Exclusive: Randy Jackson called Michael Jackson’s executors “the three stooges” this past weekend in a podcast interview with his former attorney Brian Oxman. He named them, too– John Branca, John McClain, and Howard Weitzman (who is not an executor but the attorney who represents the estate).

Oxman was a lawyer once until he was disbarred after several disciplinary actions by the California Bar Association. After representing Randy Jackson in his divorce, Oxman also claimed for years to be the Jackson family attorney. He was fired from Michael Jackson’s defense team in 2005 during the child molestation trial in Santa Maria by Thomas Mesereau.

In the podcast, which I’ve linked below, Randy says: “My family is not happy with McClain and Branca. We don’t believe the will is real. We don’t support [the estate]. We’re not happy.”

Randy also says that “this is the tip of the iceberg” in relation to the Michael Jackson Estate’s current problems with the Internal Revenue Service. He says, “I know something is wrong.” Neither Randy nor any of his siblings received any money from Michael Jackson’s will. One brother, Jackie, is on the estate payroll, however. Randy says in the interview: “A few of my brothers and sisters I’m not getting along with right now.”

Last year, in June 2012, Randy was part of a trio with Janet and Jermaine Jackson who spirited their mother, Katherine Jackson, away to Arizona. The trip turned into a full scale scandal when Paris Jackson tweeted that no one knew what had happened to her grandmother. Randy refers to the incident as “the kidnapping” and suggests that someone–the executors?– invented that to take the heat off his now famous letter to the executors demanding that they resign.

Randy also suggests that “someone” was giving Dr. Conrad Murray orders to drug Michael.

How Brian Oxman got an internet radio show is another question altogether.

http://brianoxman.com/brian-oxman-show-9-8-13-hour-2/

This is too much: Harvey Weinstein has bought up four films at the Toronto Film Festival, all for release next year and certain to be Oscar nominees in some way for 2015. Kuh-razy!

At this year’s Toronto, Weinstein has picked up “The Disappearance of Eleanor Rigby,” “The Railway Man,” and “Can A Song Save Your Life?” Just before Toronto, right after Venice, The Weinstein Company bought “Tracks” with Mia Wasikowska and Adam Driver. The other films star respectively– James McEvoy and Jessica Chastain; Nicole Kidman and Colin Firth; and Mark Ruffalo and Keira Knightley.

All four films are top notch– I’ve seen them all. “Eleanor Rigby” is three hours long and very reminiscent of another TWC hit, “Blue Valentine.” It’s the story of a young couple told from each of their perspectives as they battle to save their marriage. McEvoy and Chastain are utterly fantastic. Ciaran Hinds is wonderful as McEvoy’s father, and William Hurt is very moving as Chastain’s. The whole thing runs three hours– very long by Weinstein standards– but exceptional in its own way.

I wrote about “The Railway Man” a few days ago. Firth and Kidman are very very good. Harvey will likely tweak the film, but it’s a big, proper Hollywood Oscar film.

“Tracks” you can read about here. There aren’t enough good things to say about it.

And “Can A Song Save Your Life” was probably my favorite new film of this year’s TIFF. Adam Levine plays a rock star named Dave Kroll (rhymes with Grohl) who is the boyfriend of Knightley. She and Mark Ruffalo, as the head of an indie record company, do the best work ever. And the songs by Gregg Alexander and Danielle Brisebois are superb.

So wow, let’s all go home. I don’t know what else to say. That’s quite a clutch of films for 2014.

Oprah Winfrey could be a double Oscar nominee next year. Her OWN network is going to release its first film for Oscar consideration in November. It’s first theatrical release from OWN.

Barbara Kopple’s documentary “Running from Crazy” chronicles Mariel Hemingway‘s exploration of suicide and depression in her family, from grandfather Ernest to her own sisters. In the film Mariel comes to the conclusion that her late father, John, sexually abused both of her sisters. One of them, Margaux, who became an internationally known model and actress, committed suicide.

OWN will release “Running from Crazy” for Oscar eligibility– which basically means “four walling” or just renting a theater in New York and Los Angeles for one week runs before the end of the year before it’s shown on TV. The movie is fascinating. And of course Kopple is an Oscar winning, important filmmaker.

Oprah is already the leading contender for Best Supporting Actress in “The Butler.” So it will be interesting to see what support she puts behind “Running from Crazy” to get it nominated in the doc category. We could be seeing her twice on the Dolby Theater stage on March 2, 2014.

Taylor Swift up close: I haven’t seen her since her first year at the Grammys. She was a gangly teenager with a mother and family who stuck to her like glue. It seems like eons have passed.

On Sunday night Taylor, labeled a maneater in the press, came to Soho House in Toronto. She contributed a song to the movie “One Chance” about British singer Paul Potts. Her date? A bodyguard who growled whenever anyone approached. Her tablemate? Young Australian actor Brenton Thwaites, who will make his American debut in The Weinstein Company’s “The Giver” starring Meryl Streep and Jeff Bridges.

I slid into a seat at their table. The bodyguard bared his teeth. Taylor said, “He’s okay.” I was approved for an audience– mostly because I told the truth. In my recent entrapment in my car, Swift’s duet with Ed Sheeran– called “Everything Has Changed”– has become a favorite. It’s her best offering in a long time because it’s not about knifing a celebrity ex boyfriend.

What did we talk about? Her tour, which I caught with my nieces last winter at the Prudential Center in Newark. “I’m very sad. We only have a couple of dates left in the U.S.” Does she like performing live? “I love it,” she said. But it’s not over. The tour goes international next. Swift’s highly constructed show still has countries to conquer.

And what about the man-eating thing? I must tell you, Swift and Thwaites sat perpendicular to each other. They could not have been more chaste. They looked like characters from “Downton Abbey.” There was no hand holding, smooching, or anything else. They actually looked like they’d been put at the table like a flower arrangement. And Taylor couldn’t have been nicer or more composed.

Maybe everything has changed.