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<v Speaker 1>You are listening to the biggest all night show in

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<v Speaker 1>American radio, the other side.

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<v Speaker 2>Of biggat all night show on American radio.

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<v Speaker 1>Oh that's the only reason that mattaas Boom Boom from

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<v Speaker 1>Hollywood would agree to come on this show when he

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<v Speaker 1>confirmed through Nielsen that it was the biggest all night

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<v Speaker 1>show in American radio. Because when you write as well

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<v Speaker 1>as Matteas Boom Boom from Hollywood rights, there's a lot

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<v Speaker 1>of pressure to stage the information in a professional and

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<v Speaker 1>sparkling setting.

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<v Speaker 2>Well, no, I'm fat. Nielsen has adjudicated this as being

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<v Speaker 2>the greatest all time show in all night radio.

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<v Speaker 1>So see, I don't I don't say greatest, I say biggest.

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<v Speaker 2>Well, and and you know great in size and big

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<v Speaker 2>in heart and biggest big is great. It's stupendous. What

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<v Speaker 2>more experts are necessary? Well, perhaps we should get to

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<v Speaker 2>the core I'm here for, because otherwise we'll just be

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<v Speaker 2>repeating what is well known. Right.

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<v Speaker 1>But one second you hear about Hayden Pannetier.

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<v Speaker 2>Yeah, I was really sad, I mean young, too young.

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<v Speaker 2>Of course, I think she's most remembered for her movies,

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<v Speaker 2>the screen movies. But that's just very sad to die

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<v Speaker 2>so young. It's just criminal to hold her whole life

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<v Speaker 2>ahead of her.

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<v Speaker 1>So, my friend, yes, please give us an update and

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<v Speaker 1>then I'll quiz you later.

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<v Speaker 2>Great Well, first of all, you piqued my interest at

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<v Speaker 2>the beginning of this program by your curiosity, which is

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<v Speaker 2>for such a great driver of this program, which speaks

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<v Speaker 2>so many fascinating conversations about these amusement parks that seem

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<v Speaker 2>to be abandoned, and there's so many of them, and

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<v Speaker 2>the connection between railroads that go to them, and I

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<v Speaker 2>immediately thought of salt Air. Now, of course, salt Air

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<v Speaker 2>was on the south shore of Great Salt Lake. It

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<v Speaker 2>opened in eighteen ninety three, and there was a train

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<v Speaker 2>that used to go there, forty five minute train ride

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<v Speaker 2>beginning at nine thirty in the morning. People would go

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<v Speaker 2>out every forty five minutes to do this. They'd burst

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<v Speaker 2>into song when they'd go out. There was a big

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<v Speaker 2>thing on the south saw of the Salt Lake, and

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<v Speaker 2>that was a place that by the nineteen fifty eight

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<v Speaker 2>season had just closed. It was sort of forgotten, old,

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<v Speaker 2>run down, and it lasted another twelve years and eventually

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<v Speaker 2>it was demolished after an arson fire in nineteen seventy.

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<v Speaker 2>But how this connects to movies is that one of

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<v Speaker 2>the all time creepy horror films was filmed at this

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<v Speaker 2>abandoned musement park, which is probably why if you're an

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<v Speaker 2>old movie buffer the late night movie show, you have

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<v Speaker 2>this inset idea that these abandoned amusement of parks not

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<v Speaker 2>only exist, but are creepy haven's for ghosts. And the

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<v Speaker 2>name of the movie was Carnival of Souls. It came

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<v Speaker 2>out in nineteen sixty two. This is a really low

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<v Speaker 2>budget movie and the eerie abandoned pavidion that burned down

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<v Speaker 2>is photographed in this movie, and it's the ghostly focal

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<v Speaker 2>point where the main character in the movie is drawn

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<v Speaker 2>to dance with phantoms. So I think this movie on

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<v Speaker 2>the Late show or in the sub run at the

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<v Speaker 2>lower half of a double bill, and now it's a

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<v Speaker 2>cult classic, certainly adds fire to the flame of this

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<v Speaker 2>abandoned amusement park fascination that runs everywhere. And it's really

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<v Speaker 2>it's an interesting movie, and it is very interesting these

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<v Speaker 2>old amusement parks because when you think about places, and

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<v Speaker 2>it's true of theaters or children's playgrounds, when you see

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<v Speaker 2>them out of context, especially in movies. They use this

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<v Speaker 2>as a wonderful device where something isn't right, or they

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<v Speaker 2>make it black and white. Suddenly the mundane and normal

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<v Speaker 2>become scary or weird or out of place. And that's

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<v Speaker 2>all part of the imagination of these filmmakers and storytellers

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<v Speaker 2>that have brought that to the fore.

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<v Speaker 1>It's interesting to me that the economics of an abandoned

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<v Speaker 1>amusement park, even six Flags in New Orleans. Six Flags

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<v Speaker 1>in New Orleans, an abandoned amusement park, there's no mechanism,

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<v Speaker 1>economic mechanism or rules in townships and cities to take

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<v Speaker 1>them down. They okay, they're abandoned, and that's it. We

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<v Speaker 1>don't know anything about it. But wait a minute, you're

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<v Speaker 1>six Flags. You must have a few bucks to take

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<v Speaker 1>these down, just for the safety element. Some wacky kid says,

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<v Speaker 1>you know, I'm going to go up on that roller coaster,

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<v Speaker 1>and it's two in the morning, and they're drunk, and

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<v Speaker 1>it's wet and slippery, And it is amazing that there

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<v Speaker 1>has not been more any accidents I know of of

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<v Speaker 1>kids hanging out in abandoned amusement parks.

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<v Speaker 2>It's true, and of course there's always the popular insurance

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<v Speaker 2>fire aspect of it too, so parts of it can

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<v Speaker 2>burn and they can collect on that too, so they

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<v Speaker 2>can still make money from these well.

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<v Speaker 1>As Michelle Gibson. As Michelle Gibson said, a lot of

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<v Speaker 1>from eighteen fifty to nineteen hundred, there were a lot

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<v Speaker 1>of things that were destroyed by fire, and it wasn't

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<v Speaker 1>for insurance because it didn't work like that then it

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<v Speaker 1>wasn't established enough. Then it was just to get rid

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<v Speaker 1>of it, to put in the New World Order. And

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<v Speaker 1>the New World Order had electricity that came with a

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<v Speaker 1>bill that was the New World Order. You want all

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<v Speaker 1>this energy, you're gonna have to pay.

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<v Speaker 2>For indeed, Well, let me get back to movies, Walter. I.

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<v Speaker 2>I just am so fascinated by everything that's discussed in

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<v Speaker 2>this program. I can't help myself.

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<v Speaker 1>But it's a very compelling program. It's a very compelling program,

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<v Speaker 1>and it deserves many awards.

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<v Speaker 2>I agree. You know, American movie going just had the

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<v Speaker 2>single biggest weekend it's ever had. That North American theaters

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<v Speaker 2>took in four hundred and twenty nine million, one hundred

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<v Speaker 2>and seventy two thousand, six hundred and fifty six dollars

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<v Speaker 2>between July thirty first and August second, which is the

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<v Speaker 2>highest grossing domestic weekend on record. It broke the four

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<v Speaker 2>hundred and two million frame that Avengers Endgames set back

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<v Speaker 2>in twenty nineteen. So here today, gromestic grosses stand at

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<v Speaker 2>six point two billion through Monday, the earliest crossing of

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<v Speaker 2>the six billion mark since twenty nineteen. Four films have

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<v Speaker 2>passed a billion worldwide in twenty twenty six, the largest

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<v Speaker 2>such class since before the pandemic. So this is exciting

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<v Speaker 2>times for the movie industry. Look at Superman right now

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<v Speaker 2>at two billion, twenty one million, eight hundred and thirty

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<v Speaker 2>one thousand, six hundred and seventy dollars. Just last weekend alone,

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<v Speaker 2>from the fourteenth through the sixteenth, it did seventy million dollars.

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<v Speaker 2>Other movies, The Odyssey's in the second place right now

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<v Speaker 2>with five hundred and five total aggregate in US and Canada,

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<v Speaker 2>The End of Oak Street, which is sort of a

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<v Speaker 2>new dinosaur, not Dinoshore, but dinosaur movie twenty one millions,

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<v Speaker 2>Paw Patrol, which is a cute comedy for the kids

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<v Speaker 2>twenty million dollars, and Kat's Eye Wildhearts, which I've not

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<v Speaker 2>seen four million dollars in place number five at the

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<v Speaker 2>box office right now.

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<v Speaker 1>Now, what would you say is the reason for this

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<v Speaker 1>astonishing volume of business.

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<v Speaker 2>Well, it's got to be Zendaia.

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<v Speaker 1>That's right. It's got to be Zendaiya. And it's got

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<v Speaker 1>to be Zendaya. And that kid who's Spider.

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<v Speaker 2>Man, that's right, Tom Holland, who is mister Zendia.

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<v Speaker 1>Mister Zendia. And that's how he'll be the rest of

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<v Speaker 1>his life, just like Travis Kelsey've been mister Swift the

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<v Speaker 1>rest of his life.

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<v Speaker 2>There is Those are the two highest now grossing actors

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<v Speaker 2>in the history of the movies.

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<v Speaker 1>That's amazing And I'm so glad Lauren Bacall isn't alive

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<v Speaker 1>to hear that. I is there. What are you going

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<v Speaker 1>to watch this week? What's coming up? Matteas Boom Boom

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<v Speaker 1>in Hollywood?

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<v Speaker 2>A movie that I sort of teased last which has

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<v Speaker 2>got Willem Dafoe as an old New York poet that

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<v Speaker 2>has gone to work in the post office. No one

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<v Speaker 2>remembers him to a bunch of rich kids that feign

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<v Speaker 2>the fact that they're sort of artistic and hangout in

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<v Speaker 2>these rather bohemian places sort of rescue him and bring

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<v Speaker 2>him back and try to make him part of their circle.

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<v Speaker 2>It's an it's an interesting thing, but it's a really

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<v Speaker 2>great Dafoe is a fine actor, and it's it's really great.

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<v Speaker 2>Martin Scorsese produced this thing, and it's it's really quite good.

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<v Speaker 2>I'll talk about it some more this coming Friday morning

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<v Speaker 2>on this program.

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<v Speaker 1>You're a terrific contributor to the program. Have you seen

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<v Speaker 1>any of the low level television that I've urged you

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<v Speaker 1>to watch? No?

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<v Speaker 2>You know, I keep asking for it, and the people

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<v Speaker 2>at Apple have said they were going to send me

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<v Speaker 2>our look at the Russian program and of course the

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<v Speaker 2>wonderful program with the young teens, but I haven't. I

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<v Speaker 2>have yet to see those two, but I have. I

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<v Speaker 2>was just sent a program called Zorro as Jean Doujardin,

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<v Speaker 2>famous French actor. This is a French take on Zoro,

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<v Speaker 2>which is a small mini series that's going to start soon,

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<v Speaker 2>and their little half hour episodes, and they're really quite funny.

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<v Speaker 2>They sort of update Zoro. It's almost tongue in cheeks Zoro,

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<v Speaker 2>and since it's French, it's very sexy, very sexy and

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<v Speaker 2>very fun. So it's not the Zorro of our childhood.

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<v Speaker 2>It's a more hip Zoro for today.

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<v Speaker 1>The childhood. The childhood Zora was a horrible television show.

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<v Speaker 1>It's just a crappy television show. Any anybody who's romance

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<v Speaker 1>about that show hasn't seen it in seven hundred years.

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<v Speaker 1>It was terrible black and white, it was cheesy acting.

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<v Speaker 1>I saw one or two episodes as a mere child,

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<v Speaker 1>and it was almost as bad as another show that

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<v Speaker 1>nobody remembers. See if you can remember this, Did you

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<v Speaker 1>ever see a show about trucking called Cannonball?

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<v Speaker 2>No, it must have been a spin off of Cannonball Run.

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<v Speaker 1>Huh, No, it was way before Cannonball. Oh, and it

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<v Speaker 1>was here's the subhead of the title in any catalog

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<v Speaker 1>that would make anybody run. It was sended syndicated Canadian

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<v Speaker 1>production in black and white. In black and white, a

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<v Speaker 1>syndicated Canadian production in black and white. And it was

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<v Speaker 1>about the day to day life of being an eighteen

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<v Speaker 1>wheeler and about dealing with other eighteen wheelers. And they

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<v Speaker 1>always seemed to be a fistfight. For some reason, when

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<v Speaker 1>these guys got to a parking lot, they needed to

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<v Speaker 1>have a fistfight, and then there was always the tension

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<v Speaker 1>between what was in the back of the truck and

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<v Speaker 1>the police, always tension about that it was go ahead.

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<v Speaker 2>Perhaps that burning smell that you had coming from Canada

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<v Speaker 2>a few weeks ago may have been the only copies

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<v Speaker 2>of that being offered up into the sky.

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<v Speaker 1>I can't believe I had forgotten about it. I don't know.

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<v Speaker 1>I was looking at some TV catalog for shows or something,

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<v Speaker 1>and I saw it. I said, oh, really, it's interesting.

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<v Speaker 1>How many episodes of this were Canadian syndication. Oh my god.

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<v Speaker 1>It could not have gotten lower. It could not have

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<v Speaker 1>gotten lower than Canadian syndication. Now, of course that's very exalted.

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<v Speaker 1>Many people like Canadian syndication, like that Shit's Creek show

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<v Speaker 1>that was Canadian syndication. But this was long before any

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<v Speaker 1>of the levies were involved. All right, how do we

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<v Speaker 1>find you online?

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<v Speaker 2>Matias Bomball's Hollywood on Facebook, m A t i as

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<v Speaker 2>Bomba lapostrophe s Hollywood just like the City. Mattias Boomballs

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<v Speaker 2>Hollywood on Facebook. Thanks so much, Walter.

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<v Speaker 1>No, thank you, thank you. Mattias boombom in Hollywood. The

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<v Speaker 1>Other Side of Midnight, Walter sterling,