Jawa...and an $8,700 Chewbacca Bop Bag???? On the heels of Celebration Anaheim, Hake's Auctions offered an incredible assortment of 200 vintage collectibles for its first Star Wars Special Event Auction in June. Join host David Quinn for a conversation with fellow collector Matt George, as they explore the prices and trends from the most recent Hake's auction, with exclusive data you won't hear anywhere else. To view the pieces listed in Hake's Star Wars Special Event Auction: https://www.hakes.com/ To purchase Engineering an Empire: The Creators of Kenner's Star Wars Toys, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ To Listen to the Episode on the Prototype Archives Site: https://www.prototypearchives.com/podcast Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

Dave Jones is joined by Stephen Ward and Dion Dublin for what was an exciting evening of football for the bottom half of the table. Everton secured a 3-2 win over Crystal Palace to secure their place in the Premier League next season, whilst Burnley took what could be a valuable point from Villa park in a thrilling 1-1 draw.

Eoin Lacey is a performance consultant and co-founder of the Irish Strength Institute. He started his career in the health industry where he went on to be part of the management team of Irelands largest health clubs with over 11,000 members. Understanding that everyone responds differently to exercise. Eoin began his studies in Physical Therapy, Corrective Exercise and Advanced Strength and Conditioning. This brought Eoin into the Personal Training realm and together with John Connor and Stephen Ward forged the beginning of what is now the largest chain of Personal Training and Nutrition Centers in Ireland , the Irish Strength Institute. Here he trains a wide range of humans and athletes, particularly MMA athletes, Conor McGregor among them. He has also branched into the business consult world where he splits his time between his Clinic in Malahide, managing the ISI Centre of Excellence, and teaching for his US Educational Company ICANS. On the podcast, Eoin and Brian talk about optimal approaches and philosophies to health and performance for athletes and all humans. Eoin talks on his path to his roles as a performance consultant and MMA trainer as well as co-founder of the Irish Strength Institute. He highlights the importance of treating you and your athletes on a personalized basis. This leads into his assessment strategies and philosophies on programming, warming up and activating properly, and proper weight cutting for athletes. Eoin then breaks down the weight room and its relationship to functional training, how to categorize athletes on ability and disfunction. Then the boys dive into MMA training and nutrition, this involves ideal training and recovery approaches, and body composition ranges and identifying and optimizing energy systems, then finishes with nutrition and supplement recommendations. Eoin closes out the podcast with a phenomenal approach to the foundations of optimal human performance in any field. Incredible conversation. Hope you enjoy.

Author Douglas Thompson discusses his book Stephen Ward: Scapegoat They All Loved Him… But When It Went Wrong They Killed Him https://www.amazon.co.uk/Stephen-Ward-Scapegoat-Loved-Killed-ebook/dp/B00H6V0EBQ/ref=sr_1_1?dchild=1&keywords=stephen+ward+scapegoat&qid=1607112331&sr=8-1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Nathan Murphy is joined by former Republic of Ireland international Stephen Ward as he discusses his career in football, having announced his retirement last week. Football with @SkyIreland

The hugely talented Artist/Illustrator Barry Masterson joined host Roy Shanahan and Nathan Doyle to discuss his amazing League of Ireland Illustrations and his beloved Longford Town. But that was not all... - A run through both divisions so far.... - Attendances in the league - Stephen Ward retires - Should clubs in certain parts of the country be made to play on All-weather pitches?

Anatomy of a Corporate Crisis With Amy Cisrow-Peterson, AGC, Rack Room Shoes; Henry Juszkiewicz, Former Chairman and CEO of Gibson Guitar; Stephen Ward, CEO, Polaris Corporation; Marc Dedman of Barton, LLP; and Jeff Horst of Krevolin Horst With Host Richard Levick of LEVICK: As a preview for a panel for Primerus, a society of nearly 200 of the world's finest independent, boutique law firms in 40 countries two CEOs, an Assistant General Counsel and two law firm partners joined host Richard Levick of LEVICK to discuss how the prepare and respond to crisis matters for a program titled: Proaction, Reaction, Inaction – Anatomy of a Corporate Crisis. Amy Cisrow-Peterson is the Assistant General Counsel, Litigation Management at Rack Room Shoes; Marc Dedman is the Partner-in-Charge of the Nashville office of Barton, LLP; Jeff Horst is Krevolin Horst's senior litigator; Henry Juszkiewicz is the former Chairman and CEO of Gibson Guitar and Stephen Ward is the CEO of Polaris Corporation which addresses security vulnerabilities globally.

Did you ever wonder where the Star Wars collectibles in a Hake's auction come from? In the latest auction, one-third of the vintage Star Wars items - an amazing assortment of carded action figures - came from one collector, curated over the span of 25 years. From seeing an X-Wing in a shop in New York City, leading to a wild hunt for the highest quality carded figure examples available, to the heartbreak of dropping and destroying a $20,000 action figure and making a very tough decision - our collector's story is an amazing one. And at the end of his journey, he received a shocking surprise as the Hake's auction came to a close. This is one story you do not want to miss. Join host David Quinn and collector/author Matt George for final episode in the Hake's auction series, with the collector who sold his entire Star Wars collection at Hake's Auction 234. To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/ To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

With all of your focus and investment on 3rd party risk management, there is likely still a blind-side that remains unaddressed. It is an area that should be moved to the top of your priority list - both for its potential to cause material losses in the form of response costs and fines and judgements, and for the ease in which it can be mitigated. It is a risk introduced by the 3rd party vendors you rely upon (and the nth parties they work with) to power and enhance your website. The threat of JavaScript based attacks - click-jacking, digital skimming, formjacking, defacement, "Magecart" - exists for any organization collecting sensitive data or conducting transactions through their web properties. Attacks of this type have done damage to some of the biggest brands in the world - costing household names like British Airways tens of millions - and they happen by the hundreds per month. Already in 2022, we've seen headlines of major client-side attacks like the one that hit Segway - potentially impacting nearly a million consumers. This is an area of exposure introduced through your own code, and by your partners, that can only be addressed at the client-side. It remains widely unaddressed, as focus in website security to this point has been on securing the server side. Join us for an exploration of the threat of these attacks, real-world examples of the material impact they have caused, and dialogue on the approaches to mitigating this risk with pros and cons of each.   Segment Resources: Our core whitepaper https://info.sourcedefense.com/event/client-side-white-paper-2022?leadsource=White%20Paper Blog on the blind side topic https://sourcedefense.com/resources/blog/wheres-the-blind-side-in-your-3rd-party-risk-its-on-the-client-side/ Free risk report on attendee's web properties https://sourcedefense.com/check-your-exposure/   This segment is sponsored by Source Defense. Visit https://securityweekly.com/sourcedefense to learn more about them!   Visit https://www.securityweekly.com/psw for all the latest episodes! Show Notes: https://securityweekly.com/psw733

This week, we start the show off with an interview featuring Stephen Ward, the CMO of Source Defense, about Exposing the Shadows: Managing Shadow Code and the Blind Side in 3rd Party Risk! Next up, we jump into the Security News for this week: insiders inside NASA, BIND is in a bind again, Lapsus$ is on a tear, ripping at Microsoft and Okta, anonymous hacks printers, The UEFI security rabbit hole goes DEEP, Microtik and Tickbot, Browser-in-the-Browser attacks, Nestle gets attacked for not wanting to hurt babies, & just another sabotage! Finally, a pre-recorded interview featuring Dave Kennedy, where we discuss TrevorC2! Segment Resources: Core whitepaper: https://info.sourcedefense.com/event/client-side-white-paper-2022?leadsource=White%20Paper Blog on the blind side topic https://sourcedefense.com/resources/blog/wheres-the-blind-side-in-your-3rd-party-risk-its-on-the-client-side/ Free risk report on attendee's web properties https://sourcedefense.com/check-your-exposure/ This segment is sponsored by Source Defense. Visit https://securityweekly.com/sourcedefense to learn more about them! Visit https://www.securityweekly.com/psw for all the latest episodes! Visit https://securityweekly.com/acm to sign up for a demo or buy our AI Hunter! Follow us on Twitter: https://www.twitter.com/securityweekly Like us on Facebook: https://www.facebook.com/secweekly Visit https://www.securityweekly.com/psw for all the latest episodes! Visit https://securityweekly.com/acm to sign up for a demo or buy our AI Hunter! Show Notes: https://securityweekly.com/psw733

This week, we start the show off with an interview featuring Stephen Ward, the CMO of Source Defense, about Exposing the Shadows: Managing Shadow Code and the Blind Side in 3rd Party Risk! Next up, we jump into the Security News for this week: insiders inside NASA, BIND is in a bind again, Lapsus$ is on a tear, ripping at Microsoft and Okta, anonymous hacks printers, The UEFI security rabbit hole goes DEEP, Microtik and Tickbot, Browser-in-the-Browser attacks, Nestle gets attacked for not wanting to hurt babies, & just another sabotage! Finally, a pre-recorded interview featuring Dave Kennedy, where we discuss TrevorC2! Segment Resources: Core whitepaper: https://info.sourcedefense.com/event/client-side-white-paper-2022?leadsource=White%20Paper Blog on the blind side topic https://sourcedefense.com/resources/blog/wheres-the-blind-side-in-your-3rd-party-risk-its-on-the-client-side/ Free risk report on attendee's web properties https://sourcedefense.com/check-your-exposure/ This segment is sponsored by Source Defense. Visit https://securityweekly.com/sourcedefense to learn more about them! Visit https://www.securityweekly.com/psw for all the latest episodes! Visit https://securityweekly.com/acm to sign up for a demo or buy our AI Hunter! Follow us on Twitter: https://www.twitter.com/securityweekly Like us on Facebook: https://www.facebook.com/secweekly Visit https://www.securityweekly.com/psw for all the latest episodes! Visit https://securityweekly.com/acm to sign up for a demo or buy our AI Hunter! Show Notes: https://securityweekly.com/psw733

The insanity continues. The “Clear” winners of the second half of the auction? Clear bubble carded figures from Return of the Jedi brought in almost $50,000 in sales. And on average, they shockingly sold for an incredible 40% over the high end of their estimates. Hake's auction 234 brought in $72,000 in revenge proofs, $60,000 in Power of the Force figures, and a total of $1.2 million dollars in sales of Star Wars items. Do we really live in a collecting world in which a B-Wing Pilot and a Prune Face figure each sold for $1,000? How much did a clear bubble POTF Wicket W. Warrick sell for? Which Revenge proof card sold for $13,000 - the same price as a Charcoal Robes POTF Anakin Skywalker prototype? And will Power of the Force figures continue to skyrocket? Join host David Quinn and collector/author Matt George for the second and final part of a conversation about these items and more, as they explore the stunning prices and unearth the collecting trends from Hake's Auction 234. And thanks to Matt's exhaustive data analysis, you'll understand how truly surprising these results are, as he shares valuable insight and information only found on this podcast! Which carded figures performed the best? Did prototypes underperform? What were the top ten highest-selling pieces? Which items were steals and went under the radar during the auction? Answers to all of these questions and more await - Let's dive in! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/ To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

Insanity. Star Wars collectors simply have never seen prices like this. A record-setting six-figure Boba Fett prototype, a carded Vinyl Cape Jawa topping $36,000, an Early Bird Certificate selling for $21,000, and 20- and 21-back Star Wars figures reaching values in the thousands - prices usually reserved for the desirable 12-back first releases. And would you believe that Empire Strikes Back items fared the best in this shocking auction? Figures like Luke Bespin and a Power Droid sold in the $5,000 range, a Bossk pulled in $4,000, and even a forgotten figure like Dengar commanded $3,500! Join host David Quinn and collector/author Matt George for part one of a conversation about these items and more, as they explore the stunning prices and unearth the collecting trends from Hake's Auction 234. And thanks to Matt's exhaustive data analysis, you'll understand how truly surprising these results are, as he shares valuable insight and concrete information only found on this podcast! Which carded figures performed the best? Did prototypes underperform? What were the top ten highest-selling pieces? Which items were steals and went under the radar during the auction? Answers to all of these questions and more await - Let's dive in! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/ To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

Over the past year, the carded 1985 DROIDS Boba Fett has been one of the most in-demand figures for vintage Star Wars collectors. The value for this rare figure has soared, and an AFA 75 recently sold for $16,000 on eBay. 1985's Power of the Force figure collection offers some of the hottest Star Wars collectibles as well, with carded examples reaching record prices. How much did an AFA 85 Luke Stormtrooper sell for on eBay in the past two months? Did an Imperial Gunner really sell for $3500 at the last Hake's auction? With figures like Luke X-Wing, Han Solo in Carbonite and R2-D2 with Pop-Up Lightsaber commanding prices of $2000 or more in recent public sales, will they hit new highs in Hake's auction 234? And at what price will Hake's AFA 80 DROIDS Boba Fett end? Could we see a $20,000 price tag on a beloved rarity? Join host David Quinn and collector/author Matt George for a conversation about these items and more, as they explore 1985's Power of the Force (POTF), DROIDS and EWOKS collectibles in the latest Hake's catalog. In the seventh and final part of this pre-auction series, David and Matt share the stories behind the pieces, as well as some of the latest market trends and items to target! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/Auction/CategoryItemList/94/Star-Wars?dgv-rowsPerPage=200&dgv-page=1&dgv-sortCol=ItemcodeFull&dgv-sortDir=asc To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

For Jedi collectors, the latest Hake's auction is rich with rare pieces bearing the name “Revenge” and “Return!” A sealed Rancor, a carded alternate-photo Taiwan Boba Fett, a quality control (QC) sign-off Bib Fortuna, the iconic Miro-Meccano “Yan Solo” miscarded Luke Jedi figure, a loose Lili Ledy removable hood Jawa, a conceptual Jabba rotocast mold, unproduced Revenge of the Jedi vehicle boxes are some of the desirable Return of the Jedi-era collectibles offered in this segment of the Hake's 234 catalog. Join host David Quinn and collector/author Matt George for a conversation about these items and more, as they explore the Return of the Jedi collectibles in the latest Hake's catalog. In part six of this series, David and Matt share the stories behind the pieces, as well as some of the latest market trends and items to target! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/Auction/CategoryItemList/94/Star-Wars?dgv-rowsPerPage=200&dgv-page=1&dgv-sortCol=ItemcodeFull&dgv-sortDir=asc To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

Three months before Return of the Jedi premiered, George Lucas changed the film's title. And for decades, collectors have hunted proof cards and other memorabilia with the original “Revenge of the Jedi” logo. And while Return of the Jedi carded figures have been plentiful over the years, ones with clear bubbles command shocking prices. The latest Hake's auction offers an incredible one-third(!) of the 50 available Revenge proofs, as well as a curated collection of desirable high-grade clear bubble 65-back figures. Join host David Quinn and collector/author Matt George for a conversation about these items and more, as they explore the Return of the Jedi collectibles in latest Hake's catalog. In part five of this series, David and Matt share the stories behind the pieces, as well as some of the latest market trends and items to target! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/Auction/CategoryItemList/94/Star-Wars?dgv-rowsPerPage=200&dgv-page=1&dgv-sortCol=ItemcodeFull&dgv-sortDir=asc To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

When was the last time a sealed “Special Offer” Boba Fett Slave 1 vehicle came up for sale? Are carded 41-back Empire Strikes Back figures undervalued gems? The latest Hake's auction offers some of the nicest high-grade carded figures from Empire Strikes Back figure line, which has been gaining momentum among collectors. A 41A Han Bespin, a 41E Dengar and AT-AT Driver, a 45 Luke Hoth, and a 48C TIE Fighter Pilot are some of the beautiful carded figures in this catalog. And in addition to the carded figures, Auction 234 boasts a collection of rare vintage vehicles, playsets, prototypes, displays and international memorabilia. Highlights? How about a sealed Special Offer Slave 1, a yellow-box six-pack, the incredibly rare Kenner Canada Sears carded three-pack, a Kenner Canada shrink-wrapped R2-D2 with Sensorscope figure, a sealed Cloud City Playset, a vacuform Yoda display with shelf talkers and the original shipping box, and a set of 15 Japanese Popy boxed ESB figures! Join host David Quinn and collector/author Matt George for a conversation about these items and more, as they explore the Empire Strikes Back collectibles in latest Hake's catalog. In part four of this series, David and Matt share the stories behind the pieces, as well as some of the latest market trends and items to target! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/Auction/CategoryItemList/94/Star-Wars?dgv-rowsPerPage=200&dgv-page=1&dgv-sortCol=ItemcodeFull&dgv-sortDir=asc To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

A $4,000 carded Bespin Luke? If you're a collector, you know how desirable the collectibles from the first Star Wars film have become over the past two years. But The Empire Strikes Back is the rare sequel that is just as beloved and just as impactful as the first film, if not more so. And while ESB carded figures have taken a back seat to the 12-back and 20-back Star Wars figures, interest is rising steadily in the figures offered during the era of Empire. Luke Bespin, Leia Bespin, Lando Calrissian, Yoda, Han Hoth, IG-88, Snowtrooper - these are some of the iconic characters introduced in the Kenner line in 1980. And they are becoming some of the most sought after figures. The latest Hake's auction has compiled a collection of some of the most beautiful examples of these Empire Strikes Back figures. We've seen the increases in values for the 12-back figures of 1978. Are the 1980s ESB figures next? Join host David Quinn and collector/author Matt George for a conversation about these items and more, as they explore the latest Hake's catalog. In part three of this series, David and Matt share the stories behind the pieces, as well as some of the latest market trends and items to target! To view the pieces listed in Hake's Auctions 234: https://www.hakes.com/Auction/CategoryItemList/94/Star-Wars?dgv-rowsPerPage=200&dgv-page=1&dgv-sortCol=ItemcodeFull&dgv-sortDir=asc To purchase Engineering an Empire, written by Matt George, Stephen Ward and Gary Borbidge: https://engineeringanempirebook.com/ Thank you for being a part of Season Four. Here's to a new year, with new adventures in the world of Star Wars! If you enjoy Star Wars: Prototypes and Production, please: 1. Subscribe/follow the podcast (It's free!) 2. Leave a review on your preferred podcast platform (Help me get to 500 reviews!) 3. And tell a friend (or twenty)! It would be most appreciated - you have the power to help grow the podcast! Thank you in advance! Links to the Episode on Various Platforms: https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=2 https://open.spotify.com/show/744L0XQhmpXn2AZeaxUhOZ https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjU2NTA4ODM3Ni9zb3VuZHMucnNz https://soundcloud.com/david-quinn-908355451/tracks https://www.podbean.com/podcast-detail/u4ywr-80960/Star-Wars-Prototypes-and-Production-Podcast https://player.fm/series/2473540 https://www.iheart.com/podcast/256-star-wars-prototypes-and-p-31050806/ https://itunes.apple.com/us/podcast/star-wars-prototypes-and-production/id1448205460?mt=

This episode brought to you by Angela Lansbury.Lisa details the life of Christine Keeler and the Profumo Affair.Hayly spills the beans on the McDonald's Hot Coffee Case and scorched grandma, Stella Lieback.Whitney recounts the near-execution experience of Siti Aisyah, the oblivious assassin.