THE DON

"Don and Allan"

Pierce was called to Los Angeles by Don’s former drug dealer, Royce Newton, just hours after Don’s death. Royce is concerned that it was his cocaine that killed Don and he wants Pierce to find out the truth as to what might have killed him. Pierce sneaks into Don’s estate looking for clues. His search leads him to Allan Carr’s house- the producer of "Grease”— Don was the executive on the film in his early days at Paramount. Here Pierce learns that Don was influenced by gay culture and that Don had boasted of a homosexual relationship. Pierce also learns that one of the extras in Don’s disasterous flop- Grease 2- was under the care of one of Don’s Dr. Feelgood physicans. Perhaps she might provide some clues into Don’s death. Learn more about your ad-choices at <a href="https://www.iheartpodcastnetwork.com">https://www.iheartpodcastnetwork.com</a>See <a href="https://omnystudio.com/listener">omnystudio.com/listener</a> for privacy information.

THE DON is a docu-drama on the life of the producer of TOP GUN, Don Simpson, which uses narration, clips, and fictional re-enactments via “lost tapes'' to take you behind the scenes into Hollywood’s decade of decadence, the 1980s. Before the era of MeToo, there was Don Simpson the poster boy of toxic masculinity, whose outlandish behavior was not only tolerated but encouraged by the film industry who profited greatly off Don’s movies. Don Simpson was, like the character he named after himself in his movie TOP GUN, a maverick. His signature style of filmmaking created one hit after another— AMERICAN GIGOLO, FLASHDANCE, BEVERLY HILLS COP, TOP GUN- they all came from the mind of Don Simpson. Don loved the movies so much that he created a mythological persona known as “The Don” to match his signature movies— loud, ballsy, cheesy— his movies were full of homo-erotic testoterone-driven race car drivers and navy fighter pilots and stripper/welders who wanted to be ballerinas— these were the movies from Don’s absurd fantasy world— this was the world that Don actually lived in— there was no separation between life and art. And that movie persona that he created— “The Don”— grew more and more outrageous and more extreme— until ultimately… it killed him.