Podcasts about theatrical

Preached by Jared Kress on Feb. 8 2026. Main Idea: Each era of worship throughout biblical and church history has something to celebrate and has contributed significantly to what we now enjoy as “blended worship.” Blended worship should not simply aim to find a middle ground between extreme styles, but instead involve curating the best lessons learned throughout history. Challenge: How can we learn from the best lessons and failures of history to have the most God-honoring approach to worship? Eight Eras of Musical Worship1. Personal & Priestly2. Tambourines & Tabernacle3. Psalms & Professionalism4. Synagogue & Study5. Christ & Creeds6. Transcendent & Theatrical 7. Hymnals & Homiletics8. Digital & Distribution-----Join us in person Sundays at 10:30am at 6325 Poplar Ave, Memphis TN or online at https://www.kirbywoods.org/live. Follow us online! Facebook: https://www.facebook.com/kirbywoodsmemphis Instagram: https://www.instagram.com/kirbywoodsmemphis YouTube: https://www.youtube.com/@kirbywoods Podcast: https://kirbywoodspodcast.buzzsprout.com

Shock rock band Caster Volor releases their new album, entitled Paracosm, via Pavement Entertainment. Paracosm is a raw, unapologetic plunge into the chaos of modern life, filtered through the fire of heavy rock theatrics. This album is a world of fantasy, defiance, and takeover—a soundtrack for misfits, rebels, and believers who know rock ‘n' roll is here to stay.Paracosm features six tracks with a dynamic range. From the excess-drenched swagger of “Hard R” to the defiant rebellion of “Wear The Black Hat,” the unbreakable spirit of “At Least We Still Got Our Rock N Roll,” and the vulnerable confessions of “I Can't Cry (So I Stand In The Rain),” Caster Volor blends power, satire, rage, and heart into one explosive package. “Bewitch My Body & Soul” offers themes of haunting devotion and “Black Leather Middle Finger” challenges conformity.Come see Caster Volor perform live at the Halloween Bash on Friday, October 31st, at D's Barn in Bristol, WI. This free show begins at 8 PM. The band also has a show on November 6th, where they will open for Scotty Austin (former vocalist of Saving Abel) at the Granada Theater in Minneapolis, MN. Caster Volor's album release party for Paracosm will be on November 22nd at Studio B at the Skyway Theatre in Minneapolis, MN. Doors open at 6 PM with advanced tickets priced at $12 and tickets at the door at $18.Hailing from Minneapolis, Minnesota, Caster Volor is a shock rock force that delivers a ferocious blend of hard rock and heavy metal wrapped in a theatrical spectacle unlike anything else on the touring circuit today. Known for their over-the-top, vaudevillian-inspired performances, the band fuses gritty, anthemic music with an immersive stage experience—turning every show into a raw, high-energy event that leaves audiences breathless. Musically, Caster Volor draws influence from the giants of hard rock and metal—both classic and modern. Their original material reflects the raw energy of bands like Motley Crue, Judas Priest, and W.A.S.P., while also channeling the darker industrial vibes of Rob Zombie, Alice Cooper, and Rammstein. Their sound is thunderous, infectious, and tailor-made for the stage. In addition to their original work, Caster Volor has gained attention for their powerful covers of rock and metal hits spanning multiple decades. Their setlists may include everything from KISS, Billy Idol, and AC/DC, to more unexpected twists like LMFAO, and even Enrique Iglesias—all reimagined through the band's hard-hitting, theatrical lens.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

TKras talked about Tom Brady and made no comment about the Super Bowl, why?

Edmund Fitton Brown and Bill Roggio argue Saudi Arabia's refusal to allow airspace use for strikes on Iran is theatrical to avoid Iranian retaliation, noting Riyadh privately remains a dependable US partner.1890 TEHRAN

Everitt and Ashworth detail Nero's fall through the Pisonian conspiracy forcing Seneca's theatrical suicide, followed by revolt in Gaul and Nero's own suicide by throat, destroying his precious singing voice in 68 AD.

Anthony Everitt and Roddy Ashworth discuss Nero's plot against his mother Agrippina in 59 AD, detailing the theatrical scheme using a collapsing boat that failed, forcing the emperor to send assassins to finish the matricide.J-L DAVID, SABINE WOMENINTERVENTION

What do trailers, legendary movie posters, streaming era strategy, and a deep love for theatrical storytelling have in common? This week on Trailer Geeks & Teaser Gods, Corey is joined by Debi Struzan and Dana Flowers-Mitchell for a deeply personal conversation about careers shaped by creativity, collaboration, and conviction. From Debi's early days at Seiniger Advertising and her connection to the iconic Drew Struzan legacy, to Dana's journey from agency producer to studio and streaming executive, the conversation traces how great entertainment marketing is built at the intersection of story, trust, and human connection. Together, Debi and Dana reflect on mentorship, studio versus agency life, the evolution of theatrical and streaming windows, and what still matters most when crafting campaigns that resonate. Along the way, the discussion touches on everything from horror trailers and prestige dramas to boxing workouts, late night calls, and why picking up the phone still matters. Key Takeaways From Agency to Studio and Back Again Both guests share how starting on the agency side shaped the way they later partnered with creative teams once they moved into studio and streaming roles, fostering deeper empathy and stronger collaboration. The Legacy of Drew Struzan Debi reflects on the influence of her father-in-law, legendary illustrator Drew Struzan, and the enduring impact of handcrafted movie poster art in a rapidly changing industry. Why Relationships Still Win Dana and Debi emphasize that despite new tools, platforms, and pressures, strong relationships and direct communication remain essential to solving creative problems and building trust. Theatrical Is Not Dead The conversation challenges the idea that movie theaters are fading, pointing instead to evolving audience behaviors and the continued power of shared cinematic experiences. Creativity in an Era of Change From AI anxiety to shrinking budgets, the discussion explores how agencies and creatives can adapt while protecting the core value of original ideas and emotional storytelling. Notable Quotes "People still want to be moved together in a room. Theatrical is not dying. It's evolving." "You can solve a lot of problems just by picking up the phone." "The big idea still matters. Tools can change, but concept is everything." Connect Debi Struzan - www.linkedin.com/in/debistruzan Dana Flowers-Mitchell: www.linkedin.com/in/dana-flowers Corey Nathan – @coreysnathan on all platforms Our Sponsors Meza Wealth Management – mezawealth.com The Golden Trailer Awards – goldentrailer.com Join the Community Like what you hear? Leave us a rating and review! Connect with Corey on all platforms @coreysnathan Subscribe for new episodes every week and keep up with the world's best trailer creatives!  

Here is part 2 of all our live reviews for theatrical releases from 2025.https://youtu.be/pfiHs1Yhbg0https://rumble.com/v74q64k-2025-theatrical-releases-pt.-2-hack-the-movies-live-review-compilation.html

Here is part 1 of all our live reviews for theatrical releases from 2025.https://youtu.be/WUbzm2kdIZohttps://rumble.com/v74o990-2025-theatrical-releases-pt.-1-hack-the-movies-live-review-compilation.html

A conversation with Iain Gillie - Executive Producer and CEO at PW Productions who brought the stage show of Spirited Away from Tokyo to London. At the PW Productions London office in the heart of the West End in November 2025 Gillie discusses Spirited Away, winning a British Chamber of Commerce in Japan (BCCJ) British Business Award, how he got on his theatrical journey, what he looks for to green-light a show, getting lost in Japan, and more!!

We discuss the hottest topics from the week! Netflix will keep 45-day theatrical windows for Warner Bros movies? Avatar Takes Box Office Oscar Noms this Week "Dunesday" Sam Raimi Wants More Comic Book Movies Hayden Christensen is a fan of the Star Wars prequel memes Kathleen Kennedy Star Wars Updates Euphoria Trailer & MUCH MORE! Join the conversation... FacebookInstagramTwitterTikTokYouTubeRate/Review/Subscribe:Apple PodcastsSpotifyYouTube See omnystudio.com/listener for privacy information.

Shock rock band Caster Volor releases their new album, entitled Paracosm, via Pavement Entertainment. Paracosm is a raw, unapologetic plunge into the chaos of modern life, filtered through the fire of heavy rock theatrics. This album is a world of fantasy, defiance, and takeover—a soundtrack for misfits, rebels, and believers who know rock ‘n' roll is here to stay.Paracosm features six tracks with a dynamic range. From the excess-drenched swagger of “Hard R” to the defiant rebellion of “Wear The Black Hat,” the unbreakable spirit of “At Least We Still Got Our Rock N Roll,” and the vulnerable confessions of “I Can't Cry (So I Stand In The Rain),” Caster Volor blends power, satire, rage, and heart into one explosive package. “Bewitch My Body & Soul” offers themes of haunting devotion and “Black Leather Middle Finger” challenges conformity.Come see Caster Volor perform live at the Halloween Bash on Friday, October 31st, at D's Barn in Bristol, WI. This free show begins at 8 PM. The band also has a show on November 6th, where they will open for Scotty Austin (former vocalist of Saving Abel) at the Granada Theater in Minneapolis, MN. Caster Volor's album release party for Paracosm will be on November 22nd at Studio B at the Skyway Theatre in Minneapolis, MN. Doors open at 6 PM with advanced tickets priced at $12 and tickets at the door at $18.Hailing from Minneapolis, Minnesota, Caster Volor is a shock rock force that delivers a ferocious blend of hard rock and heavy metal wrapped in a theatrical spectacle unlike anything else on the touring circuit today. Known for their over-the-top, vaudevillian-inspired performances, the band fuses gritty, anthemic music with an immersive stage experience—turning every show into a raw, high-energy event that leaves audiences breathless. Musically, Caster Volor draws influence from the giants of hard rock and metal—both classic and modern. Their original material reflects the raw energy of bands like Motley Crue, Judas Priest, and W.A.S.P., while also channeling the darker industrial vibes of Rob Zombie, Alice Cooper, and Rammstein. Their sound is thunderous, infectious, and tailor-made for the stage. In addition to their original work, Caster Volor has gained attention for their powerful covers of rock and metal hits spanning multiple decades. Their setlists may include everything from KISS, Billy Idol, and AC/DC, to more unexpected twists like LMFAO, and even Enrique Iglesias—all reimagined through the band's hard-hitting, theatrical lens.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Midway Avenue Productions Presents, The Genre of Your Life Podcast!Episode #95 | Happy 2026, everyone!

Welcome to 2026 and our first episode of the New Year! On this week's episode of The Cultured Nerd Podcast, Michael and Taylor sit down and talk about the news out of #Deadline that #Netflix is wanting to cut down the #WB theatrical window from 45 days to 17 days. They talk about the ins and outs if that could be feasible, what it would mean if its true, the conflicting info that's going around, and more.After that, they sit down and talk about the ending of #StrangerThings, its mirroring of the ending of #TheLordOfTheRings and much more.

On this week's episode: Rumors swirl around Netflix/Warner Bros. theatrical window, Leonardo DiCaprio's grim view of move theater going experience, reviews of "Anaconda" and "Sorry, Baby," and New England filmmaking news. The Hub on Hollywood, hosted by Jamie and James, delves into the thriving film industry in New England. The podcast explores the production of various projects, including commercials, television shows, and full-length feature films. The podcast offers insight into New England’s growing film industry, as well as entertainment news and reviews. Subscribers can access the podcast on the iHeartRadio app and follow the hosts on Instagram and TikTok for updates.See omnystudio.com/listener for privacy information.

In this quick headlines segment, the host breaks down the report that Netflix wants a 17-day theatrical window for Warner Bros. movies if the acquisition goes through, while stressing what's actually confirmed versus what's still just reported. They compare that rumored 17-day window to the current 45-day standard theaters prefer, explain why Netflix would love the shorter timeline, and talk about what it could mean for the future of movie theaters. The episode wraps with a simple reminder that the deal will take time, and there will be more updates as new details come out.00:00 Reported 17-day window and what's confirmed vs rumored00:16 Netflix's public message about keeping releases “traditional”00:22 Why theaters want 45 days, not a throwback 90-day window00:30 Why 17 days works for Netflix's release strategy00:43 What this could mean for theaters and how fans can support them00:55 Reminder: Netflix hasn't publicly confirmed the 17-day plan01:08 Wrap-up and next updatesThe “17-day window” is being reported as what Netflix wants, but it has not been publicly confirmed by Netflix.Netflix has publicly said it wants releases to stay “traditional” and “industry standard,” which is part of its pitch around the acquisition.The current common standard theaters point to is around 45 days, which exhibitors see as the workable middle ground.A shorter window could front-load hype into opening weekend, then shift viewing to at-home right as word of mouth usually boosts later weeks.If theatrical exclusivity shrinks, theaters may lean even harder into event-style experiences, and attendance plus concession sales matter more than ever.“Let's clarify what's going on here.”“Netflix themselves have not said that.”“The standard is 45, and that's what theaters want.”“Don't sneak in candy or sodas. Buy them there.”If you enjoyed this update, subscribe to Geek Freaks Headlines, leave a quick rating and review, and share the episode with #GeekFreaksHeadlines.Instagram: @geekfreakspodcastTwitter: @geekfreakspodThreads: @geekfreakspodcastPatreon: GeekFreaksPodcastFacebook: Geek Freaks PodcastSend us what you want covered next, including your thoughts on theatrical windows, streaming-first releases, and what you think a “fair” theater-only window should be.Netflix, Warner Bros, Warner Bros Discovery, Movie Theaters, Theatrical Window, Box Office, Streaming, DC Movies, Entertainment News, Hollywood Business, Film Industry, Pop Culture PodcastTimestampsKey TakeawaysMemorable QuotesCall to ActionFollow UsListener QuestionsApple Podcast Tags

When a 10-year-old kid starts taking notes to critique his Aunt's directing of a Severna Park High School play, you know there is a budding theater kid in there. Fast forward about twenty years, and that kid graduated from Severna Park High and has just won an Annie Award in Arts Education from the Arts Council of Anne Arundel County. Along the way, Atticus Boidy has made a huge name for himself in the realm of the theatrical arts in Anne Arundel County. He teaches at the Children's Theatre of Annapolis, consults with many elementary and high schools in the county, and works with AACC and many other theater companies in the region. Along the way, he has launched his own consulting firm-- Theatrical Success Consulting. Truly a fascinating individual! Have a listen! LINKS: Atticus Boidy (Website) Theatrical Success Consulting (Website)  

THEATER, BATTLESHIPS, AND THE ILLUSION OF AMERICAN POWER Colleagues Gaius and Germanicus, Friends of History Debating Society, Londinium, 91 AD. Gaius and Germanicus discuss the theatrical nature of American imperial power under Donald Trump, positing that the administration utilizes military displays—such as missile strikes on empty targets in Nigeria or Venezuela—as symbolic rituals to assert authority without risking the failure associated with actual combat. Germanicus argues that Trump possesses the insight that "theater is the best way to assert American authority," drawing a parallel to Reagan's "Star Wars" initiative, which defeated the Soviets through the illusion of technological superiority rather than its reality. They debate the strategic utility of battleships; while Trump envisions massive vessels for their psychological hold on the "collective imagination," Germanicus predicts the construction of guided missile cruisers that merely project that image of invincibility. The conversation shifts to the Russo-Ukrainian conflict, where Germanicus characterizes the Kyiv government as a "gangster racket" protracting the war for financial gain while Russia solidifies its military reputation. They conclude that the US is transitioning into a phase of empire relying on "demonstration and display" to maintain global dominance, warning that an actual military defeat could be a fatal blow to the system. NUMBER 1 1942 BB58 USS MARYLSND IN ACTION.

Professor Toby Wilkinson. Cleopatra seduced Mark Antony with a theatrical entrance as Aphrodite, securing a romantic and political partner. Antony relied on Egyptian wealth for his campaigns but suffered military setbacks, alienating Rome by adopting Eastern customs. Their union produced children and challenged Octavian's authority, leading to inevitable conflict. 2900 SUEZ

Ep. 170 - Nathalie Velasquez, owner of Nathalie & Co. Dancewear, Swimwear and Activewear, talks about her commitment to the performing arts community

The first trailer for Christopher Nolan's The Odyssey is here, and we break down what it's setting up: Odysseus' brutal trek back to Ithaca after the Trojan War, the core family stakes with Penelope and Telemachus, and the trailer's biggest vibe, a battered king trying to survive long enough to get home. We also talk about how massive this movie looks, why the cast lineup feels unreal, and what the IMAX 70mm approach says about Nolan aiming for a true theatrical event ahead of its July 17, 2026 release.00:00 Trailer reaction and the basic setup (Homer adaptation, Odysseus' journey home)00:15 The main trio and what their roles look like in the trailer (Odysseus, Telemachus, Penelope)00:29 Trojan War aftermath shots, the Cyclops tease, and the trailer's scale00:44 The stacked supporting cast and Nolan going all-in on IMAX tech01:02 Theatrical event vibes, ticket demand, and the July 17, 2026 release date01:17 Listener thoughts and weekly sign-offThis looks like a survival story first, with Odysseus presented as a battered, postwar king fighting to make it back to Ithaca.The emotional spine is family: Odysseus trying to reunite with Penelope, and Telemachus searching for his father.The trailer hints at classic Odyssey challenges, including a Cyclops, while showing huge war aftermath imagery.The cast is loaded top to bottom, well beyond the main three leads.Nolan's IMAX 70mm push and new tech upgrades are meant to make this a must-see-in-theater release.Release date called out: July 17, 2026, with early screenings sounding like they're already in high demand.“Christopher Nolan's Odyssey just dropped its first trailer. Let's take a look.”“It's like battered king postwar, barely holding his life together, and all he wants to do is return to his wife.”“The scale of this thing is insane.”“This is supposed to be like a theatrical event.”If you enjoyed this breakdown, subscribe to Geek Freaks Headlines and leave a review. Share the episode with a fellow movie fan using #GeekFreaksHeadlines.GeekFreaksPodcast.comFacebook: https://www.facebook.com/thegeekfreakspodcastInstagram: https://www.instagram.com/geekfreakspodcast/Twitter: https://twitter.com/geekfreakspodThreads: https://www.threads.net/@geekfreakspodcastPatreon: https://www.patreon.com/GeekFreakspodcastGot a topic you want covered, or a trailer you want us to react to next? Send it our way on social or drop it in your podcast app comments and we'll pull from the best suggestions.Christopher Nolan, The Odyssey, Odyssey Trailer, Matt Damon, Tom Holland, Anne Hathaway, Odysseus, Telemachus, Penelope, Movie Trailers, Film News, IMAX, 2026 Movies, Geek Culture, Geek Freaks HeadlinesTimestamps And TopicsKey TakeawaysMemorable QuotesCall To ActionOur News SourceFollow UsListener QuestionsApple Podcast Tags

My guest today is Dylan Marrello, Founder and Portfolio Manager at Marrello Capital. In this episode, we take a deep dive into D-BOX Technologies (TSX: DBO), a haptic technology company that's been discussed quite a bit recently.  The movie theater industry has been through a dramatic reset over the past few years — from streaming pressure and COVID shutdowns to consolidation, higher ticket prices, and a renewed focus on premium, in-theater experiences that audiences simply can't replicate at home. As the industry recovers, exhibitors and studios alike are leaning into technologies that enhance engagement, drive higher ticket spend, and improve theater economics. We discuss D-BOX's shift to a high-margin theatrical royalty model, the impact of new management, strong insider alignment, and how premium experiential formats are reshaping the future of moviegoing. For more information about Marrello Capital, please visit: https://ragingbullinvestments.substack.com/ You can Follow Dylan Marrello on Twitter/X @RagingBullCap: https://x.com/ragingbullcap We just announced our full slate of investor conferences for 2026, all in partnership with MicroCapClub. Our next major event is Planet MicroCap: LAS VEGAS, happening June 16–18, 2026, at the Bellagio. Registration is now open for that. And, later in the year, we'll be heading back to Toronto, October 27-29, 2026 at the Arcadian Loft. The mission is to bring the best microcap investors and companies together to gather, connect, and grow. This includes your participation. We know you are putting your 2026 investor conference calendars together, and we'd like to humbly invite you to join us for one or both of them. Please visit www.planetmicrocapshowcase.com for more information. See you in Vegas and Toronto! Planet MicroCap Podcast is on YouTube! All archived episodes and each new episode will be posted on the Planet MicroCap YouTube channel. I've provided the link in the description if you'd like to subscribe. You'll also get the chance to watch all our Video Interviews with management teams, educational panels from the conference, as well as expert commentary from some familiar guests on the podcast. Subscribe here: http://bit.ly/1Q5Yfym Click here to rate and review the Planet MicroCap Podcast You can Follow the Planet MicroCap Podcast on Twitter @BobbyKKraft

This week on Thumb War, we revisit Bad Santa (2003) — Terry Zwigoff's filthy, funny, and surprisingly tender Christmas classic. Jason & Rachel dig into the Director's Cut vs the Theatrical version, studio interference, and why Billy Bob Thornton's Willie T. Soke somehow becomes one of the strangest “found family” characters in holiday movie history. Along the way, we celebrate: Bernie Mac & John Ritter's perfect comic chemistry Zwigoff's anti-sentimental worldview Why this movie still works — and why it probably wouldn't get made today A holiday staple in this house. Not safe for work. Definitely not safe for kids. Join our Patreon for ad-free episodes + bonus shows: http://bit.ly/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome back to the 261st episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 261st episode we bring you a Duet Review of he Unauthorized Hallmark(ish) Parody Musical, with book by Tim Drucker and Bonnie Milligan, music by Joel Waggoner and lyrics by Tim Drucker, Bonnie Milligan and Joel Waggoner, directed by Tim Drucker, produced by Paquin Exhibitions & Theatrical and presented by FEVER. Join Co-Artistic Producer Mackenzie Horner and Associate Artistic Producer Jillian Robinson, as they discuss all the clever homages to Hallmark Christmas movie tropes, the show's very catchy songs, and the twist ending! The Unauthorized Hallmark(ish) Parody Musical is playing at The Royal Theatre (608 College Street, Toronto, M6G 1B4) from November 20th, 2025 to January 4th, 2026. Tickets can be purchased from the following link: https://bit.ly/3MGQx1rThis review contains many SPOILERS for The Unauthorized Hallmark(ish) Parody Musical. It will begin with a general non-spoiler review until the [13:50] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAu Jillian Robinson – Instagram: @jillian.robinson96Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

Giga Bytes Podcast #390 Hoy hablamos de varios rumores pre Game Awards, la saga de Wb y Mucho más!!! Paramount inicia adquisición hostil de WB por $108b Metroid Prime 4: Beyond Lego Batman Legacy of the Dark Knight a los Game Awards Black Friday 2025: PS5 Domina, mejor semana para PS5 Pro desde su lanzamiento US: PS5 1St (47%), Switch 2 2nd (24%), NEX Playground 3rd (14%) UK: PS5 1st (62%), Switch 2 2nd (23%), 3rd Xbox Series (10%) Phantom Blade Zero a recibir nuevo trailer y fecha de lanzamiento durante los Game Awards Teaser trailer Supergirl esta semana (TGAs?) Kojima: no sabe si OD funcionara, Physnit buscando nuevos gimicks para el titulo The Boys a lanza última temporada el 8 de abril Resident Evil Requiem a lanzar nuevo trailer en los Game Awards Severance S3 a comenzar filmacion de abril a diciembre 2026, lanza verano 2027 Euphoria S3 abril 2026 Star Wars A New Hope 50 anniversary Theatrical a cines Febrero 19 2027 Endgame regresa a Cines Sept 25, 2026, rumor nuevo post credit Katsuhiro Harada se ira de Bandai Namco luego de 30 anos Pelicula de los Simpsons se mueve a 9-3-2027 Peaky Blinders The Immortal Man a cines marzo 6 (limitado) marzo 20 en Netflix Bad Robot Games y Playstation Studios se unen para publicar primer título desarrollado internamente (4P Coop) Romeo is a Dead Man lanzara Feb 11 2026 PS/XB/PC Judas: (Ken Levine) Recibe Update en PS Blog Justin Lin (Fast & Furious) a dirigir película de Helldivers ]Sigueme y Suscribete: Facebook.com/elgiga Youtube.com/elgiga947 Instagram.com/elgiga947                                                                                                                                    Twitch.tv/elgiga947 Twitter.com/elgiga947 Giga Bytes Podcast   #monsterenergypr @monsterenergy @Stephreyesmarketing @caribbeanxsports @eriberto213 #gigabytespodcast #NintendoSwitch2 #PS5 #MarvelTokonFightingSouls #MarvelCosmicInvasion #Wolverine #Saros #GhostofYotei #NexPlayground #ResidentEvilRequiem #MetroidPrime4 #GhostofYotei #Switch #Xbox #PSSR #PS5Pro #Xbox #Switch2 #Review #Playstation #Switch2 @tiendasmesalve #gigabytespodcast #TGA2025 #PSPortal

Well, we recently talked about the first Chronicle of Narnia … the book! Yet many fans found or rediscovered this series thanks to the Disney-distributed, Walden Media–made film from director Andrew Adamson. Want to feel old? That was two decades ago! So now we shall look back at Narnia's journey to the box office with The Lion, the Witch and the Wardrobe, which released twenty years ago on Dec. 9, 2005. Episode sponsors Edmund Spenser’s The Faerie Queen A Faie Tale by Vince Mancuso MYTH: Reign of the Immortals by J. F. Nickens Mission update New at Lorehaven: Netflix's New ‘Frankenstein' Reveals Why a Time-Shifted ‘Magician's Nephew' Film May Work , Daniel Whyte IV Subscribe free to get updates and join the Lorehaven Guild Coming in January: our book quest through Stephen Lawhead's fantasy novel Taliesin Backstory: Mark Joseph Mark Joseph is a music and film producer, author, columnist and founder of MJM Entertainment Group, a multi-faceted entertainment company with interests in film, publishing, music, TV production and film consulting. Joseph got his start in television as an anchor for NHK and CNN's The Entertainment Report in the 1990's and his company MJM produced documentaries and supervised the international release of over a hundred albums by various pop and rock artists. In addition to producing his own films, he oversees a marketing team that has marketed 75 films since 2001. From 2000-2005 he worked in development and marketing for Walden Media and Crusader Entertainment and oversaw a grassroots marketing team. He has served as a producer on 15 films, including Max Rose starring Jerry Lewis, The Vessel starring Martin Sheen, America, Japan: Searching For The Dream, Frank vs. God and others. Joseph is the author of four books including The Lion, The Professor & The Movies: Narnia's Journey To The Big Screen and has been a regular contributor to publications like Forbes, The Hollywood Reporter, Variety, USA Today, The Huffington Post and FoxNews.com. He is currently a senior columnist for Newsweek and hosts the podcast The Mark Joseph Show. Most recently, he produced the film Reagan, starring Dennis Quaid and published the book Making REAGAN: A Memoir from the Producer of the REAGAN Movie. He also produced the film's two soundtracks including songs from Bob Dylan, Clint Black, Gene Simmons of KISS, Tanya Tucker and others. Mark and his wife Kara have six children and reside in Southern California. YAF.org: Mark Joseph Facebook: MJM Entertainment Group Instagram: @markjoseph00 The Lion, The Professor & The Movies: Narnia's Journey To The Big Screen Making REAGAN: A Memoir from the Producer of the REAGAN Movie 1. Narnia's journey from book to screen … The Lion, the Witch and the Wardrobe got one TV animation (1979) Then the story (plus two more) came to live-action BBC TV (1988) Yet it was the Walden Media–made film that went bigger (2005) That film released just twenty years ago in the U.S., Dec. 9, 2005 Mark Joseph's role from those early days as Narnia pre-producer 2. … Through the winter of production … Stephen first learned this was official in a NY Times ad Dec. 2003. Early rumors included Disney aid (true), Kidman's Witch (untrue). Director: Andrew Adamson. Early casting. Scriptwriters and team. In the afterglow of LOTR, Narnia also filmed much in New Zealand. WETA Workshop did armor work. Other studios did visual effects. The Lion, the Witch and the Wardrobe film released Dec. 9, 2005. 3. … And into the spring of fan acclaim Teasers and trailers pleased fans, with only a few early hiccups. Against a $180 million budget, earned $745 million worldwide. Led to two sequels that earned less. Ended. Restart didn't work. Now we have Greta Gerwig starting with The Magician's Nephew. Any informal shared advice, constructive criticism, final memories. Com station Top question for listeners How did you first see The Lion, the Witch and the Wardrobe (2005)? Terri Hamilton recalls her Narnia origin tale (ep. 289): I found the Narnia series in my school library when I was in 4th grade, and yes, they were in the proper order. It was a watershed moment for me. I bought myself a boxed set a few years later. Boy, did I look for portals! When I get into a discussion about the book order, I point out The Magician's Nephew is a prequel, explaining the back story of the first book. Next on Fantastical Truth “We do not celebrate Christmas that way.” “We do not read those kinds of books.” “We ‘do not handle, do not taste, do not touch.'” We know our world is full of rebellion against God's law. But many people overreact to moral license with a strict imposing of out-of-context or made-up laws. Faithful saints call this legalism, and Christian fantasy fans know plenty about this. When that social-media pastor rebukes your favorite sci-fi, or that relative raises a judgy eyebrow at holiday dinners, how you can respond with grace, truth, and love for legalists?

Today on The Cameron Journal Podcast, we are joined by the ineffably brilliant, Stan Lai. The most famous theater producer in China, he straddles form, characters and borders as he creates theatrical experiences across Asia, North American and Europe. We spent an hour together talking about storytelling, Chinese film, opera and fine art. These episodes are the ones that make me love doing this. Stan Lai is absolutely wonderful and his personal invitation to his dedicated theater in Shanghai was truly an honor. We talk about his new book CreativitRy and how everyone can find their own roadmap to live their most creative life. This is an exciting book from someone who has made a life out of his own mind. You can visit Cameron online at CameronJournal.com Watch The Cameron Journal Newshour every Monday at 7 pm!Part of the SOOPcast Podcast Network

I interviewed Matt Romein about MILKMAN ZERO: The First Delivery on Monday, November 17, 2025 at IDFA DocLab in Amsterdam, Netherlands. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

Remember to Rate (5 Stars), Review (Great show, blah, blah, blah) and Follow us on Apple Podcasts: https://podcasts.apple.com/us/podcast/b-o-boys-movie-box-office/id1489892648 E-mail us: theboboyspodcast@gmail.com   Subscribe on Youtube: https://www.youtube.com/@theboboyspodcast   Follow us on TikTok and Instagram: @TheBOBoysPod   Subscribe to us on Substack: https://substack.com/@theboboys Our AWESOME artwork was provided by the talented Ellie Skrzat. Check out her work at https://ellieskrzat.com/ Thanks to WannaBO VP of Interns Christopher for running our social media! ---

Adeline Atlas 11 X Published AUTHOR Digital Twin: Create Your AI Clone: https://www.soulreno.com/digital-twinSOS: School of Soul Vault: Full Access ALL SERIES⁠https://www.soulreno.com/joinus-202f0461-ba1e-4ff8-8111-9dee8c726340Instagram:⁠https://www.instagram.com/soulrenovation/Soul Renovation - BooksSoul Game - https://tinyurl.com/vay2xdcpWhy Play: ⁠https://tinyurl.com/2eh584jfHow To Play: ⁠https://tinyurl.com/2ad4msf3Digital Soul: https://tinyurl.com/3hk29s9xEvery Word: ⁠⁠http://tiny.cc/ihrs001Drain Me: ⁠https://tinyurl.com/bde5fnf4The Rabbit Hole: https://tinyurl.com/3swnmxfjDestiny Swapping: https://tinyurl.com/35dzpvssSpanish Editions:Every Word: https://tinyurl.com/ytec7cvcDrain Me: https://tinyurl.com/3jv4fc5n

Guest: Tom Milligan TKM Theatrical Productions presents the Iowa premiere of “Fruitcakes!” by Jonesy McElroy. About the show: It’s Christmas Eve in Cedar Springs, Iowa, and Guy St. Goodman leads a failing crisis hotline with his two employees, Angela McCleod and Mrs. Brunswick. Despite their desire to help those in need, they face an impending eviction ... Read more

Who left a whole box of corn flakes In a locker At the Equinox On Wall Street? I told you go to the one at The Rock. I told you, I'm not going on that block, like at all. {Enter The Multiverse} That's just my Karma, Ms. Nancy; I did a whole lot than just Thought about it More edits, More recognition that I—l couldn't stand it; The planet just seems to get smaller and smaller With less and less plants in it; I have your pants on, But shoes didn't fit I wrote a whole book and resenting But still not the movies, I meant it. Damn. She's just so much better than I am Head in a frying pan on high beforehand, And however damaged, It felt bad I know what I did I felt that Camera Obscura, for sure, you know But disconnect, Swallow badders, wha— t?! Get my peanut butter up; Why! I'm a circus monkey; Damn. I got karma faster Than I should have known I lost episodes And threw away the whole entire show I went running long And then I threw up on the subway I only like the one Sublime album (The one with wrong way.) You know? Cuh' I went the wrong way I fucked up on all my dollars I got karma back hard, yah Got a poem or prose or song on ol' Ms. Molly, too, (or two) I fall in love inside the tube, Truth is, though Teletubbies and teleportation Ain't so far off from where I come from Problem is, Opporsite world, I'm the story of the whole show; For sure dawg. —a situational Thought process. When the crack finally kicks in, Astounding the loss of my confidence I've gotten lost in a toxic land I got syndrome “talk to much” Not on the spectrum, nor diagnosable X's and O's on the tic tac toe board, Just an underhanded “I told you so” All the rockstars want —Subtle thoughts of suicide as the train approaches? Nah, Models and the other types of girls That never work at all, They just born at it. I got bored with it, But not the fourth one, Cross my first amendment, On my heart like catholic More like Bart Simpsons, Like art magic Cause I won't watch that show But love Matt Groening— Maybe I'm the type that just Love hating But hate loving with No way to I don't hate you; Yeah you're right, I'm off Take two. ((Good Luck Riding The J Home.)) Not a gym run, a different kind of cause, I guess I got so many plausible options, I guess I should call on one of them, Toss a number up, struck the dog on mathematics I can't let my lantern out of gas, We're not friends, are we? What a fiend! Are you offended? I just want to see my dreams relayed to me— Is that too much to ask? So I'm the asshole. What did I pack a bag for?! Picnic baskets. What did I leave this curse for? Nothing, Thanks for asking, Nance. I put a pilot on the presence of a whole color— phenomenon. I swallowed all my pride and presence just for an automaton. This automation algorithm— is it? Doesn't make a difference. I spilled blood inside my kitchen, Put deposits on a flicker, Tricked the treasure at a phantom, Phantom I want more but swallowed all my high pulp orange juice on knowledge of the only one; There's only God, There's only us— There's only cause+ effect, 6 more albums, note books and a couple novels that came out of that one. Squeeze em hard, ya'll. Don't let me love God. Don't let me talk back, I'm not about a rack. Tantrum, yes. Talk to my God. Please. Talk to me God. Now. Talk to my family one time. Now. Talk out me sideways— Now. Bring me a rebel. Now. I have a headache. Now. I got regrets son. Now I got a dead son, a dead daughter a ghost cat and George Jettson, Michael Jackson and George Zimmerman, all of my tabs open: I take a tab hoping I fall asleep on the cold ocean, Calm before storm comes Out on a surfboard Look at the full moon— Nobody can hear you so SCREAM. Now. For crying out loud, Take the knife out, For a second or thought, I'm a wife now; What back handed thought or a back and on blacklist— Your back room was only your conscious— Now I'm looking at my left side, Also catatonic, Not aboard the problem like you wanted, What an order form for border patrol, You want tall glasses of hard fortune, Work hard for it, or rosemary pork on sourdough. I'm in love with you, but in poverty— There the devil is. But oh, aren't we all familiar? Suit and tie hangs to the tide, I tie the knot with rope from which I die, And quickly crafting coffins, want to walk around before I go off, Diving board or world one antenna? Not to mention it, redirect the attention and energy into something other than consumptive— Everything I do and everywhere I go, I clutch this stone Or put inside my pockets knowing if I let it go Or it falls out and to the ground Not only will I float up, But the world will open And swallow us all whole ((Down.)) I live with the knowledge of criminal visions and masterpiece compilations, but as of today I owe a bank my very and entire existence It is what it claims to be, these days ring true Nothing these days sounds like music but you. I put that book back on the shelf; Rewound the tape before I put it in the case I knew it would be late because, well That's the way it always is That's the way I always am I'm sorry mom. That's the way it always is— They told me I don't need no makeup on, However this may have only been true when I was ten to twenty two, Or twenty two, Or two whole years ago before the motorcycles stole my story. When I put the sun up in the sky, I suppose, is when I started this [that's called a God Complex] It's all behind us now, or rather All up front And out in the open In twelve point font As if I would ever cop to it I took the wrong way to Wall Street l Believe me l, i think of the tree at the rock, Long before this all was ever thought of, And I held her seed in the heart of my palm God said go the other way, I said “Okay” I want to see how much money I make; I wear makeup, I got nothing So much for a body I got stuck with words and good talking, And long vocabulary instead of the coast and a longboard So what's the cost for a whole table turn? So what's the cost for a “her—perfect.” Huh? What is the cost for some popcorn in Lorne's office? What is the cost just to cover the love boat theme song— Don't get me wrong I have original music I'm just hard getting to it; The motors are running The mirror: my mind is a murderer, murderer Engine's are purring are hurting her, hurting But I been wanting some corn on the cob To talk to my mom To call some place home To care for my son To wake up on Sunday past noon like “That was a good show.” And the next sold out . real talk, I got real problems Someone knows I'm on top of my thoughts at the rock, Choking back cocaine All the world under me, Mad at the world though For not looking up to me Huh I call this suffering Cause I already been been hungry, And homeless So I know this Pit-of-your stomach And tied to a brick at the bottom of the ocean feeling, that really Sits somewhere between “Hopeless” And “not good” But hey— If you were to say “how's your day” I answer “I'm great!” Like a positive, programmed robot or something, my mantras lately, replaced however with repetitive honest pleas of “Please help me.” Seems like— the only thing meaningful is saying this inside my Google documents; However, Seems like, It isn't worth the breathing, really Oddly, I forget to— Then I get this special feeling, Almost sentimental, inside my head I don't need medicine as much as I just need a friend besides my cat —thoughts of hammers in my brain— If I could tell you what the level of the pain is? Mercy. There doesn't seem to be a number Merry Christmas, Let's get displaced; Case is dismissed— Let's get shitfaced Wash the dishes, Pick the peloton, Pick imaginary friends And watch the President be hilarious, Until it effects us negative and in the read, When peanut butter bread and jelly All you ever get for breakfast For extended periods of time. Hah. Bloodshed? Wrong. Blood hound? Bad. Segmented thoughts on a toothache? Too late. I hate to tell you what the truth is, Cause you'd hate it. Useless. Jew fits; I just saved two cents on toothpaste And you got two new fits to wear for your friends approval and some cool picks But I can't do this anymore I want to choose live; Inside my death is The whole of the city, Electric and Thomas Edison And impressive Mister Business— Rockerfeller read about it; Somebody gotta learn and teach to squeeze the money out the people! Something simple says, “Just stop it.” Choke a chicken over breakfast, Thoughts of Belfast, real fast train to somewhere in LA, I think Today will be the day That I give bacon To charity, No care left, to give a gift So thankful, For being blessed with time to waste To write this piece of shit I guess I died I guess in family guy? I didn't like it, yet I think sometime's in stewie's cadence— …like, a British baby? And a talking dog? And a dumb ass dad? And a bunch of songs? And some salad dressing, To go with that master habit of getting Grams and Grammies; But in the long run, after a long talk on the roof with the opposite of God, I finally call a conference with all the lawyers of the court— But not to work at all, Only order sandwhiches Obsession has its advantages and platinum records, If you tap into it directly. Forget it. I'm out of magic. Or out of patience— out of time for petitions, But which one is it? Which dimension actually gets me picture perfect Instead of nervous in the eye of the beholders? Learn your lesson well; There's got to, got to be a reason why The wrong way is the right. There's got to be a reason why— My day becomes the night. There's got to be a reason for the words upon the paper, But I've got to figure out my rhythm later; I gone up instead of downtown, Turn the clock before the sunrise, I just want to find the love and the peace in it agai. Gotta love a synchronicity; I get stuck inside bronze statues Door way syndrome And I shutter just to never remember him But here the picture is, a perfect person Headless and befriended him, the lover The line inside my mind is crossed I'll suffer till I turn to dust on this one. My thoughts the first time I saw him? I hate him, Cause he'll never love me. What a troubled thought for a little girl on a lot of drugs and a weight problem. One more, I don't remember where I'm going Day to, I have to remember to forget you Take three, I'm happy that they pay me to tape these things Because I'm maybe going crazy; From the outside though, you wouldn't know it Low and behold, this is my show afterall And covered in gold like the whole of the moon I can play to the tune of two men, to two million don't let it torment you, You looks twisted Get out of your head, and turn off your television Go on a walk, Get run over by a bus or motorcycles Turn around and talk to God and your disciples — cause they all watch. Oh, what's wrong now? That's a long run, And now another pilot that I'm proud of— Stop looking at the ground— It hurts. Today, I learned my lesson, It was not a new apartment— It's a prison. I gotta say I kinda gotta love to wonder where the fuck I'm at besides “Manhattan”. The cat needs water, My heart needs captions. New York needs Jesus Hope he don't see this (Even if he did he probably wouldn't believe it, Or Even if he did He's having trouble learning English, And, Even if he did he had he's been repealing all his promises to return to us; We worship dollars A cock-shaped structures in New York— TIME TRAVELER Its called The Rock. SUPER NEW YORKER What. TIME TRAVELER I'm looking for The Rock. SUPER NEW YORKER What's that. TIME TRAVEL It's called “Rockefeller Plaza.” SUPER NEW YORKER What's that. TIME TRAVELER It's a building? I guess? SUPER NEW YORKER It's not. TIME TRAVELER It is. It's— SUPER NEW YORKER It's not. TIME TRAVELER But— *fucks off immidiately without any closure whatsoever.* TIME TRAVELER Huh. the TIME TRAVELER pulls up a picture on their device; the building itself seems to have disappeared from the photo; (Like Marty McFlyim back to the future) Contd Must be the wrong dimension… But then JOHN D. ROCKERFELLER Is MURDERED at the height of STANDARD OIL. Oh no! So that's what happened… Yeah? He was a bastard. Well! Damn. {Enter athe Multiverse} So you're everywhere all the time, And I got nothing left to run And we already talked the talk And we're already back to one Let the waves blow over, Cravings, tasting haze of periwinkle, heaven waking Putting every penny on the promise that you got me But you never save me, Really, Jesus? Racist! I got a lot of stakes in the game And all these snakes keep weighing in! I got these eight days left inside my head, And I'm a murderer Remember to admit his wrong you are Next time the caw will crow. I crevice drawing under rock Inside the undertoe, My surfboard heading home for shore, My body going under. Oh Conan, what have you done. I'm not sure yet. So? Go get him, you old hoot. I just want to watch a little longer! *feathers ruffled* What! It is comical So i'm stuck inside the equinox on Wall Street catatonic, Adding up the dollar signs and losses, Well now, Got my hosts and calling cards, And struck with dirty dozens Doesn't anybody understand? [no. Nobody does.] Certainly, you know, nobody does this. Certainly, I'm folding all the shirts for all the husbands Certainly my love was lost, but for sure I didn't want it. For sure, I dropped a couple rocks I had inside my pocket . Well done, folks. Guess what? Those aren't crocodile tears I'm crying. I'm dehydrated but they're called psychic cause Nobody knows where they come from; Some would form the thought that you got water trapped inside your soul It only happens when the sun sheds hard tears Here, solar panels Animals and tragic circumstances, Fucking Asholes Never shine your diamond on the twilight, Shooting stars; Never shoot at birds from cars; Remember, They are flying. I swallowed you whole, I swallowed you whole, I swallowed you, done. I swallowed you whole, I swallows you whole, I swallowed you down some. I swallowed you whole, I swallowed you whole, I swallowed you up; I swallowed you whole I swallowed you whole, You know what the cost is Just a heads up, If you take a picture of a gamgstalkers face, They run away. The crime being committed is a non-contact form of combat, a scientifically proven biological weapon. When you begin to document this meticulously, a pattern of coordination begins to become established. It's no longer some sort of phenomenon, that can be written off as a symptom of a broken mind; The more evidence you gather, It becomes a verifiable crime. Remember that the point of it is to control you, to enslave your autonomy— to program you to believe something is wrong, when clearly, The signs of an awakened mind can pick out patterns in the construct of human social behavior that is not ours; it is a deficit in conciousness, a weakness, caused by the moral degradation of our souls in the societal world— A loss of God. And also remember, Humans have a history to seek and destroy which it does not understand, And cannot control— However, also, God comes in all forms. You must know when all is all. Okay, shh— Don't lock the door, now You got a pardon, You better run. I am an a-list celebrity; I am an “amen, sister— I hear that!” I am a medicine woman, A centrifugal figure, A ritual character, Skilled at charicature— A big Kimmel fan, A rick and a Morty, A woman a man, A puppet, the master, A cat in a hatbox, A blasphemous coffin; A wart on a warflower. Hm. Now who could possibly take that out of context? Soft surf rock at the equinox on Wall Street. I love all four stories, I rode all four horses, I put all four corners of the earth onto a surface Then I rolled it up Huh… Somebody does that. Leets go, hard core But don't forget the hot sauce Don't forget the — Smattercat?! SMATTERCAT?! SMAAAAAATERCAAAAAAAAAT! The Adventures of Atticus Catticus. Man, this is fucked up. I can't disagree with you. I can't get you out of my head (I want head) Can't get you out of my mind I find that You must want me dead Tan lines l You must want me off my meds! You want in me in bed at 9 sharp You know what!? You remind me of Harper. Now let's talk shop, Calm, little brother I went with the other oath— Don't you belong to God? Who's on the phone? Donald Trump. Tell him “no.” No to what? Just tell him “no.” Then he'll get here faster. So what do you got in your supplements? Simple psychology; Have a red album. Nah that. I got gold gold balls on all of my prostitutes Pulled apart orgasms, Never been touched, sire. Never have I took forgranted this passion( Never have —that flex— Theatrical pangentry. Never went Ham sandwhich Ham sandwhich Ham sandwhich GODDAMMIT. I thought you grant wishes. — also in charge of summoning. Part time. Well what are you mad about?! At least you got a job! I'm so sick of this kid, He just summons “Ham sandwhich” What's wrong with that? I gave him “ham sandwhich”, Alright?! All kinds, And you know what? That guy has all kinds of magic— All the kinds— Every kind you can imagine, And no matter what, He just wants. Hmmmm…: …. Come on. Summon a dog, or something… A new bike… ……. ……..:::: ……. …. Ham sandwhich. GOD DAMMIT. …and a kite. …what was that? I want a kite. Y…you want to fly a kite. Ya. Alright! But first. An, God. Ham Sandwhich. WHAT THE FUCK ARE YOU DOING? SO WHAT I LOVED NANCY REGAN! SHE HAD THE BEST CATCHPHRASES! AND ALL THE KENNEDIES! FUCK WITH ME. Somebody shoot that bitch. But sir— Before she runs for president. But sir… THINK OF IT LIKE KILLING BABY HITLER. You're right. TAKE THE SHOOOOOT. MEANWHILE… In the MULTIDIMENTIONAL SPACETIME SURVEILANCE FACILITY Oh good. What's that. Someone one assasinated me. That's good. I'll say. Wouldn't want you to run for president. Someone still would have had to elected me. Oh, you mean like in all these parallels over here. *shrugs* They'll collapse eventually. They haven't yet. I just got assasinated. Wait for it. I've been waiting. I don't get why you hate me so much. I'm indifferent, really, just waiting for something exciting. I just got assasinated. And I just got a ten cent raise. From what I can tell, doesn't make much of a differences. It's like, limited assimilation in this dimension; Did I correct you— Lessons, I'm not making any promises. Look out little brother! I set them on you. Got to put the pudding in your pot— And don't forget to floss. What's corrextions? Look, I'm anatomically correct— Shut up, Ken. I don't click on videos or images Because I love him It's just a crush, A pair of wooden crutches A horcrux And a fox A crucifix And Sunday Brunches. It's just a bunch of pictures, Edits, autographs, Extended plays It's just an infinite inside my head— It's been a couple days. A couple miles down And sure to go, You're all for it— Soon you got to know Whatever you done Has come for your— Stop the truck for misuse of four muses And autotune to ruin it— Your mascot is a narwhal But you're rooting for the Bruins. What is even a Bruin? A bunch of racist frat boys and hot bitches in sororities and covens? Bet that Okay, Like, I fall in love But just to write a bit I pour my heart out in a song And for the moment I could make forget i'm ugly Even if for the duration of the half time; Half a pack at halftime, Half a pack at bedtime 20 cigarettes on your 2020 vision. Three beers, Then three beers Thirty three years and he still won't love me Thirty three years and I'm still no woman. He show first, So I shot back I forgot rock doves Served a purpose Postage For lost albums on the surface Surfboards For hot rod bod host, I offered up Conan, Now pick that hard eye Banjo up Water dance Pick that apple, Off the tree With not a scratch Hands tied behind your back; Baggage claim, River dance Pick it up without a fork You whispered us a state of trance For God's socks, If I fly coach, Low ball Lost a fortune Don't call me ‘bud' I think about your walk all day; Like, Three or four times, maybe Not no noodle soup, you wonder But you're asking for a Ballroom. Haggard. God did far too good a job on you; As the car jumped over the moon. I complete your meat puppet, But recently went vegan Line them up and then A heart attack, A hot bath, And a hammock. You got your offer, But I want it back, I want my roses. Golden proses so rit and rattle. I rot in hell for all I've done, then scramble; Damn. I just can't get you off my head without ramble You're probably on a tour bus; She's pulling out all the stop— But you're my monster, just know that Although I'm on top of her turf. So much for Service Monday. So much for making money on a conduit, a conduct. So much for love as. He aim for the head; I aim for the neck; He aim for the heart, I duck, I fall in her eyes, High water— No more cam tide Sunsets. What, I get you really wanted oceans, So you got them. Godsense. Pull, Conan Pull— Haul in! All in on your cards, But take the occult off them; Offering? Totem pole. More than one? I love to hope. Fix your face. Pull the plug— I'm off till Sunday, Off till Sunday. Ten days to Tuesday, You want no more Ten days to Sunday And ten more before that; Ten tongues before dawn, And other I slaughter And slaught cross the sloth, I wither, Your honor. Ten tales too soon, Ten wide my diamonds; Ten eyes in your Isis, My mind, Orion. Ten lost in the Outback; Ten lost on your mass, tongue Two whipped at the alter— I called her about that. So to the effect you check your fax and press the send, I'm steady living, never coming back, Or cap the president— Never living, Never listing residence on Madison You're stuck inside my half-life That I'm mad besides the medicine. You're stuck inside my past, Like all the knives inside my back, And still I fondly think upon a laugh, As ice cream sundaes, Half a sandwich Appetite for having all you are inside my master work of art, The world, your face I cut from clay inside my hands And I still have you in my swollen arteries, and trees the veins, The wicked summers and the bitter winters came, But did not cross paths, So to not bear ties, and to not plug Holes in the hull of the whole ship I think I sunk overtime instead of rather All at once, You know, It doesn't suffix What it takes to turn it back from “Love him” Into nothing. 20 hours passed and 20 cigarettes and ivory towers, But forgive the lives inside of Mormon wives and ice cold showers— Scatterbrained but highly trained in “Never Happened.” “Didn't matter.” So you roll it up into a movie script and call them actors. Why'd you flash me, dancer, Don't you know how bad I want that? Out inside your dozens, for my cinnamon coated combat Nail box fires Had you ordered Your desires Flow the golden drifter Fear of rivers never frozen. Don't you know the sun draws close But the heart grows cold, But the want goes harder? Don't you know the doors get shut, And the Kings get cut, And the wind blows wilder? Don't you know the stars just fall from the sky (They all fall from the sky, They fell from the sky) Don't you know We're all gonna die Put a trial to the wand, Fore you take her heart out Ten times.

If you liked the first one, you will love the second one. My spoiler free review. SISU Road To Revenge (2025) - Theatrical Review ROCKFILE Podcast 916 #sisuroadtorevenge #moviereview #rockfile  ~ You can subscribe to my podcasts on Podbean, Spotify, Apple Podcasts, iTunes, Amazon Music/Audible, Google Podcasts, YouTube, iHeart Radio, Pandora, TuneIn, Alexa, Player FM, Samsung, Podchaser, Stitcher, Boomplay, Overcast, Pocket Cast, Castro, Castbox, Podfriend, Goodpods, Deezer and more. ~ -Social Media Group:  https://www.facebook.com/groups/rockfilesroom -Official Website:  https://therockfile.com/ -YouTube channel:  https://www.youtube.com/@rockfile -Interview Archive:  https://therockfile.com/Interviews/    ~ Music from #Uppbeat https://uppbeat.io/t/enrique-molano/ants-carnival License code: IV5M5EGLBEBSNUDV  ~ Note: the static pictures in my movie reviews are NOT screen captures. I am not set up to do that yet but one day I hope to be.  

Writer-director Todd Rohal and actor-filmmaker Tipper Newton join us to unpack the wild ride of “F My Son,” from adapting a taboo comic into a kinetic midnight movie to crafting practical effects with Robert Kurtzman. We discuss casting at the edges, protecting a child actor on set, navigating love-it or hate-it reactions, and why they chose a slow, theater-first rollout instead of streaming. Tipper shares the story behind her award-winning short “Wildcard” and plans for the feature. A candid conversation about risk, tone, and keeping creativity sovereign in a numbers-driven industry.Key Topics:• From transgressive comic to cinematic romp• Practical effects, performance under prosthetics• Festival premieres, audience response, review culture• Ethics and logistics when working with a minor• Booking a theater-only release city by city• Tipper's “Wildcard,” music, and making your own path

Frankenstein is a critical hit for Netflix, so why isn't it playing in wide release in theaters? Plus loads of Hollywood news and an interview with Young & Cursed director Andrew Chiaramonte. Hilarity ensues.

A piece of Clare's festival culture is coming to the theatre stage later this month. Lisdoon Nirvana, described as a “nostalgic coming-of-age tale”, is set against the backdrop of the legendary Lisdoonvarna music festival, which ran from 1978 to 1983. An Grianán Theatre will bring Lisdoon Nirvana to Limerick's Belltable Theatre on the 13th of November. It is written and performed by Frankie McCafferty. Photo (c) Town Hall Theatre

Tim Richards is the CEO and Founder of Vue International—one of Europe's largest cinema groups. He joins Will Bain for the Big Boss Interview to share his remarkable journey from mergers and acquisitions (M&A) lawyer to major Hollywood player, all sparked by a chance ad in the Financial Times. The anonymous job listing turned out to be for a role at Paramount and Universal, leading to first-class travel on Concorde and a front-row seat in the film industry.Despite the glitz and glamour, Tim recounts a moment of reckoning when he realised his division was in trouble. That prompted him to seek a new venture—and Vue was born. Raising capital and acquiring the Warner Brothers circuit became, pardon the pun, paramount to Vue's success. In a scene straight out of a Hollywood film, Tim describes a rival cinema boss who, over lunch, threatened to build across the street from every Vue location in a bid to run them out of town.Tim reflects on how the industry has evolved over his four decades in it, including the catastrophic impact of COVID-19, which forced all Vue cinemas worldwide to close for two years. He describes the experience as an “emotional rollercoaster,” admitting to moments of real struggle.The conversation shifts to the rise of streaming and the so-called “content wars.” Tim doesn't see Netflix and Disney+ as direct competitors. Instead, he views other out-of-home entertainment—like theme parks and football matches—as the real rivals. He's confident there's room for both streaming and theatrical releases and is optimistic about the future, especially with a new wave of films and innovations on the horizon.He also addresses the challenge of attracting younger audiences and keeping cinema affordable, while criticising government policies that raise costs for the leisure sector—arguing they often hurt the very people they aim to help.Despite the hardships the industry has faced, Tim believes 2026 could break all box office records.His story has all the trappings of blockbuster movie, but it's unlikely to be streamed first.00:18 Sean Farrington and Will Bain set out who Tim Richards is and give overview of topics 01:42 Tim Richards joins the interview 02:55 Tim's early career as a lawyer and move into entertainment 04:01 Working at Paramount and Universal; global cinema industry in the 80s/90s 06:05 Tim's transition from studio executive to entrepreneur 09:38 Identifying a gap in the cinema market 11:28 The pivotal Warner Brothers Circuit acquisition 12:48 Innovations in cinema experience: stadium seating and customer focus 14:00 The impact of the pandemic and streaming on the cinema industry 16:21 Theatrical vs. streaming releases; industry changes post-pandemic 19:45 The ongoing role of made-for-TV movies and studio strategies 22:05 The emotional toll of the pandemic and business survival 23:55 Innovations in customer experience: frictionless cinema visits 26:30 Record-breaking attendance across genres and demographics 27:30 The challenge of attracting younger audiences 28:30 Cinema pricing, accessibility, and dynamic pricing strategies 29:45 Navigating rising costs and government policy impacts 30:45 The future of cinema: upcoming films and industry optimism 32:00 Supporting British and independent films; new ventures 36:00 Closing remarks and outroPresenter: Will Bain Producer: Olie D'Albertanson Editor: Henry Jones

Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film's production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come. In this episode, No Film School's GG Hawkins and guest John-Michael Powell discuss… How Powell transitioned from music and graphic design to filmmaking Why getting cut from a college program helped shape his resilience The long road from writing Violent Ends in 2013 to securing funding a decade later The strategy behind securing name actors without traditional representation How he used relationships and resourcefulness to get a bidding war What filmmakers should know about real-money offers and escrow Why adaptability and microbudget thinking still matters—on any scale How not having representation can actually work in your favor Building a production company (Midnight Road) and what's coming next Memorable Quotes: "I got cut. I got the axe." "The most powerful tool you have as a filmmaker is your feet." "I took out 'editor' and put in just 'director and writer.'" "Violent Ends did not get accepted to any festivals… and we sold it to IFC." Guests: John-Michael Powell Resources: Watch the Violent Ends Trailer Violent Ends in Theaters via Fandango Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

1. Childhood Trauma and Theatrical Beginnings Scott Eyman Charlie Chaplin versus America: When Art, Sex, and Politics Collided The discussion focuses on Chaplin's traumatic Victorian childhood, particularly the haunting memory of receiving only an orange for Christmas at the Lambeth Workhouse. His father died of alcoholism, and his mother struggled with mental illness. Chaplin's brother, Sydney, took charge of young Charlie and eventually secured him a job with the famous Fred Carno comedy company, launching Chaplin's theatrical career. 1915

Virginia Gay is so good as the titular Calamity Jane currently playing at the Studio at the Sydney Opera House, that you would swear the role was written for her. And on this episode of the Saturday Quiz she's brought along her Wild Bill Hickok - Andrew Cutcliffe. They are a smashing team on stage and an even better team at this quiz.Tickets to Calamity Jane are selling fast, so get yours now:https://www.sydneyoperahouse.com/musical-theatre-cabaret/calamity-janeSupport this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

I've covered digital and practical effects in film and TV, but creating special effects for live theater is a whole other challenge. J&M Special Effects has been up to the task for 40 years. Their crew has worked on shows from Hadestown to Harry Potter and The Cursed Child to Disney musicals like Frozen and Aladdin. I get a behind-the-scenes tour of their Brooklyn warehouse, where failure is part of the process in figuring out how to make the magic work. I talk with partner and designer Jeremy Chernick, along with pyrotechnician Bohdan Bushnell, about how theatrical effects have evolved with new technology -- and why they can sometimes be too good at their jobs in making the impossible seem possible.    This episode is sponsored by Remi and ShipStation. Start your 60-day free trial at ShipStation.com and use the code IMAGINARY. Try Remi risk-free at shopremi.com/IMAGINARY and use the code IMAGINARY to get up to 50% off your nightguard at checkout Learn more about your ad choices. Visit podcastchoices.com/adchoices