10: Cocktail

Episode 10 of the The Last Star In Hollywood podcast, hosted by Next Word, titled "10: Cocktail" was published on December 6, 2023 and runs 103 minutes.

December 6, 2023 ·103m · The Last Star In Hollywood

0:00 / 0:00

Summary

This week, we need a stiff drink after Roger Donaldson’s 1988 movie Cocktail. How does a film get such a terrible reputation? Is there anything more ’80s than a protagonist who really, really wants to start a franchise? What did The Beach Boys do to deserve “Kokomo”? Content warning: excess consumption of alcohol, suicide Unanswered Questions: Would the film have been improved by keeping the darker elements present in earlier drafts of the script? Are the tensions between theory and practice irresolvable? Who should we credit with the relatively strong, well-rounded female characters in this film? Further reading: Cocktail: A Novel (Internet Archive) Jerry Thomas’ Bartenders Guide: How to Mix All Kinds of Plain and Fancy Drinks Flair Bartending: A Brief History Vieux Carre Corpse Reviver #2 The Last Star In Hollywood Definitive List Of Tom Cruise Films The Last Star In Hollywood: Production Schedule Thanks for listening! For bonus shows, extra content and more, support The Last Star In Hollywood on Patreon.com/LastStarPod! Join us next time as we watch the most successful Cruise movie of all time — according to the Academy, at least — Barry Levinson’s 1988 drama Rain Man. The Last Star In Hollywood is an independent podcast produced by Elizabeth Rae and Alastair Stephens. Copyright © 2023 The Last Star In Hollywood. All Rights Reserved. ★ Support this podcast on Patreon ★

Episode Description

This week, we need a stiff drink after Roger Donaldson’s 1988 movie Cocktail. How does a film get such a terrible reputation? Is there anything more ’80s than a protagonist who really, really wants to start a franchise? What did The Beach Boys do to deserve “Kokomo”?

Content warning: excess consumption of alcohol, suicide

Unanswered Questions:

Would the film have been improved by keeping the darker elements present in earlier drafts of the script?
Are the tensions between theory and practice irresolvable?
Who should we credit with the relatively strong, well-rounded female characters in this film?