December 15, 2025 • 38 mins
Joe Escalante's weekly colonoscopy into the business end of showbiz. This week: the latest news about who is going to buy Warner Bros... Last week, it looked like Netflix was making moves to buy up Warner, until Paramount swooped in with their attempt at a hostile takeover. Joe explores the ripple effects that either move could have on Hollywood.
Also, the latest from the Box Office: Zootopia 2, Five Nights at Freddy's, and Wicked for Good are still dominating the holiday season. And Nick Carter is suing for defamation over a documentary that implied that he sexually assaulted someone.
Happy 100th Birthday, Dick Van Dyke!!!
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
And now it's time for Joe Escalante live from Hollywood.
If by Hollywood you bean Burbad across the street promo
meaners and it's at that serves beer.
Speaker 2 (00:29):
Sam. Joe Escalante here. Can you hear me?
Speaker 3 (00:32):
Yes, I hear you.
Speaker 2 (00:33):
There we go.
Speaker 3 (00:34):
Now we got you leveled off? You're good? How you doing?
Speaker 2 (00:38):
I'm good. I'm coming to you tonight from the thunder
Valley Casino in Lincoln, California, near the our nation's capital
of Sacramento.
Speaker 3 (00:50):
I didn't know there was a Lincoln, California.
Speaker 2 (00:54):
Well I didn't either. And this is an Indian reservation.
It's some like United Indian Tribes of of America, some
North America. And they have a big casino here, it
said luxury casino. And last night Sublime played, as you know,
the band that I manage here as part of a
(01:14):
radio At Christmas time, they have all these radio festivals
and this is when you kind of go around the
country and you thank the radio stations for playing your
music all year long. Of course, there's no such thing
as paola in the industry. That doesn't exist. It's illegal,
(01:35):
but it is no harm in flying around the country
and thanking people for their support throughout the year, and
usually when you see a Christmas show like k Rock's
Acoustic Christmas or All ninety eight seven's Alter Ego Festival
coming up in January, this is where we thank them
and we have a big party, and so that will
(01:58):
be the next time Sublime plays will be at the
Alter Ego Festival's sold out at the Forum. So don't
try to get tickets, or do try, I don't know.
Last night, tickets were floating around here for like thirteen
hundred dollars.
Speaker 3 (02:09):
Yikes.
Speaker 2 (02:10):
Yes, especially when the face value is like fifty nine dollars.
Speaker 3 (02:15):
That's incredible. That's that is a hell of a markup.
Speaker 2 (02:20):
Yeah, And that's kind of the way concert tickets go.
And you know, everybody's tried to do something about it,
and there doesn't seem to be anything you can do
other than I don't know how what the end result is,
Like the care played and whoever bought the tickets had
to be the person and they had to be like
identified their DNA or something like that. But this is
(02:44):
just how the business works and it's ugly, but when
you think about it, people the price of the ticket.
Have two opinions on this and it relates to Disneyland,
and this is a show about the business of show business.
Disneyland is always included, but people will pay what the market,
(03:07):
you know, will Bear's the that's the value of a ticket.
What is the price the market will bear. I remember
twenty something years ago Pearl Jam really made an effort
to try to solve these ticket price problems, but that
didn't work, and here we are. I mean, just last night,
the fifty nine dollars tickets going for thirteen hundred dollars,
(03:28):
and there's not much anyone can do about it because
that's what people are willing to pay to go to
this concert when it's sold out. However, there's one and
the same with Disneyland. Disneyland people complain about the prices,
but it's always too crowded. So if the prices are
too high, why are there so many people there?
Speaker 4 (03:48):
Well, I there's a lot of people on the planet,
and they save up for a long time to go.
Speaker 2 (03:55):
Okay, you almost hit on it, or what I think
the problem is. The problem is, yes, Disneyland is great
to so many people, and they all want to go,
and it's overpriced. You know, I used to cost me
like eighty five cents to get in, and then you
would buy individual tickets and now it's like two hundred
dollars for a park hopper certain days. But the problem is,
(04:19):
and if they caught, if they charged, many people think
if they charged one thousand dollars a day for a ticket, Sam,
it would still be overcrowded and you would just hate
your life waiting in those lines, even though everybody in
there paid a minimum of one thousand dollars to get in.
So if you charge one thousand dollars, maybe that would
thin out the crowd. Well, it would do a couple things.
(04:39):
It would just only be certain kind of person in
there and other people be locked out and it just
But the problem is people finance these tickets. That's my
that's my gripe, the financing of these tickets, So people
don't know what they're really because people are saying, I
(05:02):
have fomo, I must go. I have a disordered attachment
to material goods and the ability to go on to
Instagram and show my friends that I too was at
the Oogie Boogie Christmas or Halloween nights and look at
(05:22):
my picture of me and all my Disney gear, and
it's the same for concerts. It's like I have to
be there, But concerts are a little different because concerts, like,
let's say you were take it. There's a guy named
John Prine. We were talking about him yesterday. He died recently,
a music legend, and I saw him on his last
(05:48):
tour before he died, and I would have paid thousands
of dollars to see that had I known it was
the last one, and you could kind of tell it
was probably going to be the last one. So that's
a one time only thing now Disneyland, it's going to
be there today, tomorrow, the next day. These people are
still financing it. So they financed their what do you
(06:09):
call it, those annual passes. They're fifteen hundred dollars, I
don't know for the top ones. Yeah, when I was
a young teenager in Los Angeles, I were Orange County. Actually,
I paid one hundred and twenty five dollars for my
first annual pass and it was a major investment and
there were no blackout dates and it included parking. And
(06:35):
now they're through the roof and people just finance them.
They go, I mean, who doesn't have sixteen dollars a month?
You know, whatever the minimum payment is when you put
that on a credit card, or Disneyland will even finance
them for you too. They can Coachell is going to
finance their tickets for you. So I think the problem
is people really don't know how much debt they're getting into,
and they and they are living for today and not
(07:00):
about the future.
Speaker 4 (07:02):
I think you just explained about ninety nine percent of
impulse buys. Yeah, I mean I feel like that's what
it feels like. You know, whenever people are going in
on Disneyland passes or whatever and they're financing it, they
end up you know, that's like more of a planned
out impulse, Like they know that this is an impulse
(07:23):
that they're going to want to scratch more than once
a month, so they're going to go and finance it
and look at it as an investment in their happiness.
But a lot of people will get themselves in that
same kind of debt just doing impulse buys knowing they
could put it on credit, especially now during the holidays.
Speaker 2 (07:43):
Yeah, well people, I mean it's a problem with debt.
I'm not going to solve it here. People should listen
to Dave Ramsey Show on the station Fact and everybody
should listen to that show like for you know, you
get you listen to it for a couple weeks, a
couple of Months'll figure it out. But and then also
my Catholic culture says, you have to have a detachment
(08:05):
from these things. You cannot be so attached to material
goods that that you're ignoring the poor and maybe your
family's future. So that's that's my spiel on ticket prices,
Disneyland prices, and I think it's time to probably take
a break, am I Right?
Speaker 3 (08:26):
Sam, No, we've got four minutes.
Speaker 2 (08:28):
We got four minutes because my topic was so boring
that it sounded like it was ten minutes.
Speaker 3 (08:33):
All right, much longer.
Speaker 4 (08:35):
And that's what she said, Oh about sex, that's what
she said.
Speaker 3 (08:43):
Joking there, I know.
Speaker 2 (08:45):
But what was she talking about sex?
Speaker 3 (08:48):
I would yeah, yes, yes.
Speaker 2 (08:50):
Is that is that what was happening?
Speaker 3 (08:51):
Yes, she tends to talk about sex.
Speaker 2 (08:54):
Okay, all right, okay, Well coming up on the show today,
we're going to be talking a little bit about the
the paramount check that let's go to break No wait,
I'm oniing me tease it at least. Yeah, we had
the Netflix last week. The big news Netflix is going
to buy Warner Brothers Discovery. They're going to buy HBO Max.
(09:17):
They're not going to buy the cable channels, but they're
going to buy HBO and the entire Warner Brothers studio catalog, Bugs,
Bunny and all the movies. Well, a new buyer has
come in and said, I want to buy it too,
and I will pay more money, and I have a
bunch of reasons why my offer is better. So we'll
(09:39):
talk about that when we come back. Joe's Galante Live
from Hollywood. Joe's Galante Live from Hollywood, by Hollywood. You
leading Burbank. Hey, We're coming to you live from the
thunder Valley Casino in Lincoln, California, near Sacramento, and we
(09:59):
but you you can always hear this show anywhere anytime
from the with the iHeart Radio app. She's talking to
someone last night that was complaining Sam. They said that
sometimes we repeat the seven out the five o'clock hour
at six o'clock and I said, listen, you're the only
(10:20):
one in America listening to AM radio for more than
ten minutes at a time. And she really was at ledite.
She was just so I want to point out to
people that All these shows are on the iHeart radio
app or any you know, the Apple podcast app. They're
all there when Sam uploads.
Speaker 3 (10:40):
Them and sometimes long after I've uploaded them.
Speaker 2 (10:47):
So yeah, you can always you know, listen on all
these podcast apps. So the big news, I mean it's
some of the biggest news ever to happen to Hollywood. Actually, Sam,
is this purchase attempt being made by Netflix to buy
(11:09):
Warner Brothers and the well, the Warner Discovery. Basically they're
buying Warner Brothers, HBO and Warner Brothers. I mean, we
all knew that as Netflix got bigger and bigger and
bigger that they would gobble up many things, and this
(11:32):
is there they're making their big move. I mean, what
what what big studios do we have? We have Sony,
we have a Universal, we have Paramount, we have Warner Brothers.
And now they want to buy Warner but they want
to buy one. Why don't they buy them all? You
know what happens Disney? I guess that's the other one.
Only one I left out, so very controversial. Have you
(11:54):
had any time to contemplate this week? Sam, what do
you think about this? Like, how does it affect you
as a as a as a regular consumer of entertainment.
Speaker 4 (12:02):
As a consumer, I had, you know, discussion with friends
about this, and it depends on which way this goes.
If Paramount comes in and hijacks the entire thing, it
changes the game as far as how things go. As
far as Netflix, everybody's worried that, you know, it was
going to affect the film industry in immeasurable ways, as
(12:23):
far as you know, how you know, talent and acting
in the film industry, the theaters, everything like that. And
with Paramount coming in, it brought in the discussion of
what the impact is going to have on the video
game industry. So it's now like there's different arguments on
different sides of nerdom because there's film nerds out there
(12:44):
who are terrified of Netflix and Warner Brothers merging, and
then there are people who are gamer nerds who are
terrified of Paramount and Warner Brothers merging. This is huge
both ways. Both sides stand to lose something here.
Speaker 2 (13:01):
Well, we haven't talked about on this show, the Paramount,
because that's new this week. Paramount is trying to do
a hostile takeover bid for Warner Brothers Discovery and offering
shareholders a higher and all cash offer, attempting to bypass
Warner Management. Warner Management has been dealing with Netflix for
a while, and they say, yeah, we'd like to be
(13:22):
both by Netflix and we're all going to get rich
or whatever. But Paramount aw says they're coming in and say, wait,
I got seventy seven point nine billion dollars, which is
more than the other guys are offering, and I'm going
to buy everything. I'm going to buy the cable channels, everything.
We're going to gobble it all up, and so everybody's
going to make more money. That's in Warner Births now
(13:45):
the shareholders. So it just comes down to who controls
the shares, and a hostile takeover can be like, well
someone will they just keep buying up shares till they
have control and then they will sell to Paramount. So
it's a huge battle, and Paramount says they're a better
(14:06):
match because the government's going to come in and say
is this too much? In terms of anti trust laws,
the Sherman Anti Trust Act prevents people from owning too
much market share in any industry. And if this is
too much market share held by one person so that
it limits competition and it restricts barriers to enter the
(14:30):
market from other players. Then the government steps and says,
you can't, you can't do this. Sometimes the government will
come in and say they'll just go to one company
and say, you guys are too big already. You're just
getting too big, and so we want you to split up.
And that happened to telephone, the telephone industry a while ago.
And so instead of getting bigger allowing company two companies
(14:53):
to become huge, the government could come in and say,
one company, you're too big already. So the government has
a lot of power here. And so Paramount. What I
think what they're saying with the wink is, hey, remember
who we're friends with. David Ellison runs Paramount and his
father is the Ellison that is theoretically tight with President Trump.
(15:20):
So he's some people are saying, hey, we're in the club.
This one's going to get approved. The other one is not. However,
Ted Sorrando's the guy in charge of Netflix, is saying
he's been publicly meeting with Trump and saying, look, this
is how I'm going to build this company and save
jobs and protect jobs blah blah blah. So who is
(15:44):
it really who knows Trump better. And then there's some
other stories of like Trump's relatives are investing in a
company that would be part of the Paramount bid. So
does that weigh into it? Hopefully not, because that would
be good old fashioned corruption. That would be worse. And
then the president actually going on television and selling watches, Sam,
(16:04):
if you could imagine.
Speaker 3 (16:05):
That, I can't not at all.
Speaker 2 (16:08):
Or shoes, shoes, He's got shoes. Well, yeah, yeah, I've
seen I haven't seen the shoes.
Speaker 3 (16:14):
Yeah. No, they're like golden high tops.
Speaker 2 (16:17):
Oh nice. Yeah, So, uh, this is this is God
is great just to watch this play out. And so
you think the gamers are more afraid of Paramount.
Speaker 4 (16:31):
Yeah, because Warner brother they are basically planning on.
Speaker 2 (16:36):
Uh.
Speaker 4 (16:36):
They've made clear which ips as far as video games
are valuable to them, and there was only one that
they I think mentioned a value, and that was Mortal Kombat,
and that's because they have that already crossing over doing film.
So a lot of the IP as far as Warner
Brothers games go, and those are all of the superhero games,
(16:56):
and there's a bunch of other really really really good
games that they're sitting on that they refuse to release
because of the same reason why we didn't see the
Batgirl movie come out. It's they're not wanting to invest
into it.
Speaker 3 (17:13):
Yeah.
Speaker 4 (17:13):
So, and now it looks like everybody who's a gamer
is terrified of what's about to happen to Warner Brothers
as far as Paramount goes, because Paramount looks to butcher
everything except for the one IP that has marketability as
far as movies go, and that's that's Mortal Kombat.
Speaker 2 (17:35):
What about Paths of Exile? Paths of Exile? Did you
play that game?
Speaker 3 (17:39):
I do not know. Good game?
Speaker 2 (17:41):
This is when that's when that, I guess, just came out.
Speaker 4 (17:44):
And by the way, the Game Awards just happened. The
viewership on the Game Awards was higher than the Super Bowl.
Speaker 2 (17:51):
No, yeah, tell me it's not true, Sam.
Speaker 3 (17:53):
It's true.
Speaker 4 (17:54):
The viewership on the Game Awards is higher than the
Super Bowl. And it was a Game of France Expedition
thirty three that cleaned out won nine awards. Beautiful game,
beautiful game.
Speaker 2 (18:08):
So I'm taking you like video games.
Speaker 3 (18:10):
I'm a giant nerd.
Speaker 4 (18:11):
I like a lot of things, but video games are
definitely on my list.
Speaker 2 (18:17):
Dang. Okay, anyway, okay, well, I think we've we've covered it.
It's a big deal. We don't know, we don't know
who's going to buy the Warner Brothers catalog, but somebody's
going to buy it. It's going to change hands. And
if it's Paramount, then Paramount owns Warner Brothers, so they
(18:37):
could be just like Paramount Warner. Paramount Warner could be that,
or it's Netflix Warner. But when we come back, we'll
talk about what people fear will be in danger the
box office itself on Joe Scalante Live from Hollywood. All right,
(18:57):
Joe Scalante Live from Hollywood. But tonight coming to you
from the thunder Valley Casino in Lincoln, California. Fine theater. Wow,
what a nice big old Native American just you know,
you know how they do it, these tribes, the tribals.
(19:19):
Tribals know how to take a piece of land. It
looks like crap, put a casino on it. That's a
problem with these casinos. This casino's awesome. The hotel's awesome,
non smoking hotel. You can smoke in the casino. But
and beautiful theater. And then you look out the window.
I got some big suite up here in the on
(19:41):
the eleventh floor, and I'm looking out at just, you know,
just desolation. I mean it's just it's just you look
out the window. You're like, there's no way to make
a good view out of this place, you know how
you see these casinos, They're like you're driving around and
through the desert of California and then all of a
(20:02):
sudden you see one and popping up out of the horizon,
and you know, there's just the only thing around it
is some grain silos.
Speaker 3 (20:12):
That's the thing.
Speaker 4 (20:13):
You can see it popping up like twenty miles away
when you're driving there.
Speaker 2 (20:17):
Yeah, yeah, there they are. And then you get in
here and you look outside and go, all right, what's up.
I've got some grain silos and some alien jerky.
Speaker 3 (20:26):
Hey, don't knock the alien jerky cow.
Speaker 2 (20:29):
Mu's here, all right? Box office. Then the theaters, Sam,
did you see anything this week in the theater? Inside
a theater?
Speaker 3 (20:38):
I did not go inside a theater this week.
Speaker 4 (20:40):
I did last week, and I feel like I'm still recovering.
Speaker 2 (20:43):
Okay, Well, the big the big news is not new
movies this week. The big news is holdovers as Zootopia two,
not to be confused with we bought a Zootopia three,
which has just been announced the number one, and it's
third week and it's, you know, beating Wicked for Good.
(21:07):
I think I think I have a more updated one here. Yeah.
So five Nights at Freddy's is number two. And you
saw that, right, Yeah? I saw that one umber two
ninety five million it raked in, so far Wicked for
Good is raked in three hundred and twelve million. Most
of that is the same twelve theater kids seeing it
(21:28):
five hundred and twenty five thousand times each. Yeah, so
that's not that's not an accurate you know metric. Now
you see me? Now you don't still hanging on? Wow?
And then Jujutsu Kaysen Colon execution, uh number four. I'm
(21:50):
sure everybody's seen that. And then there's a new movie
called La McKay that has come out. But it's kind
of a flop, I would say, and not so much
of a flop because no one expected it to be
a miracle. But it's like maybe twenty years ago this
(22:11):
would have been this would have been a pretty good release.
It's a comedy from James L. Brooks, Like what's he
known for? From everything? Like maybe as good as it
gets in terms of endearment. Broadcast news TV, Mary Tyler
(22:32):
Moore show TAXI, Yeah, the Simpsons, like executive producer, creator
of the Simpsons. This guy. When I was at CBS Television,
I was making deals for James L. Brooks every year,
two three, four pilots. He'd be, you know, hired to
(22:53):
direct some of them. You know, they wouldn't go through
and he wouldn't, but he'd be attached to him. But
if you had James L. Brooks attached to your TV
shows a director, you were gonna probably get put on
the air. So he's a legend. I don't think he
thought this thing would be a box office smash, but
you know it's not. People aren't going. But twenty years
(23:13):
ago this would have been a major, major film. But
this guy's peak was twenty years ago too, So he's
just doing what he's just doing what he does best.
So it's called Ella Mackay and it is starring a
woman named Emma McKay. Isn't that weird? Hey Emma mackay.
Maybe I don't know, maybe she's related to Ian mackay
from a minor threat. Ah, well, it's.
Speaker 3 (23:35):
Kind of wow.
Speaker 2 (23:35):
I'm sorry.
Speaker 3 (23:36):
Let's take a moment to reflect on that.
Speaker 4 (23:39):
Yeah, like, was the role created specifically for her?
Speaker 2 (23:44):
All that's missing is two l's and two m's. Is
it's it's interchangeable. Yeah. Yeah, she must have thought, like
I got you know, I got her agent says they
got a movie for you. It's called Emma Ella Mackay.
And then it just probably said, well, they'll never hire
me because it's just too weird, and they did it. Yeah,
And the supporting cast is like, you know, James L. Brooks,
he can get any call. He put up the phone
(24:05):
call anybody put in the movie anybody. So he's got
Jamie the Curtis Woody Harrelson, not bad. Albert Brooks one
of the greatest comic actors and writers of our time,
true national treasure. If you haven't seen Lost in America,
that's one of the greatest movies ever made with Albert Brooks.
So write that down right now. If you're listening to
(24:27):
the show, you must see Lost in America with Albert
Brooks and Julie Haggerty.
Speaker 4 (24:32):
So wait, that is James L. Brooks, Albert Brooks. I'm
waiting for mel Brooks to make a cameo.
Speaker 2 (24:38):
Oh, mel Brooks, Yeah, that would be good. But guess
who is also in it playing as secretary or something.
Julie Cavner. Really is that name ring a bell?
Speaker 3 (24:49):
Not at all?
Speaker 2 (24:51):
Mark Simpson.
Speaker 3 (24:53):
Oh, Marge Simpson.
Speaker 2 (24:55):
Yeah, the voice of Marge Simpson. He cast her in
this thing.
Speaker 3 (24:59):
So cool.
Speaker 2 (25:00):
I think it's worth seeing. I will see it.
Speaker 4 (25:02):
But also in the movie Forget Paris with Billy Crystal
back in the day.
Speaker 2 (25:08):
Let's Forget You mentioned.
Speaker 3 (25:09):
That I'm going to reflect on that as well.
Speaker 2 (25:18):
So I haven't seen it yet, but I did see
a film that I think I can I can recommend it.
I think the listeners of the show. I think anybody
listens to the show is going to enjoy this. This
new movie on Netflix from Richard link Later. Remember him.
He did a lot of art not really artsy. He
(25:39):
just like low budget. I'm cool guy from Austin, Texas,
and I make weird, weird movies, slackers. Remember this. Just
like a camera following around people in Austin just talking
to each other, and then the two people would walk
would talk, then then one of them walk away, and
then he talked to someone else, and then that they
would walk away. And talk to someone else, and then
(26:02):
it was like weird, it's a weird movie. And then
Boyhood also another weird movie. But this one is a
love letter to the French New Wave cinema. Sam okay,
people who don't know, this is the filmmaking in the
nineteen fifties and early sixties in France that became kind
of a rebellion against the cookie cutter films of the forties.
(26:28):
And then these upstart French people saying like why we
break all zurus, why do we have to have so
much story plot studios? So they you know, they use
a lot of you know, natural light, handheld cameras, jump cuts,
loose dialogue. They're like rough, fast, very conversational. And also
(26:54):
the French New Wave. I don't know if people know it,
but the French New Wave was inspired by an America
movie many say called The Little Fugitive. I would say
Little Fugitive is ranks right up there with Lost in
America as great. It was of the greatest films ever
made that if you listen to the show, you must
watch The Little Fugitive. It's about a little boy who
(27:19):
got thinks he killed his brother, so he runs away
and spends a couple of days living in Coney Island
and he's only like, you know, six years old. So anyways,
this film, I'm knowing amount of time, Sam. But this
film is in black and white and it tells the
story of the making of the movie Breathless by Jean
lu Goddard, and every and everybody's black and white, and
(27:42):
and it's hard to tell that this is a new movie.
So it's on Netflix. It's all French subtitle, English subtitles
or whatever, or whatever subtitles you want to use. But
check it out. No Velvege on Netflix, and it's a
little bit. You'll become a French cinema snop in ninety minutes.
Speaker 3 (28:00):
Well, ladda, all right, let's.
Speaker 2 (28:02):
Take a break, all right, all right, let's welcome back
(28:25):
joe Asklante. Here's my lawyer.
Speaker 3 (28:29):
You don't want money.
Speaker 2 (28:32):
He does it all for you and he knows, all right,
Joeyscalante live from Hollywood. Sam, Hey, uh, guess what. My movie,
The Harbor Chronicles appeared at the Culver City Film Festival
this week and won Best Cinematography for a Documentary. What
(28:53):
do you think of that?
Speaker 3 (28:54):
Outstanding who held the camera?
Speaker 2 (28:58):
This is a guy named Chris sard Ellis and he's
the director and he did a great job. And there's
a couple of people. You know, there's other outside footage
supply to the film, but he was known as a
still photographer. It's his first film, and you know, and
then if the movie won the Eyes we talked about,
won the Audience Award at the Newport Beach Film Festival.
(29:21):
So so far too festivals, two prizes, pretty good. How
can you see it? Go to Harbor Chronicles, look it
up on the web and you'll figure it out. But
you know, it'll either be at the Bay Theater and
Seal Beach or at another festival because there's more festivals
that This is what happens with these movies. So the
director decides, I'm gonna put it in a bunch of
(29:41):
festivals because I want to get distributions. So usually I
say that's a waste of money. It's too expensive and
it won't yield any benefits. But if you're spending your
own money, and he certainly is. But it's doing well
because he's getting he's not just entering, he's winning awards.
So that definitely is going to help in the quest
for distribution.
Speaker 4 (30:01):
Well, for the first time cinematographer winning awards, that's awesome.
Speaker 3 (30:05):
Congratulating he's an Award Wiener, Yes he is. Are we
gonna celebrate him at Award Wieners.
Speaker 2 (30:13):
I'm definitely gonna buy him a combo meal nice. So yeah,
I mean, I've made a bunch of things. You know what.
My first movie that I made, I did win an award.
I won Best Soundtrack by the Independent Music Awards. Thing
was legit, And I said, I didn't know it was
even happening. And I got a freakin' award. The statue
(30:34):
I got it in the mail and and I'd opened
the box and it said best Soundtrack Album for the
movie that darn punk And I just said, and have
my name on it. I don't think I put it
on my on my shelf behind my desk, and so
dreams can come true.
Speaker 3 (30:56):
I should.
Speaker 2 (30:56):
I should get awards for Monsters Across America and Alien
Abductions with Abbey Hornseck. But nobody's nobody's submitting over there
at Fox Nation. All right, let me go to a
more self aggrandizement plug the Vandals Christmas Show at Ventura
(31:19):
Theater on this coming Friday, the nineteenth and the House
of Blues Anaheim in the Ambumon's almost sold out, so
if you want to go to that, you better get tickets. Now.
The Ventura one, that's a big, gaping theater that will
probably never sell out. But yeah, so you could probably
always get tickets to that. But the Anahemale is going
(31:39):
to be sold out probably by the time you listen
to this, but maybe not. Maybe you have one more
day of sales, maybe two at the most thirtieth annual.
Blah blah blah. You're gonna love it.
Speaker 3 (31:49):
Okay.
Speaker 2 (31:51):
So I got a couple of legal stories. One of
them is they the w NBA settled with a all
Are Forward, Dereka Hanby and the Las Vegas Aces and
they mutually agreed to dismiss the high profile pregnancy discrimination
lawsuit for the female athlete. I just thought that was
(32:15):
interesting that, you know, because when you have that doesn't
happen in the NBA. It only happens in the w
NBA so far. And they really didn't settle anything. They
just said, you know what, we're dismissing this and we're
just going to stop fighting each other. And you know,
I'm glad that I highlighted the issues of workplace protections,
(32:38):
pregnancy bias, and how professional sports, you know, handles this
kind of stuff family and career. So obviously, you know,
if you fire someone and to get pregnant in the NBA,
what is there a lawsuit in the WNBA? We really
don't there's obviously a lossuit. We really don't know how
this is going to play out, so but I find
it kind of interesting. So we'll see how that happens
(33:02):
as time goes on. Another one story that I've been
looking at is that there's a defamation fight tied to
a streaming docu series I'm involving Nick Carter. Nick Carter
is usually often in the on the in the news.
On this show that's known as a founding member of
the Backstreet Boys. His legal team is sending warnings to uh,
(33:25):
the producers of something called Fallen Idols Nick and Aaron Carter,
and and it says that they portrayed them in a or.
Nick Carter says, this lady says I raped her and
and you implied that I was guilty. So he's filing
a lawsuit against them. But when you're making documentaries and
(33:50):
if someone says someone was raped. You know, it's hard
to you know, usually they say, like, you know, Nick
Carter was denied these claims, blah blah blah blah blah.
So you know, they're saying that the editing and the
framing of the story suggested wrongdoing is fact, Sam, because
when you have defamation, what do you have to have
(34:12):
You have to have a fact. They have to present
it as a fact. This guy raped this girl and
it makes people spin on the ground, and if it's
not true, you got a defamation case. So all this
one all revolves around did the editing and the framing
of the story suggest that the allegation was a fact
(34:32):
rather than just an allegation? We shall see.
Speaker 4 (34:37):
Yeah, that whole family is definitely, you know, got got
a few issues.
Speaker 3 (34:46):
I would say, can you name.
Speaker 2 (34:47):
A famous family that doesn't you know, the showbized Hollywood family. Yeah,
other than the Nelson's.
Speaker 4 (34:55):
I mean, I mean even the Baldwins. I mean, with
the number of Baldwins there are, they seem to just
gravitate towards issues. I mean, it just seems like if
you're going to be a celebrity family, you kind of
need to bathe in the in.
Speaker 3 (35:10):
All of that stuff.
Speaker 2 (35:12):
Yeah, well, and then they usually they're relying against one.
This is kind of going back to how the show started.
Is these people are they have a disordered attachment to
the material things of this world and are seemed very
(35:33):
disinterested in just traditional things like just hard work and
raising families and going to church on Sundays, et cetera.
Stuff like that. Interested in these things, but these are
the things that I believe bring people happiness and being
just a you know, a humble, you know, servant of
(35:55):
God and other people and focusing on that rather than
on Hollywood fame. But once you get a little taste
of that Hollywood fame and you're like, you know, and
it's like a slippery slope or the whatever the thing
is in the boiling pot that doesn't realize the pot
is boiling. And pretty soon they're famous and they are
(36:17):
leading a hideous life and they're rich, but they're unhappy
blah blah blah. And that's one of the warnings of
this showbiz show is that we talk about all these
showbiz people in this big Hollywood business, but you know,
these people, most of them are living lives that you
(36:37):
wouldn't trade them for if you really knew what they
were like. And I always say too that nobody in
Hollywood ever died like and I know, like maybe I
just usually focus on actors, no famous actor very like.
They don't die surrounded by their friends, their lifelong friends
and reflect on a happy life. They just like they
(37:00):
could die being in a lawsuit from their family, fighting
the guru that you told them how to live during
the last of their lives.
Speaker 4 (37:09):
For every Dick Van celebrating their hundredth birthday, happy birthday,
there's about a million other people who go by the
wayside and completely throw away their entire lives, their families
there and their long term happiness for short term fame.
Speaker 2 (37:27):
That is absolutely well said. And I'm glad you brought
out Dick Van, but Dick Van Dyke, who is actual
some distant relative of mine, So uh yeah, still living.
What a what a genius, what a giant. So very
few of those bubble wrap them. And then I think,
having said that, I think we're I think we're good
(37:48):
to go for this hour, and I will see you
at the House of Blues next week or the Venture Theater.
And I now leave you with just a taste of
the greatest song ever written,
And now it's time for Joe Escalante live from Hollywood.
If by Hollywood you bean Burbad across the street promo
meaners and it's at that serves beer.
Speaker 2 (00:29):
Sam. Joe Escalante here. Can you hear me?
Speaker 3 (00:32):
Yes, I hear you.
Speaker 2 (00:33):
There we go.
Speaker 3 (00:34):
Now we got you leveled off? You're good? How you doing?
Speaker 2 (00:38):
I'm good. I'm coming to you tonight from the thunder
Valley Casino in Lincoln, California, near the our nation's capital
of Sacramento.
Speaker 3 (00:50):
I didn't know there was a Lincoln, California.
Speaker 2 (00:54):
Well I didn't either. And this is an Indian reservation.
It's some like United Indian Tribes of of America, some
North America. And they have a big casino here, it
said luxury casino. And last night Sublime played, as you know,
the band that I manage here as part of a
(01:14):
radio At Christmas time, they have all these radio festivals
and this is when you kind of go around the
country and you thank the radio stations for playing your
music all year long. Of course, there's no such thing
as paola in the industry. That doesn't exist. It's illegal,
(01:35):
but it is no harm in flying around the country
and thanking people for their support throughout the year, and
usually when you see a Christmas show like k Rock's
Acoustic Christmas or All ninety eight seven's Alter Ego Festival
coming up in January, this is where we thank them
and we have a big party, and so that will
(01:58):
be the next time Sublime plays will be at the
Alter Ego Festival's sold out at the Forum. So don't
try to get tickets, or do try, I don't know.
Last night, tickets were floating around here for like thirteen
hundred dollars.
Speaker 3 (02:09):
Yikes.
Speaker 2 (02:10):
Yes, especially when the face value is like fifty nine dollars.
Speaker 3 (02:15):
That's incredible. That's that is a hell of a markup.
Speaker 2 (02:20):
Yeah, And that's kind of the way concert tickets go.
And you know, everybody's tried to do something about it,
and there doesn't seem to be anything you can do
other than I don't know how what the end result is,
Like the care played and whoever bought the tickets had
to be the person and they had to be like
identified their DNA or something like that. But this is
(02:44):
just how the business works and it's ugly, but when
you think about it, people the price of the ticket.
Have two opinions on this and it relates to Disneyland,
and this is a show about the business of show business.
Disneyland is always included, but people will pay what the market,
(03:07):
you know, will Bear's the that's the value of a ticket.
What is the price the market will bear. I remember
twenty something years ago Pearl Jam really made an effort
to try to solve these ticket price problems, but that
didn't work, and here we are. I mean, just last night,
the fifty nine dollars tickets going for thirteen hundred dollars,
(03:28):
and there's not much anyone can do about it because
that's what people are willing to pay to go to
this concert when it's sold out. However, there's one and
the same with Disneyland. Disneyland people complain about the prices,
but it's always too crowded. So if the prices are
too high, why are there so many people there?
Speaker 4 (03:48):
Well, I there's a lot of people on the planet,
and they save up for a long time to go.
Speaker 2 (03:55):
Okay, you almost hit on it, or what I think
the problem is. The problem is, yes, Disneyland is great
to so many people, and they all want to go,
and it's overpriced. You know, I used to cost me
like eighty five cents to get in, and then you
would buy individual tickets and now it's like two hundred
dollars for a park hopper certain days. But the problem is,
(04:19):
and if they caught, if they charged, many people think
if they charged one thousand dollars a day for a ticket, Sam,
it would still be overcrowded and you would just hate
your life waiting in those lines, even though everybody in
there paid a minimum of one thousand dollars to get in.
So if you charge one thousand dollars, maybe that would
thin out the crowd. Well, it would do a couple things.
(04:39):
It would just only be certain kind of person in
there and other people be locked out and it just
But the problem is people finance these tickets. That's my
that's my gripe, the financing of these tickets, So people
don't know what they're really because people are saying, I
(05:02):
have fomo, I must go. I have a disordered attachment
to material goods and the ability to go on to
Instagram and show my friends that I too was at
the Oogie Boogie Christmas or Halloween nights and look at
(05:22):
my picture of me and all my Disney gear, and
it's the same for concerts. It's like I have to
be there, But concerts are a little different because concerts, like,
let's say you were take it. There's a guy named
John Prine. We were talking about him yesterday. He died recently,
a music legend, and I saw him on his last
(05:48):
tour before he died, and I would have paid thousands
of dollars to see that had I known it was
the last one, and you could kind of tell it
was probably going to be the last one. So that's
a one time only thing now Disneyland, it's going to
be there today, tomorrow, the next day. These people are
still financing it. So they financed their what do you
(06:09):
call it, those annual passes. They're fifteen hundred dollars, I
don't know for the top ones. Yeah, when I was
a young teenager in Los Angeles, I were Orange County. Actually,
I paid one hundred and twenty five dollars for my
first annual pass and it was a major investment and
there were no blackout dates and it included parking. And
(06:35):
now they're through the roof and people just finance them.
They go, I mean, who doesn't have sixteen dollars a month?
You know, whatever the minimum payment is when you put
that on a credit card, or Disneyland will even finance
them for you too. They can Coachell is going to
finance their tickets for you. So I think the problem
is people really don't know how much debt they're getting into,
and they and they are living for today and not
(07:00):
about the future.
Speaker 4 (07:02):
I think you just explained about ninety nine percent of
impulse buys. Yeah, I mean I feel like that's what
it feels like. You know, whenever people are going in
on Disneyland passes or whatever and they're financing it, they
end up you know, that's like more of a planned
out impulse, Like they know that this is an impulse
(07:23):
that they're going to want to scratch more than once
a month, so they're going to go and finance it
and look at it as an investment in their happiness.
But a lot of people will get themselves in that
same kind of debt just doing impulse buys knowing they
could put it on credit, especially now during the holidays.
Speaker 2 (07:43):
Yeah, well people, I mean it's a problem with debt.
I'm not going to solve it here. People should listen
to Dave Ramsey Show on the station Fact and everybody
should listen to that show like for you know, you
get you listen to it for a couple weeks, a
couple of Months'll figure it out. But and then also
my Catholic culture says, you have to have a detachment
(08:05):
from these things. You cannot be so attached to material
goods that that you're ignoring the poor and maybe your
family's future. So that's that's my spiel on ticket prices,
Disneyland prices, and I think it's time to probably take
a break, am I Right?
Speaker 3 (08:26):
Sam, No, we've got four minutes.
Speaker 2 (08:28):
We got four minutes because my topic was so boring
that it sounded like it was ten minutes.
Speaker 3 (08:33):
All right, much longer.
Speaker 4 (08:35):
And that's what she said, Oh about sex, that's what
she said.
Speaker 3 (08:43):
Joking there, I know.
Speaker 2 (08:45):
But what was she talking about sex?
Speaker 3 (08:48):
I would yeah, yes, yes.
Speaker 2 (08:50):
Is that is that what was happening?
Speaker 3 (08:51):
Yes, she tends to talk about sex.
Speaker 2 (08:54):
Okay, all right, okay, Well coming up on the show today,
we're going to be talking a little bit about the
the paramount check that let's go to break No wait,
I'm oniing me tease it at least. Yeah, we had
the Netflix last week. The big news Netflix is going
to buy Warner Brothers Discovery. They're going to buy HBO Max.
(09:17):
They're not going to buy the cable channels, but they're
going to buy HBO and the entire Warner Brothers studio catalog, Bugs,
Bunny and all the movies. Well, a new buyer has
come in and said, I want to buy it too,
and I will pay more money, and I have a
bunch of reasons why my offer is better. So we'll
(09:39):
talk about that when we come back. Joe's Galante Live
from Hollywood. Joe's Galante Live from Hollywood, by Hollywood. You
leading Burbank. Hey, We're coming to you live from the
thunder Valley Casino in Lincoln, California, near Sacramento, and we
(09:59):
but you you can always hear this show anywhere anytime
from the with the iHeart Radio app. She's talking to
someone last night that was complaining Sam. They said that
sometimes we repeat the seven out the five o'clock hour
at six o'clock and I said, listen, you're the only
(10:20):
one in America listening to AM radio for more than
ten minutes at a time. And she really was at ledite.
She was just so I want to point out to
people that All these shows are on the iHeart radio
app or any you know, the Apple podcast app. They're
all there when Sam uploads.
Speaker 3 (10:40):
Them and sometimes long after I've uploaded them.
Speaker 2 (10:47):
So yeah, you can always you know, listen on all
these podcast apps. So the big news, I mean it's
some of the biggest news ever to happen to Hollywood. Actually, Sam,
is this purchase attempt being made by Netflix to buy
(11:09):
Warner Brothers and the well, the Warner Discovery. Basically they're
buying Warner Brothers, HBO and Warner Brothers. I mean, we
all knew that as Netflix got bigger and bigger and
bigger that they would gobble up many things, and this
(11:32):
is there they're making their big move. I mean, what
what what big studios do we have? We have Sony,
we have a Universal, we have Paramount, we have Warner Brothers.
And now they want to buy Warner but they want
to buy one. Why don't they buy them all? You
know what happens Disney? I guess that's the other one.
Only one I left out, so very controversial. Have you
(11:54):
had any time to contemplate this week? Sam, what do
you think about this? Like, how does it affect you
as a as a as a regular consumer of entertainment.
Speaker 4 (12:02):
As a consumer, I had, you know, discussion with friends
about this, and it depends on which way this goes.
If Paramount comes in and hijacks the entire thing, it
changes the game as far as how things go. As
far as Netflix, everybody's worried that, you know, it was
going to affect the film industry in immeasurable ways, as
(12:23):
far as you know, how you know, talent and acting
in the film industry, the theaters, everything like that. And
with Paramount coming in, it brought in the discussion of
what the impact is going to have on the video
game industry. So it's now like there's different arguments on
different sides of nerdom because there's film nerds out there
(12:44):
who are terrified of Netflix and Warner Brothers merging, and
then there are people who are gamer nerds who are
terrified of Paramount and Warner Brothers merging. This is huge
both ways. Both sides stand to lose something here.
Speaker 2 (13:01):
Well, we haven't talked about on this show, the Paramount,
because that's new this week. Paramount is trying to do
a hostile takeover bid for Warner Brothers Discovery and offering
shareholders a higher and all cash offer, attempting to bypass
Warner Management. Warner Management has been dealing with Netflix for
a while, and they say, yeah, we'd like to be
(13:22):
both by Netflix and we're all going to get rich
or whatever. But Paramount aw says they're coming in and say, wait,
I got seventy seven point nine billion dollars, which is
more than the other guys are offering, and I'm going
to buy everything. I'm going to buy the cable channels, everything.
We're going to gobble it all up, and so everybody's
going to make more money. That's in Warner Births now
(13:45):
the shareholders. So it just comes down to who controls
the shares, and a hostile takeover can be like, well
someone will they just keep buying up shares till they
have control and then they will sell to Paramount. So
it's a huge battle, and Paramount says they're a better
(14:06):
match because the government's going to come in and say
is this too much? In terms of anti trust laws,
the Sherman Anti Trust Act prevents people from owning too
much market share in any industry. And if this is
too much market share held by one person so that
it limits competition and it restricts barriers to enter the
(14:30):
market from other players. Then the government steps and says,
you can't, you can't do this. Sometimes the government will
come in and say they'll just go to one company
and say, you guys are too big already. You're just
getting too big, and so we want you to split up.
And that happened to telephone, the telephone industry a while ago.
And so instead of getting bigger allowing company two companies
(14:53):
to become huge, the government could come in and say,
one company, you're too big already. So the government has
a lot of power here. And so Paramount. What I
think what they're saying with the wink is, hey, remember
who we're friends with. David Ellison runs Paramount and his
father is the Ellison that is theoretically tight with President Trump.
(15:20):
So he's some people are saying, hey, we're in the club.
This one's going to get approved. The other one is not. However,
Ted Sorrando's the guy in charge of Netflix, is saying
he's been publicly meeting with Trump and saying, look, this
is how I'm going to build this company and save
jobs and protect jobs blah blah blah. So who is
(15:44):
it really who knows Trump better. And then there's some
other stories of like Trump's relatives are investing in a
company that would be part of the Paramount bid. So
does that weigh into it? Hopefully not, because that would
be good old fashioned corruption. That would be worse. And
then the president actually going on television and selling watches, Sam,
(16:04):
if you could imagine.
Speaker 3 (16:05):
That, I can't not at all.
Speaker 2 (16:08):
Or shoes, shoes, He's got shoes. Well, yeah, yeah, I've
seen I haven't seen the shoes.
Speaker 3 (16:14):
Yeah. No, they're like golden high tops.
Speaker 2 (16:17):
Oh nice. Yeah, So, uh, this is this is God
is great just to watch this play out. And so
you think the gamers are more afraid of Paramount.
Speaker 4 (16:31):
Yeah, because Warner brother they are basically planning on.
Speaker 2 (16:36):
Uh.
Speaker 4 (16:36):
They've made clear which ips as far as video games
are valuable to them, and there was only one that
they I think mentioned a value, and that was Mortal Kombat,
and that's because they have that already crossing over doing film.
So a lot of the IP as far as Warner
Brothers games go, and those are all of the superhero games,
(16:56):
and there's a bunch of other really really really good
games that they're sitting on that they refuse to release
because of the same reason why we didn't see the
Batgirl movie come out. It's they're not wanting to invest
into it.
Speaker 3 (17:13):
Yeah.
Speaker 4 (17:13):
So, and now it looks like everybody who's a gamer
is terrified of what's about to happen to Warner Brothers
as far as Paramount goes, because Paramount looks to butcher
everything except for the one IP that has marketability as
far as movies go, and that's that's Mortal Kombat.
Speaker 2 (17:35):
What about Paths of Exile? Paths of Exile? Did you
play that game?
Speaker 3 (17:39):
I do not know. Good game?
Speaker 2 (17:41):
This is when that's when that, I guess, just came out.
Speaker 4 (17:44):
And by the way, the Game Awards just happened. The
viewership on the Game Awards was higher than the Super Bowl.
Speaker 2 (17:51):
No, yeah, tell me it's not true, Sam.
Speaker 3 (17:53):
It's true.
Speaker 4 (17:54):
The viewership on the Game Awards is higher than the
Super Bowl. And it was a Game of France Expedition
thirty three that cleaned out won nine awards. Beautiful game,
beautiful game.
Speaker 2 (18:08):
So I'm taking you like video games.
Speaker 3 (18:10):
I'm a giant nerd.
Speaker 4 (18:11):
I like a lot of things, but video games are
definitely on my list.
Speaker 2 (18:17):
Dang. Okay, anyway, okay, well, I think we've we've covered it.
It's a big deal. We don't know, we don't know
who's going to buy the Warner Brothers catalog, but somebody's
going to buy it. It's going to change hands. And
if it's Paramount, then Paramount owns Warner Brothers, so they
(18:37):
could be just like Paramount Warner. Paramount Warner could be that,
or it's Netflix Warner. But when we come back, we'll
talk about what people fear will be in danger the
box office itself on Joe Scalante Live from Hollywood. All right,
(18:57):
Joe Scalante Live from Hollywood. But tonight coming to you
from the thunder Valley Casino in Lincoln, California. Fine theater. Wow,
what a nice big old Native American just you know,
you know how they do it, these tribes, the tribals.
(19:19):
Tribals know how to take a piece of land. It
looks like crap, put a casino on it. That's a
problem with these casinos. This casino's awesome. The hotel's awesome,
non smoking hotel. You can smoke in the casino. But
and beautiful theater. And then you look out the window.
I got some big suite up here in the on
(19:41):
the eleventh floor, and I'm looking out at just, you know,
just desolation. I mean it's just it's just you look
out the window. You're like, there's no way to make
a good view out of this place, you know how
you see these casinos, They're like you're driving around and
through the desert of California and then all of a
(20:02):
sudden you see one and popping up out of the horizon,
and you know, there's just the only thing around it
is some grain silos.
Speaker 3 (20:12):
That's the thing.
Speaker 4 (20:13):
You can see it popping up like twenty miles away
when you're driving there.
Speaker 2 (20:17):
Yeah, yeah, there they are. And then you get in
here and you look outside and go, all right, what's up.
I've got some grain silos and some alien jerky.
Speaker 3 (20:26):
Hey, don't knock the alien jerky cow.
Speaker 2 (20:29):
Mu's here, all right? Box office. Then the theaters, Sam,
did you see anything this week in the theater? Inside
a theater?
Speaker 3 (20:38):
I did not go inside a theater this week.
Speaker 4 (20:40):
I did last week, and I feel like I'm still recovering.
Speaker 2 (20:43):
Okay, Well, the big the big news is not new
movies this week. The big news is holdovers as Zootopia two,
not to be confused with we bought a Zootopia three,
which has just been announced the number one, and it's
third week and it's, you know, beating Wicked for Good.
(21:07):
I think I think I have a more updated one here. Yeah.
So five Nights at Freddy's is number two. And you
saw that, right, Yeah? I saw that one umber two
ninety five million it raked in, so far Wicked for
Good is raked in three hundred and twelve million. Most
of that is the same twelve theater kids seeing it
(21:28):
five hundred and twenty five thousand times each. Yeah, so
that's not that's not an accurate you know metric. Now
you see me? Now you don't still hanging on? Wow?
And then Jujutsu Kaysen Colon execution, uh number four. I'm
(21:50):
sure everybody's seen that. And then there's a new movie
called La McKay that has come out. But it's kind
of a flop, I would say, and not so much
of a flop because no one expected it to be
a miracle. But it's like maybe twenty years ago this
(22:11):
would have been this would have been a pretty good release.
It's a comedy from James L. Brooks, Like what's he
known for? From everything? Like maybe as good as it
gets in terms of endearment. Broadcast news TV, Mary Tyler
(22:32):
Moore show TAXI, Yeah, the Simpsons, like executive producer, creator
of the Simpsons. This guy. When I was at CBS Television,
I was making deals for James L. Brooks every year,
two three, four pilots. He'd be, you know, hired to
(22:53):
direct some of them. You know, they wouldn't go through
and he wouldn't, but he'd be attached to him. But
if you had James L. Brooks attached to your TV
shows a director, you were gonna probably get put on
the air. So he's a legend. I don't think he
thought this thing would be a box office smash, but
you know it's not. People aren't going. But twenty years
(23:13):
ago this would have been a major, major film. But
this guy's peak was twenty years ago too, So he's
just doing what he's just doing what he does best.
So it's called Ella Mackay and it is starring a
woman named Emma McKay. Isn't that weird? Hey Emma mackay.
Maybe I don't know, maybe she's related to Ian mackay
from a minor threat. Ah, well, it's.
Speaker 3 (23:35):
Kind of wow.
Speaker 2 (23:35):
I'm sorry.
Speaker 3 (23:36):
Let's take a moment to reflect on that.
Speaker 4 (23:39):
Yeah, like, was the role created specifically for her?
Speaker 2 (23:44):
All that's missing is two l's and two m's. Is
it's it's interchangeable. Yeah. Yeah, she must have thought, like
I got you know, I got her agent says they
got a movie for you. It's called Emma Ella Mackay.
And then it just probably said, well, they'll never hire
me because it's just too weird, and they did it. Yeah,
And the supporting cast is like, you know, James L. Brooks,
he can get any call. He put up the phone
(24:05):
call anybody put in the movie anybody. So he's got
Jamie the Curtis Woody Harrelson, not bad. Albert Brooks one
of the greatest comic actors and writers of our time,
true national treasure. If you haven't seen Lost in America,
that's one of the greatest movies ever made with Albert Brooks.
So write that down right now. If you're listening to
(24:27):
the show, you must see Lost in America with Albert
Brooks and Julie Haggerty.
Speaker 4 (24:32):
So wait, that is James L. Brooks, Albert Brooks. I'm
waiting for mel Brooks to make a cameo.
Speaker 2 (24:38):
Oh, mel Brooks, Yeah, that would be good. But guess
who is also in it playing as secretary or something.
Julie Cavner. Really is that name ring a bell?
Speaker 3 (24:49):
Not at all?
Speaker 2 (24:51):
Mark Simpson.
Speaker 3 (24:53):
Oh, Marge Simpson.
Speaker 2 (24:55):
Yeah, the voice of Marge Simpson. He cast her in
this thing.
Speaker 3 (24:59):
So cool.
Speaker 2 (25:00):
I think it's worth seeing. I will see it.
Speaker 4 (25:02):
But also in the movie Forget Paris with Billy Crystal
back in the day.
Speaker 2 (25:08):
Let's Forget You mentioned.
Speaker 3 (25:09):
That I'm going to reflect on that as well.
Speaker 2 (25:18):
So I haven't seen it yet, but I did see
a film that I think I can I can recommend it.
I think the listeners of the show. I think anybody
listens to the show is going to enjoy this. This
new movie on Netflix from Richard link Later. Remember him.
He did a lot of art not really artsy. He
(25:39):
just like low budget. I'm cool guy from Austin, Texas,
and I make weird, weird movies, slackers. Remember this. Just
like a camera following around people in Austin just talking
to each other, and then the two people would walk
would talk, then then one of them walk away, and
then he talked to someone else, and then that they
would walk away. And talk to someone else, and then
(26:02):
it was like weird, it's a weird movie. And then
Boyhood also another weird movie. But this one is a
love letter to the French New Wave cinema. Sam okay,
people who don't know, this is the filmmaking in the
nineteen fifties and early sixties in France that became kind
of a rebellion against the cookie cutter films of the forties.
(26:28):
And then these upstart French people saying like why we
break all zurus, why do we have to have so
much story plot studios? So they you know, they use
a lot of you know, natural light, handheld cameras, jump cuts,
loose dialogue. They're like rough, fast, very conversational. And also
(26:54):
the French New Wave. I don't know if people know it,
but the French New Wave was inspired by an America
movie many say called The Little Fugitive. I would say
Little Fugitive is ranks right up there with Lost in
America as great. It was of the greatest films ever
made that if you listen to the show, you must
watch The Little Fugitive. It's about a little boy who
(27:19):
got thinks he killed his brother, so he runs away
and spends a couple of days living in Coney Island
and he's only like, you know, six years old. So anyways,
this film, I'm knowing amount of time, Sam. But this
film is in black and white and it tells the
story of the making of the movie Breathless by Jean
lu Goddard, and every and everybody's black and white, and
(27:42):
and it's hard to tell that this is a new movie.
So it's on Netflix. It's all French subtitle, English subtitles
or whatever, or whatever subtitles you want to use. But
check it out. No Velvege on Netflix, and it's a
little bit. You'll become a French cinema snop in ninety minutes.
Speaker 3 (28:00):
Well, ladda, all right, let's.
Speaker 2 (28:02):
Take a break, all right, all right, let's welcome back
(28:25):
joe Asklante. Here's my lawyer.
Speaker 3 (28:29):
You don't want money.
Speaker 2 (28:32):
He does it all for you and he knows, all right,
Joeyscalante live from Hollywood. Sam, Hey, uh, guess what. My movie,
The Harbor Chronicles appeared at the Culver City Film Festival
this week and won Best Cinematography for a Documentary. What
(28:53):
do you think of that?
Speaker 3 (28:54):
Outstanding who held the camera?
Speaker 2 (28:58):
This is a guy named Chris sard Ellis and he's
the director and he did a great job. And there's
a couple of people. You know, there's other outside footage
supply to the film, but he was known as a
still photographer. It's his first film, and you know, and
then if the movie won the Eyes we talked about,
won the Audience Award at the Newport Beach Film Festival.
(29:21):
So so far too festivals, two prizes, pretty good. How
can you see it? Go to Harbor Chronicles, look it
up on the web and you'll figure it out. But
you know, it'll either be at the Bay Theater and
Seal Beach or at another festival because there's more festivals
that This is what happens with these movies. So the
director decides, I'm gonna put it in a bunch of
(29:41):
festivals because I want to get distributions. So usually I
say that's a waste of money. It's too expensive and
it won't yield any benefits. But if you're spending your
own money, and he certainly is. But it's doing well
because he's getting he's not just entering, he's winning awards.
So that definitely is going to help in the quest
for distribution.
Speaker 4 (30:01):
Well, for the first time cinematographer winning awards, that's awesome.
Speaker 3 (30:05):
Congratulating he's an Award Wiener, Yes he is. Are we
gonna celebrate him at Award Wieners.
Speaker 2 (30:13):
I'm definitely gonna buy him a combo meal nice. So yeah,
I mean, I've made a bunch of things. You know what.
My first movie that I made, I did win an award.
I won Best Soundtrack by the Independent Music Awards. Thing
was legit, And I said, I didn't know it was
even happening. And I got a freakin' award. The statue
(30:34):
I got it in the mail and and I'd opened
the box and it said best Soundtrack Album for the
movie that darn punk And I just said, and have
my name on it. I don't think I put it
on my on my shelf behind my desk, and so
dreams can come true.
Speaker 3 (30:56):
I should.
Speaker 2 (30:56):
I should get awards for Monsters Across America and Alien
Abductions with Abbey Hornseck. But nobody's nobody's submitting over there
at Fox Nation. All right, let me go to a
more self aggrandizement plug the Vandals Christmas Show at Ventura
(31:19):
Theater on this coming Friday, the nineteenth and the House
of Blues Anaheim in the Ambumon's almost sold out, so
if you want to go to that, you better get tickets. Now.
The Ventura one, that's a big, gaping theater that will
probably never sell out. But yeah, so you could probably
always get tickets to that. But the Anahemale is going
(31:39):
to be sold out probably by the time you listen
to this, but maybe not. Maybe you have one more
day of sales, maybe two at the most thirtieth annual.
Blah blah blah. You're gonna love it.
Speaker 3 (31:49):
Okay.
Speaker 2 (31:51):
So I got a couple of legal stories. One of
them is they the w NBA settled with a all
Are Forward, Dereka Hanby and the Las Vegas Aces and
they mutually agreed to dismiss the high profile pregnancy discrimination
lawsuit for the female athlete. I just thought that was
(32:15):
interesting that, you know, because when you have that doesn't
happen in the NBA. It only happens in the w
NBA so far. And they really didn't settle anything. They
just said, you know what, we're dismissing this and we're
just going to stop fighting each other. And you know,
I'm glad that I highlighted the issues of workplace protections,
(32:38):
pregnancy bias, and how professional sports, you know, handles this
kind of stuff family and career. So obviously, you know,
if you fire someone and to get pregnant in the NBA,
what is there a lawsuit in the WNBA? We really
don't there's obviously a lossuit. We really don't know how
this is going to play out, so but I find
it kind of interesting. So we'll see how that happens
(33:02):
as time goes on. Another one story that I've been
looking at is that there's a defamation fight tied to
a streaming docu series I'm involving Nick Carter. Nick Carter
is usually often in the on the in the news.
On this show that's known as a founding member of
the Backstreet Boys. His legal team is sending warnings to uh,
(33:25):
the producers of something called Fallen Idols Nick and Aaron Carter,
and and it says that they portrayed them in a or.
Nick Carter says, this lady says I raped her and
and you implied that I was guilty. So he's filing
a lawsuit against them. But when you're making documentaries and
(33:50):
if someone says someone was raped. You know, it's hard
to you know, usually they say, like, you know, Nick
Carter was denied these claims, blah blah blah blah blah.
So you know, they're saying that the editing and the
framing of the story suggested wrongdoing is fact, Sam, because
when you have defamation, what do you have to have
(34:12):
You have to have a fact. They have to present
it as a fact. This guy raped this girl and
it makes people spin on the ground, and if it's
not true, you got a defamation case. So all this
one all revolves around did the editing and the framing
of the story suggest that the allegation was a fact
(34:32):
rather than just an allegation? We shall see.
Speaker 4 (34:37):
Yeah, that whole family is definitely, you know, got got
a few issues.
Speaker 3 (34:46):
I would say, can you name.
Speaker 2 (34:47):
A famous family that doesn't you know, the showbized Hollywood family. Yeah,
other than the Nelson's.
Speaker 4 (34:55):
I mean, I mean even the Baldwins. I mean, with
the number of Baldwins there are, they seem to just
gravitate towards issues. I mean, it just seems like if
you're going to be a celebrity family, you kind of
need to bathe in the in.
Speaker 3 (35:10):
All of that stuff.
Speaker 2 (35:12):
Yeah, well, and then they usually they're relying against one.
This is kind of going back to how the show started.
Is these people are they have a disordered attachment to
the material things of this world and are seemed very
(35:33):
disinterested in just traditional things like just hard work and
raising families and going to church on Sundays, et cetera.
Stuff like that. Interested in these things, but these are
the things that I believe bring people happiness and being
just a you know, a humble, you know, servant of
(35:55):
God and other people and focusing on that rather than
on Hollywood fame. But once you get a little taste
of that Hollywood fame and you're like, you know, and
it's like a slippery slope or the whatever the thing
is in the boiling pot that doesn't realize the pot
is boiling. And pretty soon they're famous and they are
(36:17):
leading a hideous life and they're rich, but they're unhappy
blah blah blah. And that's one of the warnings of
this showbiz show is that we talk about all these
showbiz people in this big Hollywood business, but you know,
these people, most of them are living lives that you
(36:37):
wouldn't trade them for if you really knew what they
were like. And I always say too that nobody in
Hollywood ever died like and I know, like maybe I
just usually focus on actors, no famous actor very like.
They don't die surrounded by their friends, their lifelong friends
and reflect on a happy life. They just like they
(37:00):
could die being in a lawsuit from their family, fighting
the guru that you told them how to live during
the last of their lives.
Speaker 4 (37:09):
For every Dick Van celebrating their hundredth birthday, happy birthday,
there's about a million other people who go by the
wayside and completely throw away their entire lives, their families
there and their long term happiness for short term fame.
Speaker 2 (37:27):
That is absolutely well said. And I'm glad you brought
out Dick Van, but Dick Van Dyke, who is actual
some distant relative of mine, So uh yeah, still living.
What a what a genius, what a giant. So very
few of those bubble wrap them. And then I think,
having said that, I think we're I think we're good
(37:48):
to go for this hour, and I will see you
at the House of Blues next week or the Venture Theater.
And I now leave you with just a taste of
the greatest song ever written,
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