Carlito's Way Mini Podcast Guest

 

It's so exciting to be part of the Jacked Up Review Show podcast roundtable! In continuation of our previous Brian De Palma chat, you can hear my thoughts on Al Pacino and Carlito's Way in the latest Mini Episode!

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You can also follow the Jacked Up Podcast on YouTube and stay tuned for more guest audio! I will probably not be returning to regular weekly podcasting thanks to continued health issues, however my Blue Sky mail box is open for 2027 collaborations. Browse previous appearances with the Podcast tag for more including: 

Tales from the Crypt

Women InSession 2025

The Searchers

Neighbours 1985-89

The Neighbours Watch: 1985–1989

by Kristin Battestella

When Amazon revived the then-canceled Australian soap opera Neighbours in 2022, they also offered on demand episode batches from the show's thirty year history. However, these "iconic episodes" were abrupt highlights leaving frustrating story gaps and cliffhangers. Thankfully, the new Official Neighbours Classics YouTube Channel provides viewers like me who didn't see the eighties heights on Ramsay Street a chance to witness the entire saga in order. While bemusingly pleasant and perfect for background viewing, the 1985-89 seasons of Neighbours offer a lot of good, plenty of bad, and even some ugly pastiche. And I don't mean the mullets. I hate mullets!

Finding its Legs

Honestly, I'm not surprised Neighbours was initially canceled after its dull 1985 debut season before being rescued on a new network with the 1986 arrival of Anne Charleston as Madge Mitchell, nee Ramsay. I dislike her brother Max's gruff, Tom Ramsay's copycat replacement, and was also totally annoyed by the original Lucy Robinson and all the bad things that happen to her. To keep the cul de sac wholesome, Neighbours offers villainous meaty to contract guests like Andrea with the paternity lies or recurring high school pests like Sue Parker – giving them more attention than a main cast that isn't fully developed. The Classic YouTube channel options to watch single episodes or weekly blocks highlights this uneven story balance that permeates throughout Neighbours. Heavy plots and humorous to-dos are given equal weight with major crises resolved in a word. Contests and schemes can be so simple but serious kidnappings and thefts or medical emergencies are minor compared to the scandals of American soaps in the eighties. The starving old lady neighbour they don't really know and her sad dog are one of several compelling, unexpected storylines superior to the increasing teen drama, but on and off again relationships or pranks between characters are often forgotten the following week. The nature of any soap opera is to rinse and repeat, and marathoning now reveals just how much Neighbours continually recycles. This quickly becomes a disservice to Geoff Paine as Clive Gibbons, who is the hero doctor, class clown, or poetic sage of Ramsay Street as needed. His romantic plots are perpetually short term D.O.A.s contributing to the revolving guest door. Fortunately, Elaine Smith's former stripper Daphne Lawrence is our mature anchor; a strong independent character providing support to the youths while running her own coffee shop and doing right for herself. Her back and forth romance with Shane goes on too long amid several false starts with Daphne and Paul Keane as Des Clarke but their marital stories are superb. Anne Haddy's grandmother Helen Daniels is excellent in tackling all the ups and downs of raising a family, business dilemmas, and mid-life romance. She even gets a few unfortunately short-lived scandals! As a new viewer who had only see Amazon's piecemeal, it's great to see the entire rekindling between migraine inducing Madge and Ian Smith as lovable fuddy-duddy Harold Bishop. Basil begats Bouncer for a host of canine themed plots, and the Ramsay Street Olympics sets off what Neighbours does best – slice of life stories involving the entire ensemble. Cross country excursions gone wrong and lost in the bush stories here are better than the Revival's more recent Outback escapades because rather than focusing on guest villains, the suspense remains Ramsay and Robinson immediate.

Middle-aged housewives and grandmothers were the soap opera watchers of the day, but here those ladies are the ones who get things done. Neighbours is very good when the funny plots and serious stories are well interwoven. Madge learns to drive and Bouncer solves Helen's haunted apartment. Choir gossip has everyone believing Harold is an animal in the sack, and his car accident has not one but three ladies point fingers and taking him into their care. An entire episode is dedicated to poker playing men in one house and women playing scrabble in another, and it's high drama arguing about the funny money and dictionaries. Harold's bucks party also offers orange juice, Mozart, and his tie salesman mini me son David, and when The Ramsays and The Robinsons are forced to live together, the petty little tensions are delicious. Alan Fletcher – later to become Neighbours' Doctor Karl Kennedy – is here as a fill-in mechanic of the week, and the infectious introduction of Lucinda Cowden as Melanie Pearson is great fun. Annie Jones as Jane Harris is also a consistent delight. “Plain Jane Super Brain” goes through many important storylines with arcs and growth allowing the character to mature rather than stagnate. Postpartum depression was not often addressed in 1987, and initially this is a powerful plot for Daphne before the story devolves into the jealous husband feeling left out so the wife has to favor both man and baby. Amazon really dropped the ball in not providing all the classic episodes, as being able to see Daphne's exit in full is some of Neighbours' best. Myra de Groot as mother-in-law Eileen Clarke is likewise brilliant in everything from bad salmon mousse to remarrying Des' father Malcolm. Secret adoptions, pill abuse with a baby in jeopardy, depression, and starvation are excellent, emotional stories. The wedding cake is destroyed, love triangles commence, and the adult drama on Neighbours is leaps and bounds above the repetitive youth plots thanks to the spiteful crone that is Vivean Gray as Nell Mangel. Her hideous portrait is charming as is her Dear Georgette advice column. Mrs. Mangel and Eileen Clarke read tea leaves and misinterpreted psychic predictions ensue. We love to hate her even when Mrs. Mangel loses her memory and has a heart attack – using her health to earn just a bit of sympathy when she only has herself to blame if no one on Ramsay Street actually likes her except Bouncer. I'm glad Nell Mangel, Wedding Coordinator from Hell gets threatened for her meddling but also receives her own marital send off, for her departing flashbacks don't shy away from all the wonderful trouble she wrought.

Unfortunately by the late eighties, Neighbours skews younger and younger with the recast Lucy coming and going on school holidays for childlike stupids or attempted teen sophistication as needed. New kids crowd the Robinson house, and Alan Dale as Jim Robinson deals with lookalike women Ruth and Beverly when Zoe was better. Critical business ventures and financial Robinson ruin take a backseat while lawn mowing schemes repeat the departed Shane and Clive. Teens fail at frozen pizza experiments and problematic children become contrived tangents. Henry Ramsay gets on my nerves immediately, and it's tough to tell who is going to be permanent and who's just a guest with everyone after Russell Crowe's brief stint detracting from the core cul de sac. Why are the Italian guests stereotypical Lotharios? Neighbours finally has an Aboriginal but unfortunately negative story with a burial ground interfering in the Lassiter's hotel development. Stefan Dennis' manager Paul Robinson claims he respects their beliefs but presents the building plans as if what's best for The Daniel's Corporation is paramount for everyone. Losing the strong women who would object hurts Neighbours, and the unhealthy looking, thin, glassy eyed cast seems like the soap stardom is getting to them. Oft the bread and butter of stateside soaps, courtroom drama largely happens off screen, recounted after the fact while going house to house with food. So much food! Neighbours jumps the shark with a ridiculous, garish church sock hop, and a Yankee modeling executive suddenly dropping engagement diamonds on Jane is just a preposterous nothing burger. It gets old fast when Henry and Bronwyn bounce from house to house and ruin something every week. Helen has a stroke but it's more important that Henry blame Bronwyn for going back to school and not paying enough attention to him. His voice impersonations and murder mystery dress up are asinine not funny – coming off as dumb and desperate attempts to keep luring in young viewers. Weeks are spent on Nick and Sharon running away, on the road with a dollar to their name and shoveling chicken shit before rushing back to Ramsay Street at the first emergency. Instead of slice of life ensemble storytelling, Neighbours leans on youthful minutia that's really a disservice to the cast and the audience. By 1989, new characters are already borrowing from earlier stories and repeating the teen angst.

The Scott and Charlene Conundrum

Marathoning these weekly blocks, teen power couple Jason Donovan as Scott Robinson and Kylie Minogue as Charlene Mitchell are immediately insufferable with back and forth professions of love and fighting over the dumbest things flip flopping from episode to episode – sometimes in scene as needed. Repeated music montage flashbacks at the playground and rescues from blown up trailers can't disguise how their grating gets old fast. Even other characters question if they had a dime every time Scott and Charlene broke up over annoying money making schemes, idiotic scams, and their own stupidity. I get that they're teens with all over the place emotions. However their contrivances are one of the weakest stories on Neighbours, and I can't fathom how this was the most popular moment of the entire series. Today high schoolers marrying at seventeen just to move in with parents next door and have sex feels more backwoods than progressive. The measles scare the night before the wedding was their best moment, and I wish the nuptials had been Scott and Charlene's show exit. Scott fails his exams and goes job hunting on a skateboard; they literally lose cash constantly but people continually loan the couple money. Interesting dilemmas are shoved aside for more and more Scott and Charlene because no one knows how to live on love but them! Each teen becomes so distraught and delusional that their families apologize for wanting rent. Between arguing about his homework and her apprenticeship, each also gets the wandering eye in totally pure flirtations cum excuses for misunderstandings and repeated wedding flashbacks. They scream that if one walks out the door, the marriage is over but it's children playing Dynasty. That extramarital canoodling leads to Scott wanting to have a band aid baby, which is a terrible idea and everyone tells them so. Such a plot should have never been suggested, and Neighbours would have my utmost recommendation if I could skip over the Scott and Charlene melodrama. Our intrepid couple become the heroes of every story – uncovering corrupt business partners, nabbing incriminating photos of bad guys, offering wisdom to struggling couples, and resolving almost every plot with their innocent can do. Charlene's lucky coin goes missing and she cries to Scott's boss that he's working three jobs and can't spend time with her. So instead Charlene's departs and an obnoxious model tries to seduce poor, lonely Scott. Maybe Scott and Charlene marrying so frigging soon was actually a damn storytelling mistake? A scandalous book and murder plots on par with American soap malicious are dropped for yet another chaste kissing dilemma. Are we supposed to feel sorry for Scott because so many babes tempt him? Every frustrating non-dalliance drags on with Scott insisting he is right no matter how many others point out he is flat wrong. In the end he even blames the “backward” stereotypical Greeks for their restrictive values, and I cannot tell you how glad I was when Scott unceremoniously disappears.

Now then as to Guy Pearce as Mike Young – the impetus for this Neighbours excursion. I've been doing a Career Re-Watch of his oeuvre, but you would never know Pearce was going to become one of our best contemporary actors by seeing his mullet, baby face, and amateur delivery here. Despite appearing in more than 900 episodes, there isn't a whole lot for Mike to do except make the smoothies and eat the food in the background at the coffee shop. Of Neighbours' oft misguided musical attempts, Pearce's actually playing the saxophone is the most fun but it's used the least. After his earnest abusive introduction, most of Mike's storylines are the same girl troubles – first on and off with Nikki then off and on with Jane. There are random Canberra chicks, swimming babes, and more meaningless flings, and Jane shoves a cake in his face over it. She worries that every time he takes a trip, he falls for another girl, and I'll be damn Neighbours has been giving Mike the same stories for forty years! Even Bouncer gets more adventures than Mike. He bullies an Aboriginal ex-schoolmate but it's just a prank, and the show experiments with Mike going bad or doing humorous skits because Neighbours doesn't really know what to do with him despite the well done post-Daphne tears and revenge. Des and Mike as bachelor dads in search of a nanny would have been a great sitcom, but Mike's too often the sidekick with increasingly less appearances. Granted, Pearce asked for filming breaks to pursue less than stellar films but the gaps in his episodes reveal how little he was actually used. The Bronwyn romance just repeats the Jane school drama and love triangle with Henry. When Mike finally becomes a teacher, he's caught in a kissing a student plot before a sabbatical on his motorcycle. Paralyzing Jenny in a motorcycle accident is arguably Mike's biggest story yet it all happens off screen. His leather jacket means Mike has an attitude now, and it's ironic that sullying the character actually gives Pearce more to do. Of course, Henry's comedy undercuts the dark dream sequences and wheelchair-bound guilt, and the disabled obligations are resolved with little fanfare. After repeat teaching strife, Mike is the villain against Des and Jane's engagement, leaning over people's shoulders with passive aggressive petty insults. The whole street tells him to grow up, boo hoo yet feigns smiles for his Ramsay Street birthday party – until Henry runs over his saxophone. Mike admits his duplicity when trying to win back Bronwyn just for spite, and had Mike been a deceptive social climber sooner, it might have been more interesting. Instead these brooding non-stories wasted time with him Neighbours did not have. Happy couples want him to be an enthusiast best man, so his drunken one night stands and pithy bitchings are suddenly dropped. One wonders why Neighbours had him return for a handful of late 1989 episodes when new viewers probably wouldn't know who he is or why he's off to visit his injured mother with no real exit. I can certainly see why Pearce was initially displeased with his original time on Neighbours, for he looks healthier in the end, as if the burden of Neighbours had been lifted from his shoulders. That single dangling crescent moon earring though, would wear!

Messy Declines and Departures

Though once pleasant nostalgic viewing, by the second half of 1989, I am pretty over Neighbours, too. It's frustrating to read that the producers deliberately mirrored Scott and Charlene in other characters, continually referenced them onscreen, and didn't even change the credits because they didn't want viewers to know they were completely gone. The revolving cast door only gets more crowded with obnoxious kid do-overs and even younger tween kisses. Interesting characters like pesky aunt Mrs. Chubb, banker Penelope Porter, tacky stepmother Gloria Lewis, and Jane's selfish mother Amanda Harris are too brief. Overheard secrets on Katie's walkie talkie sow dissent about how everyone really feels in a deliciously simple way to drive several plots at once but the conflicts are resolved too quickly. The grating dialogue for Joe Mangel is also extremely jarring, and it's rich that he becomes the hero over his ex-wife's new abusive husband when he is a cruel, heavy handed father to little Toby. Helen's stroke and her struggle to paint again should have been primary, but another crazy seductress makes moves on Jim, and for all the funny lighthearted things that make Neighbours so cheery, the show seemed to realize the need for darker, if now predictable stories as the eighties sunshine waned. New people are treated as filler when too many regulars have breaks around the same time, and recurring ladies like Anne Scott-Pendlebury as Hilary Robinson should have always been permanent. Hilary and Mrs. Chubb's too brief humorous moments together could have been such gold! A big to-do is made whenever someone comes back from a trip/break/excuse, and then the episode is spent filling in the returning person on what we've been watching – as if Neighbours deliberately kept resetting for viewers each week in lieu of what else to do. Many storylines are isolated rather than true dialogue confidences, and characters who don't usually interact onscreen are presumed to be BFFs in the know as the lazy gardening partnerships repeat and loud, boorish tangents overtake important moments. Hilary feigns injury sympathies just as Mrs. Mangel had and every week a different kid is running away when not having another pet mishap. Neighbours copies itself when provocative drama like Sharon starving herself is better than Bouncer in peril and Toby's weekly sadness. Linda Harley-Clark as Harold's hippie daughter Kerry Bishop is initially an independent activist who nannies in Des' house where she and their kids thrive. Unfortunately, Kerry's then inexplicably paired with Joe and is forced to repent on each of her principles. Kerry frees birds, feeds homeless, and protest kangaroo products yet she is unnecessarily portrayed as the villain who doesn't stop to consider if her actions will make the hotel look bad.

Instead of prioritizing well done extortion plots, terrible dads, and serious family ensembles, characters bend for the dilemma of the week in foreseeable, silly plots or relationship misunderstandings because there are three engaged couples at the same time. Fortunately, Hilary moves to the cul de sac with a mysterious son, and the Sharon/Matthew/Nick triangle would have been far more intriguing had the latent homosexual angle been utilized, but I realize Neighbours in the eighties wouldn't dare. Hilary also has a romance and tries to be hip by going to see Friday the 13^th Part 6 with the kids. The show returns to its roots with feuding Ramsays and Robinsons cutting each other's trees and dyeing the pool purple. Everyone has a health emergency at the same time, and it's actually pretty fun, unlike the contrived threats on Todd and Katie coming or going until Katie is actually written out after being unnecessarily prominent. Thanks to her being overused in every major story line, Jane's exit is also abrupt, grinding Neighbours to a halt as elder abuse plots and the briefly returning Clive can't save all the pointless misunderstandings. However I'm so glad to see the back of Henry especially after the radio show obnoxiousness where everyone else did his work for him off the air. Paul's villainy begins by bribing a councilman for a variance, but of course he's screwed over and repeatedly scammed by rookie employees, too. Fiona Corke's Gail Lewis is Paul's perfect match, but her story unfortunately degrades into silly baby brain shoplifting convictions. Most of their marriage fallout strangely happens off screen, yet it also makes the audience realize how impossible triplets would have been on the show. Paul's dramatic race to the airport is quite sad, and Gail's exit is another huge loss for Neighbours – leaving Des filling numerous gaps with phone calls from absent people before recounting everything to Melanie. Paul's on break so Des manages the hotel but then Des takes a break so Jim's running everything while Clive and Melanie now live in Des' house. There's no rhyme or reason to who is where with even a new minister on Ramsay Street as a love interest played for laughs with Melanie – but at least we see the origin of her pig collection! Even the Dear Georgette column returns, as if characters are defined by their jobs but jobs are interchangeable. There's even a clothes swap meet where prominent garments end up on different characters because personal style no longer matters. New people not in the credits, residents referred to no longer on the show, returning people inexplicably picking up where they left off – viewers stopped tuning in to Neighbours because we don't know who's on the dang show.

When updated titles finally happen, the poolside hi-jinks are recreated with new people as if audiences aren't supposed to notice the difference. Neighbours chose to stagnant, repeat, and replace without ever moving forward, and I'm amazed the soap survived this eighties cast exodus. 1989 was really a struggle to finish; I gave 1990 a few months but just didn't care about these strangers on Ramsay Street. Did I like Neighbours? Yes! I'm glad I had the opportunity to watch all the sunshine eighties heights. The Classic YouTube Channel format provides far more entertainment than Amazon's giveth and taketh. There were segments I thoroughly enjoyed, but the good is often too interlaced with the bad. Does Neighbours have the repeat value of stateside soap opera titans? That I don't know. I need to see Neighbours' 2010 “Who pushed P.R.?” drama in its entirety to be sure.

Desert Hearts

 

Desert Hearts is a Lovely Little Film

by Kristin Battestella

Helen Shaver (Poltergeist: The Legacy) is Vivian Bell, a repressed New York literary professor who comes to Nevada for a quickie divorce from her perfectly unfulfilling 1959 high society marriage in the 1985 lesbian romance drama Desert Hearts. Casino worker Cay Rivvers (Patricia Charbonneau) is a wild artist also yearning for more, and she isn't afraid to express her attraction to Vivian – opening both their lives to scorn and new emotions.

Director Donna Deitch (The Women of Brewster Place) and late writer Natalie Cooper adapt the 1964 novel by Jane Rule with a realistic attention to dialogue and heartfelt conversations that anchor the fine performances. Men serve their purpose here as negative catalysts or lecherous bosses while happily married women on tranquilizers tell the upscale versus the steamy desert star-crossed to stay away from one another. However, both Vivian and Cay each say they never asked for anyone else's opinion on any same sex taboos. Their lives are nobody's concern, and the poetic script progresses well amid going to the movies and shopping montages as their attachment grows. Complaints about bad shoes and painful girdles feel natural; demure in pearls lets her hair down and puts on a pair of jeans. Rather than scandalous or titillating as lesbian scenes are so often played for the shock, gaze, or tease; Desert Hearts at times has an innocent, innocuous feeling. Women sit around in their slips on a hot day and it doesn't mean anything. Women can also kiss on a rainy night by the lake and it means everything. Townsfolk want to point the finger at who seduced whom, but as our couple bonds, a certain equality grows. The final train moments are very romantic – holding on to the railing, jogging alongside the train, charming declarations to continue to the next stop together. It rivals any similar cis hetero sweeping moment, and I often think of that “What do you want? Another forty minutes with you.”

Stylish, educated city woman Vivian is 35 and it's no longer worth staying in her “professional” childless marriage when she may yet find herself. Her career was her purpose, but she takes long cigarette drags and only gives answers when prodded into talking. Vivian never lingers, surprised by married women who gossip about sex and their husbands or departing when too many people crowd her – especially flirtatious, complimentary men. Vivian thinks the nicest thing anyone says to her is that it's okay to take off her painful pumps yet she hides behind her glasses and stays in her room working, laughing at the mess she makes in the kitchen but not wanting the lights full on if she looks bad late at night. She second guesses this move – she may end up alone and doesn't fit in with the cowboy hats but Vivian wants to be free of the perfect life she's had. Her longest conversations are with Cay, but Vivian doesn't want to mislead her like some tawdry student affair. She's never felt this way before and it's all happening too fast. In some facets, Desert Hearts isn't so much about the lesbianism as the repression and how the traditional idea of marriage holds one back. Up close, slow motion shower scenes imply new masturbatory experiences, but Vivian's a respected scholar, this humiliation is beneath her, and Cay needs to keep her voice down in public. The kiss in the rain is well done, with nothing but natural sounds and Vivian's subsequent conflict. It was just an impulse, a momentary lapse. She pulls back, arguing without raising her voice – still the submissive wife who won't remove her robe despite the smiles, laughter, and touching that makes her feel exposed and beautiful. Vivian confesses she doesn't know what to do, and the viewer wonders if this is perhaps her first orgasmic experience. Cay accuses her of just visiting this life until her divorce is finalized, but Vivian is not used to being in love of any kind. Clueless men still flirt with Vivian, unaware they are not needed, and her change is apparent in her loose hair and glowing smile. She may be ready to face New York again, but she wants to make it work with Cay, too.

Patricia Charbonneau's (Call Me) Cay says it isn't happening with her boss cum boyfriend and she's used to people talking about her rock and roll ways or dalliances with other women. She needs to be accepted for who she is man or woman but is also the first to get in her convertible and drive away from a serious relationship. Her boyfriend will have to look the other way at what she does, he may even enjoy the potential of multiple women she brings, but Cay doesn't want to be used and has a sensitive side. She admits Vivian is a keeper right away, declaring she was kicked out of college for “unnatural ways” and that she is not of Vivian's caliber. Vivian is not shocked at Cay's casual talk of getting it off with women, but Cay almost sees Vivian as the upscale man who can take her away from the desert and she must act to keep her. Cay stands up to those who oppose them and declares her intentions to seduce Vivian and see her naked. In the lengthy sex scene, it's clear Cay has the masculine know-how as she puts the do not disturb on the door and waits in the bed until Vivian's ready. They even argue about who should leave or obey, but then the subsequent deflowering takes its tender time. The lesbian saucy that today's viewers may expect actually happens very late in Desert Hearts, taking its time in the last half hour with focus on sounds, kissing, and rustling fabrics. Cay leads the gentle nipples to nipples as the hands go lower, but the specifics of who's doing what also doesn't matter. Both women are having a new intimate experience. Afterward it's initially all love and compliments, but Vivian dislikes Cay's demands to stay and have things her way. Cay doesn't think it's selfish to love Vivian, but she won't be mere pen pals or say goodbye.

Of supporting note I must mention Three's Company's Mrs. Roper herself Audra Lindley as Cay's sassy, bourbon swindling, sort of adoptive mother Frances. As the long time mistress of Cay's late father, at times the jealous Frances lives vicariously through Cay – never fully over her youthful lover and seeing him in his daughter's recklessness. She dislikes conversing with Vivian and kicks her out, uncomfortable with a sophisticated East Coast beauty. Frances is “normal” and doesn't need to pretend they are friends. She can't accept Cay either, questioning if every hug, dance, and laugh they share will become gossip. Frances doesn't understand how women together can compare to her great love. Being a kept mistress was an acceptable scandal in the good ole days, but Cay eventually helps Frances see they want a chance at happiness, too. Downtrodden trains and excellent Patsy Cline music set this romantic mood for Desert Hearts – a time when the eighties does fifties look was possible with rustic quaint interiors, creaking back porches, and screen doors. Hats and pearls provide old fashioned demure while slips and stockings hint at the feminine behind closed doors. The casino cha-chings and dusty views imply that the west is still a little wild. Women are allowed to be risque cruising in their big old sweet cars while the great rock and roll soundtrack blasts. The top is down, the hair is blowing. Desert Hearts is only a lean ninety minutes with odd fades to black or vignette style chapter transitions. These both seem unnecessary yet also make one wonder if they were short on assembly footage. Some disjointed scenes highlight secondary characters that are never seen again while other backstory is implied in later dialogue as if there were missing scenes. Other lookalike women and who's who at the family breakfast table aren't fully explained as if editing and story changes happened in media res, shrewdly pairing down the story to its core relationship. The train sounds echoing throughout the film also serve as a lovely ticking clock reminder of how this romance effects each woman's life.

In the eighties, this type of production was almost unheard of and outside of rainbow audiences, Desert Hearts seems perhaps deliberately obscured or dismissed by the mainstream. This was recommended for me to review with Jaylan Salah on the The Jays Days Show, and I'm glad to have seen this tender character driven piece. With a restored Criterion release available, there's no reason not to discover Desert Hearts.

Re-watch my Desert Hearts Video Review on The Jay Days and find more rainbow reviews including:

The Adventures of Priscilla Queen of The Desert

Bound

When We Rise

The Birdcage and Tootsie

Buffy Season 2 Guest Podcast

 

I had a lot of fun visiting with Vampire Videos again to chat about Buffy: The Vampire Slayer! You can hear my contribution on “School Hard” in Part 1! 

Catch up with all the Buffy rankings on Substack and hear Parts 2 and 3 or the latest podcasts at VampireVideos.co.uk.

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Listen to our previous Kiss of the Vampire chat with Vampire Videos or peruse more Podcast appearances including: 

Greatest Movies of All Time - The Searchers

Women InSession 2025

2025 Guest Podcast Appearances

Brian De Palma Guest Podcast

 

It was so exciting to be a small part of the Jacked up Review Show Podcast's Brian De Palma Director Series! I talk about Domino and Sisters. A YouTube podcast version is available Here. 

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I'm very grateful to both longtime podcast friends and new-to-me shows who have invited me to contribute! Peruse past appearances with the Podcast tag including:

Psycho II

John Hughes at Binge Movies Home Video

Women InSession 2025 rundown

The Searchers Guest Podcast

I'm so grateful to have another virtual visit with Tom and Dana discussing my favorite film The Searchers! You can hear the episode on Greatest Movies of All Time Website and follow GMOAT on Instagram for much more.

Don't forget you can also read the complete Cinema Legacy Poll in which myself and many other podcasters took part thanks to GMOAT!

Follow the Podcast label for more audio appearance or listen to previous guest spots including:

Ben-Hur

Stand By Me

2025 Podcast Round Up

Breathe In and Equals Video Review

 

The technology held out and the video was rescued on this review for The Jay Days Channel, huzzah! 

Last year I once again joined Jaylan to chat about two Guy Pearce films from director Drake Doremus - Breathe In featuring The Brutalist co-star Felicity Jones and the Kristen Stewart-led Equals. 

Thank you for having me on The Jay Days, Jaylan! 

Peruse past Videos and Podcasts or more with Jaylan including:

The Shrouds, Inside, and Killing Faith

Jack Irish

The Convert

Bound

Desert Hearts and When We Rise

Guy Pearce Birthday Special! 🎉

 

Despite finally having a bout with Covid, there's nothing like a birthday to sit down and chat Guy Pearce with Jaylan Salah on The Jay Days YouTube Channel! This time we discussed the three latest Guy Pearce films that viewers seemed to have missed - The Shrouds, Inside, and Killing Faith.

Visit the Video label for more guest appearances or follow our Kbatz Reviews at The Jay Days Playlist for more Guy Pearce Re-Watch Analysis including:

The Adventures of Priscilla Queen of the Desert

Guy Pearce Awards

Jack Irish

The Convert

October Literary Moods

 

October Literary Moods 

by Kristin Battestella

These memoirs, biographies, and literary adaptations range from delightfully macabre and witty mysteries to gossipy yarns. Here's what to read or skip this autumn.

Must Read

Yours Cruelly, Elvira by Cassandra Peterson – The Queen of Halloween's 2021 tell all book made headlines for Peterson's coming out upon its release. However, that's only one late chapter revelation in a fascinating life of highs and lows. Scarring childhood injuries and an abusive relationship with her mother led to escapism in the family's costume shop before cruising the early groupie music scene. Despite a few early film appearances, traveling to Italy to sing in a band leaves Peterson ill and destitute until returning to California has her starring in The Groundlings and living in a tree house with a Tarzan-like boyfriend. Her subsequent marriage, haunted house, and struggles with infertility are told alongside the creation of Elvira – with shrewd business deals, appearances, endorsements, and merchandise retaining Peterson's control of the character. Satanic panic backlashes, conservative fears over her cleavage, and canceled television pilots often meant struggling financially. Thanks to her provocative image, outspoken attitude, and unwillingness to compromise character or convictions, Peterson bankrolled her own films – continuing to appear as Elvira during difficult pregnancies and her divorce. There is an entire chapter dedicated to several sexual assaults of varying degrees in an extremely telling commentary on how our society treats a confident woman. In some ways, Peterson's current lesbian relationship – kept hidden for decades for fear of alienating audiences who only cared about her buxom image – is the least interesting aspect about her life. A supportive friendship blossomed into romance, written as a lovely, natural occurrence topping off an entertaining read. This both reads like the way Peterson talks but is also a chronologically laid out and well written, emotional journey of a woman finally at ease in her own skin. Although I had to avoid leaving this book lying around for my curious niece to find thanks to the topless showgirl photos!

A Fun Adaptation

The Mirror Crack'd – Murder She Wrote meets Miss Marple as Angela Lansbury leads this star studded 1980 Agatha Christie adaptation from director Guy Hamilton (Goldfinger). Classy silver screen panache, cigarettes, and scandalous revelations provide a fun awareness to the genre as viewers debate the whodunit clues, motives, and left hand versus right hand weaponry. A new Hollywood production is coming to the quaint English countryside, mixing village airs and graces with swanky jazz, vintage autos, nostalgic reels, and retro cameras. The hats and pearls are a flutter over the dalliances, backhanded insults, and catty attitudes as our jealous actresses trade plastic surgery barbs at the film party. This may be a little slow in setting the scene with who is who, but the film within a film rivalries and temperamental tension lead to murder. Flashbulb pops help the maids revisit the scene of the crime and a suspect daiquiri as Marple weasels the details from the town doctor. Poison, heart attacks, and Tennyson references move quickly once we're on set with Elizabeth I versus Mary Queen of Scots calling each other bitches. Seductive actress Kim Novak (Bell, Book, and Candle) is married to producer Tony Curtis (Some Like It Hot) and will get her way, but director Rock Hudson's (Giant) comeback wife Elizabeth Taylor (Night Watch) expects to win all the awards. Both leading ladies want to change history to benefit their onscreen queen, but which was the intended victim and who had the fatal opportunity? Threatening letters and harassing phone calls escalate the behind the scenes facades and period piece costume checks while our divas – “10 years ago, when I was 16...” – layer the Hollywood commentary, backstory, and trivial British deduction. Everybody in Hollywood is “intimate” but arsenic in the tea, switched medicines, and acid begat more deaths. The show must go on despite the Gene Tierney inspirations, and although the zany movie making and droll meddling are somewhat uneven in the end, the performances with performances remain entertaining. I want the clothes and one can totally see how Murder She Wrote was born here.

Better Bios Available

Montgomery Clift: A Biography by Michelangelo Capua – The format of this 2002 ode to the October 17 birthday boy is odd, with a gossipy, anecdotal tone rather than a factual recounting. Although there's nothing necessarily unusual about the footnotes being indexed in the back of the book rather than at the bottom of the page, the lack of immediate citations makes this reading hear tell frustrating. For all the book's complaints about Clift's overbearing, desperate to be well to do mother Sunny, this also reads very much like that kind of tut tutting old lady. Who said what and when quotes are treated as scandalous nuggets whispered over tea, with truth or origin unimportant compared to the trite, down low gay torment tack. Some early theater material and photographs may be new, but the author's voice is increasingly loose, as if he knew Clift's inner thoughts when most of the information is borrowed from other sources with unclear references. Whether Clift was throupled with his married friends is passed off as confirmed – continually falling back on Clift's tawdry sexuality and ill health while describing his trips to exotic islands with Hispanic men claimed to be his favorite. When not worried about which rich woman hopelessly in love with him was influencing him on set, this repeatedly recalls Clift's drunken antics, embarrassing dinner party routines, or his running through the streets naked. This is a short read with the appendices padding the page number so it maybe an easier introduction to Clift for classic movie newcomers. However, compared to older, longer biographies, this is completely superficial with an eye-rolling Hollywood Babylon pitch. New information about the behind the scenes of Clift's films is far too few and far between the garish here.

Now Reading: I Shouldn't Even Be Doing This by Bob Newhart

For more movies meets literary analysis, listen to several Women InSession Book to Film episodes including:

Othello

Hamlet

Female Writers Onscreen

Frankenstein

A Christmas Carol