#Hollywood nostalgia podcast

[esonetwork]

Sci-Fi In Film: The Early Years

New Post has been published on http://esonetwork.com/sci-fi-in-film-the-early-years/

Sci-Fi In Film: The Early Years

In the new episode of Tales From Hollywoodland, join Steve, Arthur, Julian, and Mike as they discuss classic sci-fi movies from the early years of Hollywood. They are delving into the production, cultural impact, and personal anecdotes related to these films. They highlight the historical context of the era, such as the fear of atomic bombs, and the rise of sci-fi cinema. The conversation covers iconic movies like “The Blob,” “The Amazing Colossal Man,” and “Forbidden Planet,” noting their influence on later works like “Star Trek.” They also mention the use of color in films, the profitability of low-budget sci-fi, and the significance of drive-ins as social hubs. The episode is a nostalgic trip through the golden age of science fiction, celebrating the genre’s lasting appeal.

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#Earlysci-fifilms #Pre-1970sciencefiction #Hollywoodsci-fihistory #Classic sci-fimovies #Thegoldenageofsci-fi #Sciencefictioncinemapodcast #Sci-fifilmanalysis #Hollywoodhistorypodcast #Vintagesci-films #Hollywoodnostalgiapodcast #Sciencefictionstorytelling #Hollywoodclassicspodcast #Sci-fimovietrivia #Sci-fifilmindustr #Hollywoodcinemaevolution #EarlyHollywoodsci-fi #Hollywoodfilmhistory #Hollywoodsci-fipioneers #TalesFromHollywoodlandpodcast #ESONetwork

[therileyandkimmyshow]

Podcast Actress Joan Blondell Golden Age of Radio Tribute

[tomnielson]

Halloween is almost here, so we’re sharing a few tales from years gone by, back when Vincent Price was the undisputed king of horror flicks. Hear all the frightful details in our newest 9-minute podcast, “Edgar Allen Shmoe,” at https://alookbehindinrewind.buzzsprout.com (link in profile), Apple, Pandora, iHeart, or wherever you get podcasts.

[silvyysthings]

I was going to write about what is currently going on with Timothee in general and the smoke and mirror couple but as I start this I realized I don’t actually give a F anymore. On the other side I wish Armie all the best. After listening to his podcast these two will never hate each other but are not close anymore. I think we all know what happened if fans choose to actually listen. Nostalgia, cherry picking, refusing to believe facts and losing our friendships here are all that is driving this now. I just hope Armie is smart enough to get any verbal offers for new jobs in writing before the last Oscar votes are completed on Feb 21. Managing people with shiny objects is a long Hollywood tradition and a great way to control his mouth until then. Something tells me any positive press he has been getting goes away when voting ends and the ramp up to the Toxic show promo with rehashing and her once again playing victim to his villain begins. I hope this time he uses his platform to call out everything from journalists, articles and gossip when it comes. It was about somebody else but he already said the quiet bit out loud last podcast with the “people who turned their back and watched him burn” info. He unfollowed not for spite or any bitterness he rightfully has but self preservation. The only thing he didn’t do is call him by his name. Armie has a voice now. We all know their is only one question people are waiting for that he gets guests to ask him at the end of every podcast He knows it too. Although the interest now has a ceiling. Pretty sure it falls into his “ leaning into whatever makes you uncomfortable” philosophy. I hope everything turns out well for Armie. He didn’t deserve all of that. I agree with the 110k likes from another post who said Timothee deserves an Oscar for pretending to be someone he isn’t and having fans believe for years that he is anything like Elio. I hope the Oscar nom on Friday was worth selling his soul for. Timothee is Rich, Famous with all the right connections now but you only have to look at him to see the cost. Like many others now I think Kylie and her family are closer to the true version of who he is V the persona he built but good luck to him. Your blog has been one of the few to allow different points of view so thank you for that. It has been quite the rollercoaster but learned a lot about what really matters. Wishing you all the best. You were always fair.

You're welcome anon , as I always say , I allow every pov on my blog if it is expressed properly and without insults to the boys. I hate censorship and luckily my friends here are open to discuss everything without hate.

It's surreal how we switched to have now one free and ready to rebuild his life and work instead we have to worry for the other one . The opposite situation.

[sobreiromecanico]

O malogrado regresso de The Crow

Fui ver Inside Out 2 ao cinema - mais sobre isso daqui a dias, espero - e descobri à saída da sala que vai estrear em breve um novo filme de The Crow. Ou redescobri, talvez: a minha companheira jura que já me tinha dito isto. O que me leva a pensar que as emoções que regem a minha personalidade talvez tenham, muito ajuizadamente, enfiado tal facto num tubo pneumático que o disparou para as profundezas da minha memória.

Enfim, vivemos na época na nostalgia pela nostalgia, passamos mais tempo a olhar para o passado, a revisitar obsessivamente todos os lugares onde estivemos, do que a ponderar o futuro ou a aventurar-nos à descoberta de novos lugares e de novas histórias. Não surpreende por isso que se vá resgatar agora o filme de Alex Proyas, em cuja malograda produção Brandon Lee viria a falecer - um acontecimento trágico na adaptação da banda desenhada que James O'Barr escreveu em 1989 como forma de lidar com a morte também ela trágica da sua noiva. Apesar de The Crow não ter sido um sucesso de bilheteira assinalável, tornou-se num clássico de culto dos anos 90; ainda gerou algumas sequelas, e até uma série televisiva, mas nada do que se seguiu conseguiu chegar perto do carácter icónico do filme de Proyas.

Há vários motivos para isso, claro. À distância de 30 anos - o filme estreou em 1994 -, podemos constatar que The Crow, porventura mais do que qualquer outro, será talvez o filme definitivo dos anos 90: violento, sombrio, melodramático, com uma estética muito vincada, e musicalmente encaixado no estertor do grunge (o filme estreou em Maio; Kurt Cobain tinha morrido no mês anterior) mas já antevendo a deriva sonora que alguns anos mais tarde desembocaria no nu metal. É um artefacto cultural curioso, uma espécie de farol para toda a adolescência gótica, emo ou qualquer coisa ali pelo meio da década de 90, que diria não funcionar fora do seu contexto muito particular, mas que nesse contexto muito particular revela uma energia improvável (para que conste, não fui nem gótico nem emo na adolescência, ou pelo menos não fui mais emo do que o adolescente médio).

Podemos talvez argumentar que o objectivo desta nova produção não será recriar de forma exacta o filme de 1994 - poderia ser uma nova adaptação ou reinterpretação da banda desenhada de O'Barr, por exemplo -, mas a esta altura do campeonato sabemos como estas coisas funcionam. Aliás, uma breve passagem pela Wikipedia mostra quanto tempo passou este projecto no development hell de Hollywood, e quantas pessoas estiveram ligadas a esses projectos. E mostra ainda uma transcrição de uma entrevista de Alex Proyas a um podcast em 2019, onde o realizador comenta a possibilidade deste remake de forma muito certeira (original aqui):

I personally tried to squash it every time I hear of one, not that I believe I've been able to. I think extenuating circumstances have stopped it from being made because if Hollywood wants to make something that they don't listen to schmucks like me who bring noble and moralistic issues. My point is that Brandon Lee made that movie what it is. He made that movie, he made that character. That character was not taken from a comic book, that was Brandon. And Brandon Lee died making that movie, he paid the worst price anyone could ever pay making a movie and it's his legacy. The guy would have been a huge star after that movie. He wasn't able to ever do that. That's his final testimony to his talent and that's why I finished the movie. I finished it for Brandon. After being devastated about what happened we shut down the production and I went back to Australia. Months later I went back and watched the movie and his family all the other actors, and everyone involved, said 'You've got to finish this movie because Brandon is so great in it' and he was. I was able to watch it and see how great he was and I thought then the movie deserves to be completed because it's his legacy. So that's what the movie is, it's not just a movie that can be remade. It's one man's legacy. And it should be treated with that level of respect.

Sim, o motivo é o mesmo de sempre, mas há algo curioso neste projecto: ao contrário da maioria dos remakes modernos, que procuram recriar o sucesso comercial, este procurará obter um sucesso de bilheteira a partir de um fenómeno de culto, de um filme icónico para os adultos de hoje que passaram pela adolescência nos anos 90. The Crow não foi um êxito de bilheteira, e se perdura ainda no imaginário colectivo de duas gerações, isso deve-se inteiramente aos seus méritos artísticos, e não ao seu desempenho comercial.

É provável que esse seja mesmo o único aspecto interessante deste novo The Crow, que a todos os níveis parece ser mais um regresso desnecessário, e apostaria que votado tanto ao fracasso comercial como ao esquecimento. Vi entretanto o trailer (que não vou trazer para aqui), já que me dei ao trabalho de escrever estas linhas: são três minutos de acção genérica destes dias, sem rasgo estético e sem razão aparente para existir para além da promessa de nostalgia cujo vazio absoluto a minha geração parece ser incapaz de vislumbrar (ou estará decidida a ignorar). Como fã do filme original - ainda me lembro com exactidão de onde estava, e com quem estava, quando vi pela primeira vez partes de The Crow -, não me passa sequer pela cabeça pagar um bilhete de cinema e passar duas horas numa sala a ver este remake. Talvez o descubra um dia quando passar num Domingo à tarde na televisão.

[stereogeekspodcast]

Transcript] Season 3, Episode 7. Star Trek: Picard Series Review

Rewatching Star Trek: Picard changed how the Stereo Geeks felt about the show. We reviewed the series and shared our thoughts on it.

Listen to the episode on Spotify.

Hello and welcome to a new episode of Stereo Geeks, and the very first of 2024.

This time, we've been rewatching Star Trek Picard.

I'm Ron.

And I'm Mon.

As big fans of Star Trek, the announcement that Picard was going to get his own little spinoff was exciting, but also a little bit worrying for us.

Well, there's definitely a spate of reprisals, revivals of old stuff, especially 80s, 90s things.

A lot of people who grew up at the time are currently executives and producers of Hollywood.

So obviously, they want to bring back the nostalgia factor.

And let's be honest, nostalgia sometimes works, sometimes doesn't, but it definitely sells.

Let's dig into that a little bit because season one of Picard doesn't actually work with nostalgia as much.

That's true.

There are, of course, moments.

There are cameos, reprisals, et cetera.

There is a through line, however, of Picard and his relationship with Data, his need to get closure for what happened to Data.

So that's the nostalgia factor.

The main storyline, however, even though it is tied to that, doesn't have that nostalgia feeling.

Because when you look at the main storyline, it's actually several different stories.

So we start off with the fact that Picard misses Data.

That's literally the first scene.

And you get the feeling that this is what the season is going to be about.

But then it turns out that Data has android children who are unmistakable from humans, but they don't know their true identity.

Also, we find out the Romulan sun went supernova, leading to a refugee crisis that Picard and Raffi Musiker had to fix.

Then Utopia Planitia and all of Mars was blown up by synths, leading to not only a synth ban, but the end of the refugee resettlement.

And then the Tal Shiar made it into Starfleet somehow.

But also there's a hidden sect of the Tal Shiar called the Zhat Vash and they are trying to fight the return of the synths.

Also, Raffi is now plagued by Romulan conspiracies, but nobody believes her.

Everything that went down on the Ibn Majid never got explained.

Also, who even is Soji and who is Narek?

Oh, and did we mention that Picard misses Data?

When you put it like that, that seems like a lot, but I'm gonna say something very controversial here. Well, at least it's controversial on this podcast.

From the three seasons of Star Trek Picard, I have to say season one is the most cohesive and best made.

Season two is a mess.

Season three is a nostalgia fest that is not always well-written, but that doesn't mean that I don't love season two, adore season three and still can't stand season one.

The first time I watched season one, I didn't like it. Straight up didn't like it.

First time I watched season two, I loved it except for the last episode.

First time I watched season three, I adored everything.

When we rewatched it, I liked what season one was doing. I liked the concepts. I liked all the lore that it had.

It was really digging into the Star Trek universe, but it was not long enough.

10 episodes and all that was there.

And I'm not even touching on all the interconnected parts.

Like there was a whole thing about Agnes Jurati, Bruce Maddox, Seven of Nine and her history.

All that was in there.

It should have been at least 15-16 episodes.

That would have given us enough time to actually understand how all these things are interconnected.

And it would have given the characters a bit more time to shine.

Season 2, perfectly compact.

10 episodes, every episode mattered.

It gave the characters their spotlight.

Picard got an entire wonderful arc that honestly has been waiting for quite a while to be resolved.

And season 3, 10 episodes, nostalgia.

That's it.

But yes, I agree that season 1 was the most cohesive because it felt like real science fiction.

But it was just too muddled and way too many plot points just got dropped at the end.

I think my biggest issue with season 1, and I feel like this even on the rewatch, is that there are a bunch of characters who are just so annoying that you hate it whenever they're on screen.

And every time it cut away to their stories, if you would call it that, I would just be switching off.

Mostly the Romulans.

Narek, Narissa, Commodore Oh.

I agree with you that that was the part which was muddled.

Who are they?

What are their motivations?

Because it's not signposted or elucidated at the beginning, they just seem like these very caricatured old school baddies who don't make any sense.

There's also a sort of old fashioned way of how they're presented, how they interact and the things that they do.

So that really annoyed me.

The crew of La Sirena themselves, they were great.

They were really interesting.

But yeah, it was just every time they had to interact.

And there was that entire plot line with Narek, for example, which sort of we never came back to that.

He sort of disappears in the final episode.

And then it's like, oh, okay, what happened with this guy?

That's a really good point, because Soji and Narek, that whole relationship, if you can call it that, it just felt shoehorned in, like, we have to make these characters interact.

So let them just have a love affair.

Soji just felt so very born sexy yesterday, that kind of thing.

It didn't do her any justice.

The biggest mistake the first season made was making Soji and Picard's meeting happen only in episode seven.

That's way too late.

These are the two main characters of this season.

They should be meeting way earlier.

I feel like Soji as a character, she really became more of a catalyst and a plot point.

Well, she gets dropped first episode of season two.

So she was never really supposed to be, I guess, part of the actual crew, which is sad because, I mean, Issa Briones is really good.

I mean, you reminded me that she was like 19 or 20 when she did this.

She holds her own and she plays so many different characters in the first season as well.

But I agree because there are so many fleshed out points for the other characters, especially, with Cristobal Rios, the captain of La Sirena.

I know there's an entire book, so we've read that book, but I just felt like they had a plan or a hope or something that this character who is so complicated and so emotionally needy, there was just so much that we could have explored with this person, especially in his capacity as someone who knows Picard, who looks up to Picard, who becomes trapped in Picard's spell, if you would.

I really felt like there was a lot going on there.

So there's a character like him where you know so much about his background.

You know, with Raffi, there is so much that we are learning about her and we continue to learn about her throughout the three seasons.

And then there's Soji who is signposted as this very important character.

We don't really know much about her.

Her importance is really her connection to Data and how Picard deals with that.

She's just a plot point.

It's really disappointing.

And in the end, it's not even about Soji's heritage.

Bruce Maddox apparently used a painting that Data made as the blueprint to make these androids with Alton Soong.

Data wasn't even involved at all, so that through line doesn't even work, which is a bit unfair on the character of Soji.

I think one of the problems with the entire show has been it keeps leaning on these historical moments which don't take place on screen.

The Romulan Supernova, for example.

I think the show about that would have been far more interesting.

We do get a lot of that in the books.

So I highly recommend reading The Last Best Hope, Second Self, et cetera, that entire series.

I'm okay with that being off the screen, but stuff like Data's painting of his daughters.

I'm sorry, we never saw him paint that.

There's a lot of stuff in the third season especially, where they talk about this happened and Beverly's talking about Myriad and this and that.

And we're Googling to see, did we miss something from the original TNG series, from the movies, et cetera?

It's all made up.

I mean, I get it, it's all made up.

But not having that sort of through line, that connection, it just doesn't make sense because it's so important.

These people know about it.

And at the same time, we never saw it.

So I really did worry about the writing in a lot of the show, especially on the rewatch when you realize, yeah, it wasn't you forgetting stuff, it just doesn't exist.

Because what is the point of referencing something that hasn't happened in a previous show or any of the tie-in books, comics, whatever, when you know that nobody is really coming into Star Trek Picard as a non-Star Trek watcher?

You can't get into this series without some prior knowledge.

The first season and the extreme focus on Data, it won't make sense to you.

If you already know that people are coming in, having seen TNG and all the TNG related movies, just reference things that have already been in TNG.

People are gonna know it or they are going to Google it.

So the first season, though complicated and overly convoluted with the focus on a lot of weird Romulan people, I really loved the Picard and data connection.

What I missed about the first season, aside from the Picard and Data part, was feeling some emotional connection or just being totally emotional about it.

I got that in season two.

The return of Q, who is unhinged and scary, but the season, the way it ends with Picard and Q, it was surprisingly emotional, wasn't it?

I really liked season two.

It's about time travel, so obviously I'm gonna like it.

And I think it was really compact, not just the storyline, but also the setting.

They went back to 2024 LA and they stayed there for quite a long time.

I love watching fish out of water, Rios, Raffi and Seven trying to interact with the world in the past.

Hilarious.

That whole scene where Seven and Raffi are driving and trying to escape the police, one of the best of the entire show, not just that season.

I really loved it.

And also speaking of the 2024 timeline, the best part of it was season two deals with the real problem of ICE raids and how several communities, especially in the US, well, they live in fear and they don't have access to simple human benefits, like medicines, et cetera.

And it really worked the way they included that, how Rios, who happens to be played by a Chilean actor and he speaks a lot of Spanish, so how that works into it, he doesn't have papers, so what does that mean?

That's probably why, when we first watched the second season, it just blew us away because it went back to the roots of Star Trek.

It's talking about the real world in this fictional, majestic, futuristic world through this lens of utopia.

Well, you go back and it wasn't always utopia and one tiny change in our history could make it worse or better, which is something that is explored in that season.

I really, really like that.

I didn't understand the Borg stuff.

Even on my third rewatch of this series, I don't necessarily think the whole Borg angle needed to be there.

That's really interesting because I like the fact that Picard leans into his experience as Locutus.

I felt like in TNG, they didn't really handle that very well.

This man was taken, assimilated.

He was the mouthpiece of the Borg as they slaughtered so many Starfleet officers at Wolf 359.

We see the impact of that in DS9.

It's the reason why Sisko can't stand Picard.

Starfleet just moves on.

But the show coming back to that over and over again, not just about the impact that it had on the people who died or survived, but on Picard himself.

No, I agree with you.

I like the through line of the Borg being there in all three seasons.

I just don't know if it was handled as well, especially on the third rewatch.

I can have a little bit more distance and a bit more critical thinking.

And I do think it was confused.

Because what does it all mean?

We now have a new faction of the Borg who are good guys, who assimilate after consent.

What are they doing?

Where are they?

How have we not met them in all these years?

I feel like that was a plotline that padded up the story.

This goes back to what I was saying about how season one was the most cohesive.

When you're watching the recaps of season two, and it's so long, it's like two, three minutes long, because they have to pack in all this information.

And it's simply because there are disparate storylines.

They're not interconnected.

So that's my biggest issue.

The Borg stuff, while there is the through line, in hindsight, I just feel like it was too much.

And I think the reason for that is that each season has a different type of Borg.

If it had just been one kind, it would have made a bit more sense.

It would have flowed better from what we've seen before in TNG, in First Contact, but nothing that happens in season one affects season two or season three.

And I feel like the events in season two were primarily a way to phase out the new characters.

So Rios stays back in 2024.

Jurati becomes this other Borg Queen.

Elnor, after being killed, Q brings him back.

So now he's part of Starfleet.

Raffi's the only one who stays on and comes back in season three.

Yeah, and that's also an issue which we talked about probably because we just really love these new characters.

It's not like Rios and Elnor, even Dr. Jurati, who I didn't like in the beginning, but honestly on the rewatch, she was a lot of fun.

They're compelling characters and there's a lot of complicated feelings which we didn't actually get to discuss on the show.

How Picard treats them, how they feel about him.

It's a squandered opportunity.

I say that a lot about this show.

I get it because of what season three becomes.

And when you're watching season three, you don't actually feel the absence because we'll get to that in a moment.

But I do feel like if you introduce these characters and there's so much rich history alluded to, I would have loved to see a little bit more of them.

There was something else that you had written about and that's Picard's very bad attempts at being a father figure to people.

And there is a throughline in each season of Picard just thinking that Starfleet is the answer to everybody's problems.

He gets Raffi back into Starfleet.

He gets Seven back into Starfleet.

He gets Rios back into Starfleet.

He gets Elnor into Starfleet.

He gets Jack into Starfleet.

That's a lot of people.

That's his answer for everything.

Try being a dad for once.

That was something that you pointed out and I was like, surely you're not right.

And then at the end of season three, when Jack Crusher, Picard's unknown long lost son, he turns up and he's suddenly part of the Enterprise.

I was like, oh, okay, you have a point, Ron.

But it's true.

Picard says often, Starfleet was his life, Starfleet was his family.

His best friends, his family, literally are from Starfleet.

So I get why he's sort of mesmerized and he feels like, well, Starfleet fixed his life, gave him what he wanted, which was a family.

And that's what he thinks the people he loves most will also get.

And in a way we find that, well, Starfleet is different for different people.

Starfleet is also different at this time.

And it's something that is somewhat explored in the third season.

Seven, for example, Seven of Nine, she was a Borg, she was rescued, if you could say, by Voyager.

Voyager became her family, her collective.

And the one goal for Voyager, a ship that was stranded in the Delta Quadrant, was to get back to the Alpha Quadrant.

But Seven had no connection to the Alpha Quadrant.

And what happens when she comes back?

Well, that's what we find out.

We find out that she tried to get into Starfleet, but because she's an ex-B, a former Borg, they refused to include her.

I mean, Picard obviously has a lot of influence because in season three, she's the first officer of the Titan, which was Riker's previous ship, but she's not happy because the Starfleet ship that she was on was Voyager, which had nothing to do with Starfleet.

In fact, there are moments in Voyager when Starfleet is able to connect to them once again.

And Captain Janeway does struggle a little bit with the way they speak about some of her crew, with some of the decisions that they make.

It's not fully there because we are talking about 90s TV shows which were a little bit more utopian in their outlook about authority, et cetera.

But we do see that the struggle is real in the newer shows.

Even on Star Trek Prodigy, Vice Admiral Janeway has problems with Starfleet.

They have rules that really don't make sense sometimes.

So we see that with Seven as well.

Picard and Captain Janeway, or rather Admiral Janeway in this timeline, they've convinced her to join Starfleet.

And she's got this chance, but she hates it.

She absolutely hates it.

And I did write about it after the first episode, I think.

She doesn't belong.

She's not doing what she wants.

She's stuck using protocols and rules that don't make sense to her.

And I'm almost a little bit disappointed that in the end, she still has a commission, she's still with Starfleet, and it's supposed to be a big, yay, you know, all our favorite characters are still with Starfleet.

It's like Picard is on a recruitment drive.

He's very good at recruiting people, but is that really the right thing for them?

I find it interesting that the show doesn't hold back from criticizing Picard because his experiences are wildly different from everyone else's.

Raffi especially takes him to task when Elnor is killed.

But the show is still reluctant to call Starfleet out on their nonsense, which is kind of weird, because as you said, the ending is very much a rah-rah happiness.

Seven and Raffi and Jack are now leading the new enterprise, and that's a good thing.

Is it though?

Like Seven was literally resigning until Tuvok showed her Captain Shaw's last message.

One message and that's enough for all the xenophobia that she received from that man?

That doesn't make any sense.

It's funny because one of the last things that Raffi says is, it's weird to her that Starfleet has given a thief, a pirate and a spy a ship of their own, and not just any ship, the Enterprise is still the flagship of Starfleet.

And I do wonder if something like that heralds a change in Starfleet.

Even Captain Liam Shaw, in his recommendation for Seven to become captain, says that she doesn't follow protocols, but she has ideas and she has methods which are different and which do suggest a change, a new way of leading.

And also Gates McFadden, who plays Dr. Beverly Crusher.

Now, I can't remember if she wrote this in a tweet or she talked about this at Fan Expo Canada at the panel that you and I went to.

She talked about how Beverly and her son Jack, they're part of Mariposa, which was the organization that was created by Rios and his partner, Teresa, back in 2024.

They are sort of the Red Cross, Doctors Without Borders in the galactic sense.

Now, Beverly and Jack being part of that, helping worlds and peoples who have been forgotten by the Federation and Starfleet.

Gates McFadden mentioned that she wants to explore how Beverly can do that work, even though now she is head of Starfleet Medical.

So it seems to me, behind the scenes and also perhaps through the writing, they're trying to suggest that these people are in Starfleet, but that doesn't mean that Starfleet stays the same.

Considering the sort of world ending stuff that happened, I would like to think that Starfleet will not be the same forever.

That being said, when you read the books about the supernova, it doesn't really show Starfleet and the Federation in very good light.

So I don't know, I just do wonder that are the writers trying to say that, yes, Picard is on a recruitment drive, but maybe for the better?

Well, that's an interesting point.

I hadn't really thought of it like that because the final season, it does seem to be about change, even though it's primarily about the TNG crew who we've seen for many, many years.

That's honestly one of the best parts of it, just seeing that entire group together, the chemistry is just, it's just there.

I remember when we saw Jonathan Frakes at Toronto Comic Con and he was talking about how worried he was when he was coming back and he was like, Sir Patrick Stewart is just on his game, such high quality acting and Frakes was so worried that he wouldn't be able to match up.

And I was like, what is this guy talking about?

He was the best part of that show.

He's so funny, he's so sweet, he's just effortlessly Riker, no matter how many years have passed by.

Yeah, I have to say these characters, you don't even realize you miss them till you see them and you're like, oh wow, I really miss these people.

And we don't even have that kind of connection with TNG, the way we do with Voyager.

And despite that, seeing these actors step back into these roles and the kind of love that they seem to have for these characters, absolutely seamless.

It's brilliant.

And I understand why a lot of people, they can't see beyond how wonderful it is to see these people together.

And that's why it's like the best season ever, this is the best Trek.

Well, we have to be measured in how we approach our entertainment media.

Something can be exactly what we want and it also can have its flaws.

Watching season three, especially we just finished watching it, honestly, I'm like, are there any flaws?

I love this so much.

I'm like tearing up at the TNG theme every time.

Every time these people interact with each other, I'm like, oh my goodness, this is like the best thing.

Geordie telling Data exactly how he feels about him, I'm like tearing up just thinking about it.

And it's so sweet.

And at the same time, I'm like, okay, do we lose a lot because we focus so much on this reunion?

Is that a bad thing?

Is that a good thing?

I don't know.

I just know that, well, the show ends on a high because you're watching this poker game between this family of characters and these actors who have also become a family.

And you can't argue with that.

You can't argue with that feeling.

In so many ways, I just think that this season, I really, really did forget that there were issues with it.

Especially in the beginning part when they're not all together, you're like, oh, okay, I can nitpick a little bit here and there and then buy this penultimate episode when they're all standing on the old enterprise deck.

You're like, this is what I've wanted on my life apparently.

Yeah, and the other thing is that you still got those moments where like, Worf and Raffi, their bond.

There is no preamble to it.

It just happened so quickly, but organically, like that last scene with the two of them together when she's got that message from her family.

And I'm just like, oh my gosh, like the father-daughter bond is just so strong.

I would have loved to see that with other people.

Like there was that scene earlier on when Liam Shaw first meets Geordi and he's like struggling to speak because he's like such a fanboy and he's just like stuttering.

He can't, and Geordi's just standing there like, oh, I'm so used to this.

And you just love those moments, you know?

I would have loved to see more of that with Rios, with Jurati.

I mean, imagine Jurati meeting Data, Jurati meeting Beverly.

Oh my God, those would have been amazing moments.

Like Rios and Riker together.

Why didn't we get that?

I really wish we had, because then that would have made the show feel like it was one continuous story.

I think you've hit upon a very good note, which is that all three seasons feel like three different stories.

And there's a reason for that, because all three seasons had three different showrunners.

Even though Terry Matalas took over for season two, he inherited the previous creators' stories and storylines.

It's like watching an anthology series.

When you have that caliber of acting on your screen, honestly, nothing else matters.

Some things just transcend writing and cohesiveness, honestly.

But the show ends, like the final ending, is a bit of a cliffhanger.

Like it seems like the Enterprise crew is going to go off on these new adventures while their previous Enterprise crew goes off on their old adventures.

And now nothing.

What is that all about?

So the final scene of the show is Q apparently returning, but as he reminds us all, humans think so linearly.

That's not how the continuum works.

He might be dead, but this is another version or a previous version of him.

And he's come to torment Picard's son, Jack Crusher.

I do think that the showrunners, Paramount Plus, whoever is behind these things, included that to gauge if there was any interest in continuing the stories of these characters.

So one has to ask, are we interested in seeing Captain Seven of Nine, Commander Raffi Musiker, consultant to the captain, Ensign Jack Crusher, as well as the LaForge sisters and the rest of the Enterprise crew, maybe some new characters, Admiral Beverly Crusher?

Are we interested in seeing all these people continue in a new show?

Well, for me, the answer is yes, because I want to see more of Seven, I want to see more of Raffi, I want to see their relationship actually on screen instead of, you know, they've broken up, they're together, they're very far apart from each other.

Don't give us two amazing bisexual characters and then be like, yeah, they're not together.

What?

That's the only reason why I need this show.

True, but we need to talk about Jack Crusher.

We can't not talk about this man.

He's sort of the catalyst and the reason all of season three happens.

Unlike Soji, this man is very fleshed out.

He is a personality, a character, a human being, and he evokes complicated feelings in a lot of us.

I just don't know how I feel about this person who creates so much damage, chaos, most likely death.

And at the same time, well, he is Beverly and Picard's son.

And I'm like, you know, he's really cool and he can do all these things and he knows all these things and he has this sort of avant-garde experience and knowledge.

He would be very interesting to follow, alongside, of course, the most important people, Seven and Raffi.

Well, I'm not 100% sold on Ed Speelers as the son of Beverly Crusher and Picard.

I mean, he has the hair.

He has Beverly's hair.

Listen, when I first saw him, I thought, oh, wow, somehow Beverly had another child with Jack Crusher.

And she obviously named him Jack.

But I was like, oh, he's Picard's son?

I don't see the connection, like physically or anything.

He's got the accent, which the bizarre explanation for his accent.

He went to England for a little bit and he came back with the accent.

Really?

Really?

Considering I still say presentation instead of presentation, because I heard Tom Paris say it the one time on Voyager, I forgive him.

But like, he's not supposed to be like Picard.

He has no connection to this man.

He's more like Beverly if she hadn't been stuck on Starfleet, if she hadn't faced loss so early on in her life, if she wasn't a mom who had to keep taking care of her son.

I think, you know, that sort of effervescent, ne'er-do-well, nonchalant sort of personality that he has is very much like how Beverly may have been.

So I feel that.

I just don't understand how we are supposed to like root for a character who's caused all this untold loss and suffering for a lot of people.

In a way, I keep thinking back to Captain Michael Burnham and how she wanted to make something better and ended up causing the Klingon War.

So many people's lives were changed, not just death.

People's lives were changed and she has to reckon with that when she comes back to Starfleet.

And I'm like, how do I feel about that?

We've forgotten about it because she has redeemed herself in so many ways.

She suffered herself as well, but people have made a lot of sacrifices to make sure that she keeps saving the world, basically.

Does Jack deserve that?

I don't know.

If we get a show about the new Enterprise G, we would have to contend with Jack being there.

But also, I think if Jack wasn't Beverly and Picard's son, I don't think that many people would have been allowed to die for him.

That's something to reckon with as well.

He actually says the only reason why he got fast-tracked to Ensign level at Starfleet was because of nepotism.

His parents aren't going to believe that, but Beverly has always had a blind spot for her kids.

When Wesley was part of the team, the Nova Squad, and their teammate died, she refused to believe that Wesley had done anything wrong.

Obviously, she's going to be the same way with Jack, and Picard, he can't see anything wrong with people he loves.

So this kid is going to have to have other people call him out on his nonsense because his parents are not going to do it.

Yeah, I completely agree with you on that because the only way this is going to work if they were to have a show, and I do really want one because I think we just need more Star Trek.

Especially now that Star Trek Discovery is coming to an end, we're going to have the animated properties, Lower Decks is still doing well, Prodigy, I don't know what's going to happen after season two, and we have Strange New Worlds as the only live action.

So yeah, Star Trek Legacy would be great.

Especially a show which brings in the Deep Space Nine characters, characters from other Star Trek properties, their descendants, et cetera.

That would be awesome.

Listen, I need a show where Jake Sisko is a journalist. I need this. It's very important to me.

Very true.

So yeah, I mean, I think we've been really critical about Star Trek Picard, but honestly, on rewatching it, I just fell back in love with the show, even the first season, which I did not like.

I love these characters, the new ones, the old ones.

Love the world that they've created.

I love being back in the Star Trek universe.

And I just wanted to continue.

In a way, I am trying to continue it by reading the books so that I can just hang out with these characters and this world, because we didn't have Star Trek for a really, really long time.

And we tried to fill that void with other stuff.

And now that we do, it's really hard to let go.

I'm currently listening to the entire score of Picard, all three seasons in a playlist.

I can't get out of this mode.

Yeah, I'm not even gonna think about what'll happen once Discovery finishes.

I just don't wanna deal with that right now.

You know, that's a problem for future me.

But yeah, I surprisingly really enjoyed rewatching Star Trek Picard.

I loved it a lot more this time.

I'm going to just feel like it's an anthology series and not like a show that's three consecutive seasons because that might help the enjoyment a little bit more.

But you know what?

It ends on a really happy note.

All our beloved characters are safe.

Some of them are in 2024, but it's okay.

But yeah, it was really fun.

And I really like Star Trek.

Yeah, I mean, you know what?

I would honestly probably make this an annual rewatch.

I'm not even ashamed to say it.

All three seasons annually rewatched.

So that's us talking about our very complicated, sometimes disparate views on Star Trek Picard.

Let us know how you felt about the show.

We are Stereo Geeks and we'll see you at the next episode.

[destinyc1020]

Tom and Zendaya are considered star power. Was listening to a podcast where people were complaining that the Oscars, really did not have the star power that they used to. But also, that young Hollywood (the under 30 crowd) was not represented. Then they specifically said the if Zendaya and Tom Holland were there that a younger audience would likely tune in just to watch them. Just like whenever Zendaya is expected to walk the red carpet, people will tune in just to see what she was wearing.

Well Anon, I think that there are many things going on.

First of all, celebrities attend the Oscars based on whether their films are nominated, and if they're asked to present.

I'm not sure what "Star Power" people are looking for at these Oscar events these days lol, but thanks to the influence of social media, reality TV, influencers, etc the whole "celebrity world"influences, compared to how it was in years past.

The OG A-List celebrities are getting older (let's admit it), and even the TYPES of films that are even nominated for serious category/acting awards has changed dilettante somewhat over the years as well. Some even complain that they haven't even seen half the films nominated rofl 🤣

I also feel like awards shows just in general across the board are not being watched as much as they were in years past. But I don't think this has anything to do with WHO'S in attendance. I just think society has changed. 🤷🏾‍♀️

There's also WAY more on TV these days (ie. Streaming). So while back in the day, some awards shows were the most interesting thing on TV, now ppl have TV on demand and can watch whatever they want, WHEN they want it. 🤷🏾‍♀️

I'm sorry, but Zendaya attended the Oscars in 2022 AND 2021, and the show STILL had some of the lowest number of viewers EVER. 😅 👀

It's NOT about who's attending (or even presenting) imo. Awards shows in general are struggling, and I can actually forsee them just doing away with them altogether one day if the viewership doesn't improve. 👀

Some ppl have just gotten tired of celebrity "culture" just in general, others feel award shows are too "political" (which, in a way they are 👀), and others are just bored and don't wanna watch a 3-hr awards show. 🤷🏾‍♀️

I'm a millennial, so I grew up watching awards shows, so watching them will probably always be one of my favorite past-times and guilty pleasures lol 😆 (even if just for the nostalgia) But I can understand why some might not care for them....

[tokensbossh]

Ryan Reynolds, Hugh Jackman, and Shawn Levy Reunite for New Film

Ryan Reynolds, Hugh Jackman, and Shawn Levy Reunite for New Film – But It’s Not Deadpool & Wolverine 2... Fans of Ryan Reynolds and Hugh Jackman’s iconic on-screen partnership in Deadpool & Wolverine may be in for a surprise. After the incredible success of Deadpool & Wolverine, which raked in over $1.3 billion globally, one might expect a sequel announcement. But as it turns out, Reynolds, Jackman, and director Shawn Levy are reuniting for an entirely different project—outside of the Marvel universe, and possibly even outside Disney's reach. According to Reynolds, this upcoming project marks their third collaboration, following Free Guy and The Adam Project. Despite intense speculation around a Deadpool & Wolverine sequel, Reynolds confirmed on a recent episode of the Variety Awards Circuit Podcast that this new film has no Marvel ties. “I’m spending the year writing,” Reynolds said, emphasizing his dedication to creating an original storyline for himself, Jackman, and Levy.

Ryan Reynolds, Hugh Jackman, and Shawn Levy Reunite for New Film (3) Ryan Reynolds Reveals Details About the New Project During the podcast, Reynolds shared his excitement for the project, mentioning that he’s dedicating a full year to writing the script. Reynolds held back on revealing plot details, but hinted at a “fresh and unexpected” concept that has fans intrigued. Variety noted that while details remain tightly under wraps, Reynolds’ enthusiasm suggests something highly anticipated. “I’m writing a movie for myself, Hugh , and Shawn to do that is not Marvel,” Reynolds said. Although there’s no word yet on which studio will handle the project, Reynolds’ and Levy’s past work with 20th Century Studios could imply potential involvement from Disney, though it has yet to be confirmed. A Non-Marvel Project – What Fans Can Expect This new project is the latest collaboration for Reynolds and Levy, who previously worked together on Free Guy, a unique action-comedy that became a significant hit under Disney's 20th Century Studios banner, and The Adam Project, a Netflix original. Fans had been speculating about a Deadpool & Wolverine sequel following the first film's success, but for now, they’ll have to wait for more Wolverine-Deadpool action. Still, this project is likely to become one of Hollywood’s most anticipated films. Reynolds and Jackman’s pairing has been a fan favorite, and Levy’s direction has proved to be a strong match for their chemistry. Possible Future for Deadpool & Wolverine While this upcoming film isn’t a direct sequel, it doesn’t necessarily mean Deadpool & Wolverine 2 is off the table. Given the characters' popularity and recent box office success, Marvel and Disney may still pursue a sequel, although it could be several years away. In the meantime, Reynolds and Jackman are focused on exploring this non-Marvel territory, which Variety suggests could even extend beyond Disney’s control. Reynolds’ new venture with Levy will be closely watched by fans and industry insiders alike for clues about what lies beyond the superhero genre for these actors.

Ryan Reynolds, Hugh Jackman, and Shawn Levy Reunite for New Film (1) Previous Collaborations and Industry Impact Reynolds and Levy’s collaborations with Disney have already proven fruitful. Free Guy showcased Levy’s skill in blending comedy and action, a mix that suits both Reynolds and Jackman. Their follow-up project, The Adam Project, tapped into nostalgia and sci-fi, offering audiences a unique mix of adventure and heart, which they’ll likely continue in their next film. This shift also signals a broader trend in Hollywood, where top actors and directors are branching out from franchises to explore new creative opportunities. Reynolds, in particular, has shown a strong preference for pushing creative boundaries, from producing and acting to writing and developing original stories. Next Steps and Release Timeline With Reynolds spending a year writing the script, filming for this new project will likely begin no sooner than late 2025 or early 2026. This schedule suggests any potential Deadpool & Wolverine 2 won’t see the light of day until the end of the decade, possibly aligning with a rumored 2028 release window. For fans eager to stay informed, Variety remains a key source for updates on Reynolds’ projects and ongoing film industry news. Marvel enthusiasts can also stay updated by following Marvel and Variety for the latest news on upcoming releases and potential sequels. What’s Next for Ryan Reynolds, Hugh Jackman, and Shawn Levy? While it’s not the Deadpool & Wolverine sequel that fans may have hoped for, this new project presents a unique creative opportunity. As Reynolds explores fresh ideas with his longtime collaborators, this venture will add another layer to his evolving filmography. And who knows—perhaps this non-Marvel film will provide just as much excitement as a superhero crossover. Stay tuned for updates as Reynolds, Jackman, and Levy’s next collaboration unfolds. Read the full article

[zaxpearson]

Tokencast 12/20/24 Discussing the Current Era of Films with Static Radio...

#tgp​ #tokengamespodcast​ #eyonex​ #tokencast​ #tokenpodcast​

What exactly is wrong with nostalgia? Why do you think there is this built in abhorrence to sequels of titles long absent from pop culture?

Is there even a way to discern how A-24 keeps figuring out how to make classics and hits with such a low budgets and yet Hollywood will spend 3 times as much and it will still be gambling on if the movie is successful.

Favorite movies of the last 10 years, and what made them so special?

Wanna see more of us?

https://linktr.ee/zaxpear​

Static Radio:

https://www.staticradio.com​

YT:     / @staticradiopodcast  ​

Podcast via Spotify: https://open.spotify.com/show/1n...​

Movies referenced were:

Spiderman into the Spider-Verse

Parasite

The Grand Budapest Hotel

Anything From #A24 in the past 10 or so years.

[esonetwork]

Songs Not Even Nominated | Tales From Hollywoodland

New Post has been published on http://esonetwork.com/songs-not-even-nominated-tales-from-hollywoodland/

Songs Not Even Nominated | Tales From Hollywoodland

Classic songs go with Oscar telecasts, but it’s simply amazing how many classics were never nominated in the Best Song category.  This week on Tales from Hollywoodland, Arthur, Julian, and Steve examine the musical track record of the Academy Awards, wondering aloud how so many songs not only didn’t receive Oscar gold but weren’t even nominated – “Have Yourself a Merry Little Christmas, “Singin’ in the Rain,” “To Sir with Love,” “Staying Alive” – they all came up empty. 

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We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, Goodpods, PlayerFM, YouTube, Pandora, Amazon Music, Audible, and wherever fine podcasts are found. 

#Tales from Hollywoodland #Oscarsnubbedsongs #SongsnotnominatedforOscars #Hollywoodmusicdiscussion #Filmsoundtrackanalysis #Hollywoodawardstrivia #Musicincinemapodcast #Iconicmoviesongs #Hollywoodlegendspodcast #AcademyAwardshistory #Hollywoodmusictrivia #Oscar-winningsongsanalysis #Hollywoodnostalgiapodcast #Oscarnominationprocess #Hollywoodmusicindustry #Famousmoviesoundtracks #Oscarscontroversydiscussion #Moviesoundtrackappreciation #StevenJayRuben #ArthurFriedman #JulianSchlossberg

[therileyandkimmyshow]

Podcast 4003

On today’s #positive #podcast 4003 we play #trivia and a #goldenage of #radio #oldtimeradio #otr #audio #thriller starring #actor #richardcrenna who was born #onthisday #onthisdate #otd November 30, 1926. https://rileyandkimmyshow.blogspot.com/2024/11/podcast-4003_30.html

[mediamonarchy]

https://mediamonarchy.com/wp-content/uploads/2024/11/20241108_MorningMonarchy.mp3 Download MP3 Hollywood reacts, play-by-play work and and what did that produce + this day in history w/Mac Miller’s cause of death and our song of the day by The The on your #MorningMonarchy for November 8, 2024. Notes/Links: #NewWorldNextWeek: Glyphosate Levels Dropping in Oat-based Products + More Trump & Another Climate Conference https://x.com/shartstorm8d8/status/1854660794782548213 Following Trump’s Win In Election, Billie Eilish Says: ‘Someone Who Hates Women So, So Deeply Is About To Be the President’; The singer who endorsed VP Kamala Harris got emotional during her show in Nashville on Wednesday night (Nov. 6) telling the crowd “you’re safe in this room.” https://archive.is/mJFFQ Cardi B and More React as Donald Trump Declares Win; Donald Trump has declared victory in the 2024 U.S. Presidential election. https://archive.is/gv3Tb Ethel Cain Rails Against American Politics as a ‘Breeding Ground for Violent Hatred’ After Trump’s Win; “If you voted for Trump, I hope that peace never finds you,” the singer-songwriter wrote. “You have to live the rest of your life with the knowledge and guilt of what you’ve done.” https://archive.is/JCGYU Hollywood Reacts to Second Trump Presidency Win: “A Sign of Deep Nihilism”; The likes of Adam McKay, Bette Midler, Sophia Bush, Stephen King, John Cusack, Christina Applegate reacted to Donald Trump’s inevitable win with a mixture of shock, anger, confusion and mainly sadness. https://archive.is/gECUh Video: Jimmy Kimmel roasted for crying meltdown following Trump’s election victory (Audio) https://www.youtube.com/watch?v=5l7Uz2P8__Q Cigarettes After Sex – “Silver Sable” (Vinyl // Audio) https://www.discogs.com/release/31309413-Cigarettes-After-Sex-Xs // https://genius.com/Cigarettes-after-sex-silver-sable-lyrics // https://images.genius.com/2a0b7321e61372c5be123cf4ef2f6c55.742x1000x1.jpg // https://www.youtube.com/watch?v=KrTHeCgGdGA The Telecommunications Act of 1996, signed into law by Bill Clinton, allowed all of the major media companies to consolidate into what eventually became the big 6 media conglomerates… https://x.com/Sean_Hasty/status/1853213993927873003 Video: The Boondocks creator dropped a truth bomb about media in 2003 (Audio) https://x.com/ginacarano/status/1853207365270778161 Billy Joe Royal – “Down In the Boondocks” (Audio) https://en.wikipedia.org/wiki/Down_in_the_Boondocks_(song) // https://www.youtube.com/watch?v=v4CeR9Mkjs4 Halsey Recalls Exec Going Through Their Nudes Without Consent: ‘It Was So Demoralizing’; The singer-songwriter shared the story on the Call Her Daddy podcast. https://www.billboard.com/music/music-news/halsey-music-exec-nudes-1235816280/ Lana Del Rey finally addresses marriage to alligator tour guide Jeremy Dufrene https://www.thenews.com.pk/latest/1244106-lana-del-rey-finally-addresses-marriage-to-alligator-tour-guide-jeremy-dufrene` Oliver Anthony Music Is Trading the Industry for Ministry — But He’s Still Releasing Songs; The “Rich Men North of Richmond” singer-songwriter opened up to fans about his future plans. https://www.billboard.com/music/music-news/oliver-anthony-trading-music-industry-ministry-1235816365/ Why the Grand Ole Opry, a Country Staple for a Century, Is Broadening Into New Genres; As artists like Scott Stapp and INXS’ Andrew Farriss prepare to take its iconic stage, the Opry’s lineup increasingly represents a wider outlook. https://archive.is/5ZeRc Andrew Farriss will perform at the Grand Ole Opry on December 14, 2024 https://www.noise11.com/news/andrew-farriss-to-play-grand-ole-opry-20241017 Musical moments in time: ABQ 78 Spinners savor the music, history and nostalgia of an earlier era https://archive.is/sf1eN No, Vinyl Sales Aren’t Down 33% in 2024. They’re up 6.2%; Following incorrect reporting, several media outlets claimed that vinyl sales were down for the first time in decades. They were wrong. https://www.discogs.com/digs/collecting/vin...

[ear-worthy]

Radio Rental And Rattled & Shook Podcasts Return For Halloween

In the Baby Boomer days of broadcast TV, a holiday like Halloween unleashed a torrent of Halloween-themed episodes on your favorite sitcoms, dramas, and variety shows. Suddenly, your favorite TV characters were wearing costumes and yelling "Boo." Podcasts follow that same tried-and-true routine because it works.

Weirdly, Hollywood didn't always understand the connection between a holiday and the film release around that same time. For example, Miracle On 34th Street, one of the most revered Christmas movies, was released on May 2, 1947. Not surprisingly, moviegoers didn't flock to the theaters to see this holiday film.

So with Halloween around the corner, it's natural that two highly-anticipated horror podcast series from Tenderfoot TV, Radio Rental and Rattled & Shook, are returning with new gripping narratives. Combining chilling storytelling with unique takes on the supernatural, both podcasts offer fresh thrills just in time for the spooky season. Both series are produced in partnership with Audacy Podcasts.

With new episodes now streaming, Rattled & Shook returns with a lighthearted twist on horror and features real-time reactions to creepy accounts, engaging horror-themed games, and special guest appearances.You can listen to the new episode here. Hosted by Meredith Stedman and Aprile Ruha, Rattled & Shook delivers a harken back to old radio programs of the past, enhanced by the vibrant sound design and captivating score. The horror-comedy podcast series Rattled & Shook, delivers a dose of comedic relief. Each week, hosts Meredith Stedman and Aprile Ruha immerse themselves in new frightful tales while sharing their reactions in real-time. With features that include haunted houses, supernatural experiences, and creepy incidents, the podcast offers a fun variety show for all things spooky and horror-lite. The newest episode is a collaboration with the new Lionsgate horror film Bagman, in theaters September 27th, and features an interview with the film’s star Sam Claflin (“The Hunger Games”), who discusses the horror genre and his spooky childhood fears. 

With similarities to Radio Rental, Rattled & Shook draws inspiration from the classic radio programs of earlier eras, stimulating a sense of nostalgia that transports listeners back in time. The vibrant sound design and captivating score enhances the storytelling experience in each chilling encounter. 

There are many ways to present the paranormal in podcasting. Some of the best include And That's Why We Drink, Snap Judgment Presents: Spooked, and Lore. One of the best with an unusual premise and terrific host is Radio Rental.

   Radio Rental returns on Friday, October 4, with the eccentric video clerk, Terry Carnation, portrayed by host Rainn Wilson(“The Office”). In this new installment, listeners can expect new firsthand haunting stories from the secret VHS collection of tales of horror and the unexplained, featuring thrilling encounters with black roosters, ghosts, skulls, and shapeshifting. The quirky paranormal series Radio Rental, hosted by Rainn Wilson (“The Office”) returns for its eighth installment. Taking place at a nostalgic 80s video rental store, shopkeeper Terry Carnation (Rainn Wilson), a quirky clerk with a hidden collection of VHS tapes that showcase true stories of horror and the indescribable, ventures into bizarre real-life tales that cover terror, crime, and the unknown.

In each episode, various tapes are shared featuring firsthand accounts from survivors who narrate their terrifying experiences, including close calls with death, uncanny interactions with the deceased, and unexplainable time travel.

The imaginative, cult classic-inspired horror series blurs the lines of reality through innovative documentary storytelling infused with a touch of comedy. Now with over 50 million franchise downloads, the latest installment kicks off with “The Inlet,” a story about the newbie in the neighborhood who goes wakeboarding with some unexpected company, and “The Shed,” where the person who enters is not the same one who emerges.

You can get in the Halloween mood by listening to Radio Rental and Rattled & Shook.

[sleepynegress]

I was about to make a whole original post on this because I vaguely remembered posting this years ago, but wasn't certain until I searched. Instead, especially given where we are in the U.S.A (*cue* kazoo version of that annoying ass Bruce Greenwood song) I'm gonna expand on what I mean... I came across a post earlier on another social media platform about WOLF, that old werewolf movie with Jack Nicholson, and said it was fantasy fulfillment for white men in a midlife crisis (-beat the younger guy, get rid of the old wife who cheats, and get the younger model pretty rich woman who somehow wants him-) and it got me to thinking, once again about how fascinating Michael Douglas' career is, in terms of deconstructing the lies of white manhood and trying to live down to the lie, and how misunderstood it is and not talked about enough (I'd start a podcast but we have so many bros....do we really need a sis?) So, basically MOST of Michael Douglas's movie catalog can be summed up as | deconstructing middle-aged white manhood pressures (lies) and being punished for it. | His film catalog goes against what I think most of those who would look to his films as nostalgia for "anti-woke" Hollywood think it's about, which I find hilarious.

"the grass isn't greener, stability with the family you love, is where it's at"

"the fantasy of raging against the other only results in your self-destruction."

"live for money and exploitation, die for it (in prison) too"

"bored successful white man needs to go to extremes to 'feel alive'?...be careful what you wish for..."

...And there are others like Disclosure (oh so you keep saying "I wish she'd sexually harass me!" *har-har*?? ...bet.), and even Romancing the Stone (you're talking shit, but really she's above you and amazing and you don't want to admit you want her, so get yourself together!)

These knuckleheads long for something that was *always* telling them "NO. THIS ISN'T WHAT YOU WANT, STUPID."

And I just find that funny.

Has anyone written or spoken extensively about Michael Douglas’s career basically being one long critique of white manhood?  Because look at his acting resume.  That’s exactly what it is.

[heswrongshesright]

In this episode of the He’s Wrong, She’s Right podcast, hosts Andrew and Nona embark on a humorous and candid journey through various topics. They start by discussing the decision to drop episode numbers for flexibility in recording. The duo humorously introduces themselves with playful nicknames and transitions into discussing their podcast analytics, which leads to a conversation about the concerning messages and channel themes in their YouTube analytics. Despite this, Andrew and Nona enthusiastically promote their podcast, hoping to trend by urging their iTunes listeners to leave ratings. The couple experiments with new podcast settings and contemplates incorporating ads and other content into their episodes, aiming to streamline post-production processes. They briefly touch on alarming news about Cuba Gooding Jr. and speculate on his future with Disney. The conversation shifts to their analysis and predictions about the Marvel Cinematic Universe, DC Extended Universe, and the potential impacts of reboots and spin-offs on fan bases. Andrew and Nona wrap up with an in-depth discussion on the efficacy of remakes and reboots in cinema, expressing their perspectives on nostalgia versus the need for original content. The episode concludes with them teasing their next discussion topic, providing a perfect blend of humor, insight, and ponderings on pop culture.

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Timestamps 00:00 Kicking Off with Quirky Introductions 01:07 Diving into YouTube Analytics and Channel Discussions 02:50 Exploring Podcast Enhancements and Listener Engagement 06:28 Navigating the Complex World of Hollywood and Pop Culture 13:34 Debating the Impact of Reboots, Remakes, and Fan Expectations 17:30 Unpacking the Dynamics of Movie Releases and Marketing Strategies 27:02 Reflecting on Personal Viewing Preferences and Subscription Models 29:23 Navigating the Perils of Digital Purchases and Parental Controls 30:45 The Power of Virtual Cards in Managing Subscriptions and Spending 31:47 The Battle Against Copyright Infringement: Nintendo’s Aggressive Stance 34:20 The Fine Line Between Creativity and Copyright: A Discussion on Originality 39:47 Exploring the Complexities of Social Media and Online Security 49:49 Diving Deep into ‘Apples Never Fall’: Theories and Interpretations 01:00:19 Wrapping Up: The Importance of Branding and a Fond Farewell