In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias द्वारा प्रदान की गई सामग्री. एपिसोड, ग्राफिक्स और पॉडकास्ट विवरण सहित सभी पॉडकास्ट सामग्री Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias या उनके पॉडकास्ट प्लेटफ़ॉर्म पार्टनर द्वारा सीधे अपलोड और प्रदान की जाती है। यदि आपको लगता है कि कोई आपकी अनुमति के बिना आपके कॉपीराइट किए गए कार्य का उपयोग कर रहा है, तो आप यहां बताई गई प्रक्रिया का पालन कर सकते हैं https://hi.player.fm/legal।
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Jim and A.Ron review each week's episode of HBO's House of the Dragon and your feedback.
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The Ringer’s Mallory Rubin and Jason Concepcion return to take their signature deep dives into the Marvel Cinematic Universe, covering all 23 films!
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Are you a fan of Game of Thrones? Never read the books? No problem! Check out this podcast where the host, Liz, discusses about some of the things you missed out from the books! If you're interested in this podcast or the fandom, check out the website (https://www.thewesterosiprimer.com) to find out more! Sign up to the newsletter for the latest updates to the podcast or website. Artwork by Art - https://www.fiverr.com/lordoflogos Music by Cloud Road Music - https://www.cloudroadmusic.com/
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Brains On!® is a science podcast for curious kids and adults from Brains On Universe. Each week, a different kid co-host joins Molly Bloom to find answers to fascinating questions about the world sent in by listeners. Like, do dogs know they’re dogs? Or, why do feet stink? Plus, we have mystery sounds for you to guess, songs for you to dance to, and lots of facts -- all checked by experts. Sales and Distribution by Lemonada Media https://lemonadamedia.com/
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Bald Move Pulp is where you can get your fix of robots, aliens, action space adventures, and everything in between; on television or on the big screen. Pulp was not made for serious drama, if that’s your thing, you might be looking for Bald Move Prestige.
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DumTeeDum is a weekly podcast about The Archers featuring fans of Ambridge. Hosted on Acast. See acast.com/privacy for more information.
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Our sixth season is Cleopatra, a six-episode series about one of the most expensive and infamous movies ever made. Directed by Joseph L. Mankiewicz and starring Elizabeth Taylor, Cleopatra should have been a smash. Instead, it was a shoot plagued by medical emergencies, climate disasters, nervous breakdowns, and the most scandalous love affair to ever hit a movie set. Join host Ben Mankiewicz as he digs through his own family stories to understand how it turned out so badly for his Oscar-win ...
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Join Tom Elliot in the Rondo award winning Twilight Zone Podcast. A journey through Rod Serling’s classic television series. With reviews, interviews and readings from The Twilight Zone… Become a supporter of this podcast: https://www.spreaker.com/podcast/the-twilight-zone-podcast--5856481/support.
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In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
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<div class="span index">1</div> <span><a class="" data-remote="true" data-type="html" href="/series/what-should-i-do-with-my-money">What Should I Do With My Money?</a></span>
Matching real people, asking real questions about their money, with experienced Financial Advisors. You’ll hear answers to important questions like: Is now the right time to buy a house? What to do if your business fails? How should I be saving to cover the cost of college? How much do I really need to retire and am I on track? Join us as our guests share their stories around life's major moments. And hear the difference a conversation can make. Hosted by Morgan Stanley Wealth Management’s Jamie Roô. For more information visit morganstanley.com/mymoney . Not all products and services are available in all countries or jurisdictions.
The Next Picture Show
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Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias द्वारा प्रदान की गई सामग्री. एपिसोड, ग्राफिक्स और पॉडकास्ट विवरण सहित सभी पॉडकास्ट सामग्री Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias या उनके पॉडकास्ट प्लेटफ़ॉर्म पार्टनर द्वारा सीधे अपलोड और प्रदान की जाती है। यदि आपको लगता है कि कोई आपकी अनुमति के बिना आपके कॉपीराइट किए गए कार्य का उपयोग कर रहा है, तो आप यहां बताई गई प्रक्रिया का पालन कर सकते हैं https://hi.player.fm/legal।
Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.
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Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias द्वारा प्रदान की गई सामग्री. एपिसोड, ग्राफिक्स और पॉडकास्ट विवरण सहित सभी पॉडकास्ट सामग्री Telegraph Road Productions, Genevieve Koski, Keith Phipps, Tasha Robinson, and Scott Tobias या उनके पॉडकास्ट प्लेटफ़ॉर्म पार्टनर द्वारा सीधे अपलोड और प्रदान की जाती है। यदि आपको लगता है कि कोई आपकी अनुमति के बिना आपके कॉपीराइट किए गए कार्य का उपयोग कर रहा है, तो आप यहां बताई गई प्रक्रिया का पालन कर सकते हैं https://hi.player.fm/legal।
Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.
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1 #501: Human/Nature, Pt. 1 — Days of Heaven 58:54
58:54 
बाद में चलाएं 
बाद में चलाएं 
सूचियाँ 
पसंद 
पसंद58:54
बाद में चलाएं
बाद में चलाएं
सूचियाँ
पसंद
पसंदClint Bentley’s new Train Dreams uses the vast canvas of the natural world to frame a relatively tiny story of a single human life, a juxtaposition of story and visuals that’s reminiscent of the work of Terrence Malick, in particular 1978’s Days of Heaven . Set, like Train Dreams , in the midst of America’s Industrial Revolution, Days of Heaven takes an elliptical approach to a fairly straightforward narrative that is pure Malick, leaving us with much to discuss in terms of whose story this is, and what the film’s sparse dialogue and unusual narration leaves unsaid. Then in Feedback, we share some quick reactions to a handful on new releases we won’t be covering on the show, and address a listener suggestion for an alternate One Battle After Another pairing. Please share your thoughts about Days of Heaven, Train Dreams , or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #500: What's In a Name — The Last Picture Show 1:30:10
1:30:10 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:30:10
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदDon’t be alarmed by the title of this week’s movie selection, this is not our final episode — in fact, it’s our 500th, a milestone none of us expected to hit when we started this podcast a decade ago. So in honor of all our past pairings, we’re devoting this one-off episode to a film we’ve never managed to find an excuse to cover on this show, despite naming ourselves after it: THE LAST PICTURE SHOW. You may think it counterintuitive, even perverse, to devote our anniversary celebration to a somber film about a dying town whose only movie theater shuts down — even one as great as Peter Bogdanovich’s 1971 coming-of-age drama — but as our discussion reveals, there are deeper connections between the film and this podcast than just a name. After that, we lighten the mood considerably with a very special game devoted to this podcast’s history and our collective inability to remember it, especially when points are on the line. Please share your thoughts about THE LAST PICTURE SHOW, The Next Picture Show, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:07:48 The Last Picture Show Keynote: 00:07:48-00:13:04 The Last Picture Show Discussion: 00:13:04 - 00:44:02 The Next Picture Quiz Show: 00:44:02-01:22:07 Next episode announcement and goodbyes: 01:22:07-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #499: Impaired Visions, Pt. 2 — Radu Jude's Dracula 1:01:45
1:01:45 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:01:45
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदFrom its nearly three-hour runtime to its deployment of some of the most deranged CGI you’ve ever seen committed to screen, Radu Jude’s DRACULA often feels like an extended act of trolling, but is it art? The answer to that question is inextricable from the film’s presentation of AI-derived art as grotesque, inhuman, and unsatisfying, and it makes DRACULA arguably more entertaining to discuss than it is to watch. So after attempting to pull some meaning out of what the critic in 8 1/2 might describe as DRACULA’s “series of gratuitous episodes,” we move into Connections for a study in contrasts between Fellini’s portrait of an artist struggling to make a personal work, and Jude’s evisceration of a charlatan trying to outsource artistry to a machine. Then in Your Next Picture Show, we discuss another film we considered as a DRACULA pairing that may not be quite as celebrated as 8 1/2, but we nonetheless recommend as another depiction of a filmmaker in creative crisis: Christopher Guest’s debut feature, THE BIG PICTURE. Please share your thoughts about 8 1/2, DRACULA, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next episode: A celebration of Peter Bogdanovich’s THE LAST PICTURE SHOW, and 500 episodes of a niche film podcast named after it. Intro: 00:00:00-00:01:57 Dracula discussion: 00:01:57 - 00:27:20 Dracula/8 1/2 Connections: 00:27:20 - 00: 48:11 Your Next Picture Show and goodbyes: 00:48:11-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #498: Impaired Visions, Pt. 1 — 8 1/2 1:01:25
1:01:25 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:01:25
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदRadu Jude’s DRACULA is, technically speaking, yet another movie about one of the most depicted antagonists in all of cinema, but in actuality it’s about a different beast that has fascinated filmmakers for nearly as long: filmmaking. Within the grand tradition of “movies about moviemaking,” DRACULA’s surreal humor, combined with its focus on a struggling filmmaker fantasizing about the film he might make, gave us an excuse to revisit an all-time classic of the form, Federico Fellini’s 8 1/2. So this week we search for meaning within 8 1/2’s reveries of a blocked creative mind, interrogate the “semi” part of Fellini’s semi-autobiographical approach, and touch on some of the other films that exist in the shadow of this one. Then in Feedback, our recent pairing of RUNNING ON EMPTY and ONE BATTLE AFTER ANOTHER inspires a supplementary-listening suggestion for the former, and a head canon explanation for one of our questions about the latter. Please share your thoughts about 8 1/2, DRACULA, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:05:12 8 1/2 Keynote: 00:05:12-00:11:39 8 1/2 Discussion: 00:11:39-48:26 Feedback/outro: 00:48:26-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #497: First Strikes, Pt. 2 — A House of Dynamite 1:02:01
1:02:01 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:02:01
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदA HOUSE OF DYNAMITE is built on an undeniably hooky premise — a nuclear missile originating from an unknown source is heading right for us — but is that premise enough to support a successful movie? We’re joined once again by critic and author Jason Bailey to unpack that question, particularly as it applies to the film’s triptych structure and nervy ending gambit. That ending comes back into play when we reintroduce 1964’s FAIL SAFE for Connections, to see how Sidney Lumet’s Cold War thriller compares to Kathryn Bigelow’s modern-day nuclear scenario in their respective depictions of human connection — personal, professional, and adversarial —amid humanity-threatening catastrophe. Then we keep it in the nuclear family for Your Next Picture Show, with a recommendation for the 1983 TV movie THE DAY AFTER, as well as some of its pop-cultural fallout. Please share your thoughts about FAIL SAFE, A HOUSE OF DYNAMITE, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Radu Jude’s DRACULA and Federico Fellini’s 8 1/2 Intro: 00:00:00-00:02:33 A House of Dynamite discussion: 00:02:33 - 00:24:41 A House of Dynamite/Fail Safe Connections: 00:24:41-47:56 Your Next Picture Show and goodbyes: 00:47:56-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #496: First Strikes, Pt. 1 — Fail Safe 58:17
58:17 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद58:17
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदKathryn Bigelow’s new A HOUSE OF DYNAMITE games out a scenario that filmmakers have been grappling with since the mid-20th century, in particular the year 1964, which saw the release of two very different classics of the nuclear-catastrophe genre: DR. STRANGELOVE, followed a few months later by the other half of this week’s pairing, FAIL SAFE. If the bleak realism of Sidney Lumet’s nuclear thriller made it a tougher sell to audiences back then, though, it also makes FAIL SAFE feel like a more fitting companion to Bigelow’s film than its satirical predecessor. We’re joined this week by critic and author Jason Bailey to discuss why FAIL SAFE still feels so immediately chilling decades removed from its Cold War context, and how Lumet makes a story that plays out mainly in a series of small rooms feel both grand in scope and human in focus. Then, in honor of our second Lumet feature in a row on this show, we turn Feedback over to a discussion of some of the prolific filmmaker’s lesser-known works. Please share your thoughts about FAIL SAFE, A HOUSE OF DYNAMITE, or anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:03:56 Fail Safe Keynote: 00:03:56-00:08:47 Fail Safe Discussion: 00:08:47-00:44:03 Feedback/outro: 00:44:03-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #495: Revolutionary Roads, Pt. 2 — One Battle After Another 1:10:25
1:10:25 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:10:25
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदPaul Thomas Anderson’s ONE BATTLE AFTER ANOTHER is a very different film in form and function than the other half of this pairing, RUNNING ON EMPTY, but it’s built on the same foundational questions as Sidney Lumet’s 1988 family drama: what does it mean to lead a revolutionary life, and how does one generation’s fight get handed off to the next? After talking through how ONE BATTLE AFTER ANOTHER engages with those questions, as well as its more action-movie-oriented thrills (and hills), we bring in RUNNING ON EMPTY to compare how the two films depict coming of age while on the run from the feds, and parents attempting to safeguard their children from an unknown future. Then in Your Next Picture Show, we discuss some of the other films Anderson chose, alongside RUNNING ON EMPTY, for a recent TCM guest-programming selection inspired by ONE BATTLE. Please share your thoughts about RUNNING ON EMPTY, ONE BATTLE AFTER ANOTHER, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Kathryn Bigelow’s A HOUSE OF DYNAMITE and Sidney Lumet’s FAIL-SAFE Intro: 00:00:00-00:01:40 One Battle After Another discussion: 00:01:40 - 00:32:37 One Battle After Another/Running on Empty Connections: 00:32:37-00:59:38 Your Next Picture Show and goodbyes: 00:59:38-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #494: Revolutionary Roads, Pt. 1 — Running on Empty (1988) 58:27
58:27 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद58:27
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद 1 #493: 'Til You Drop, Pt. 2 — The Long Walk 1:17:29
1:17:29 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:17:29
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदIt took decades in development hell for an adaptation of Stephen King’s THE LONG WALK to trudge its way into theaters, and now that it has, we’re of split opinions on how Francis Lawrence’s film goes about distinguishing itself from its source material, particularly in its graphic depiction of violence. There’s also the matter of the film’s very different ending, which we dig into once we move into Connections to compare how THE LONG WALK’s endurance contest compares to the one in Sydney Pollack’s THEY SHOOT HORSES, DON’T THEY?, in terms of how voluntary they actually are, what spectators get out of watching participants suffer, and what passes for victory in a contest where no one really wins. Then, in Your Next Picture Show, we devote a little time to revisiting a film franchise that came up repeatedly in our discussions of both these films: THE HUNGER GAMES. Please share your thoughts about THEY SHOOT HORSES, DON’T THEY?, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER and Sidney Lumet’s RUNNING ON EMPTY Intro: 00:00:00-00:01:59 The Long Walk discussion: 00:01:59 - 00:30:14 The Long Walk / They Shoot Horses Connections: 00:30:14-01:01:49 Your Next Picture Show and goodbyes: 01:01:49-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #492: 'Til You Drop, Pt. 1 — They Shoot Horses, Don't They? 1:03:44
1:03:44 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:03:44
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदIt took decades for THE LONG WALK to make it to the big screen, in part because the Stephen King novel on which it’s based is so unrelentingly grim — but as we discovered this week, it may actually be less so than the other half of this pairing, THEY SHOOT HORSES, DON’T THEY. Set during the Great Depression and featuring a protagonist who is greatly depressed, Sydney Pollack’s 1969 drama about a marathon dance contest has little room for uplift, but it’s nonetheless full of interesting characters and performances, evocative filmmaking choices, and one of cinema’s all-time downer endings. After that discussion, we pick ourselves back up off the floor with the help of some feel-good Feedback from a long-time listener as we approach this podcast’s ten-year anniversary. Please share your thoughts about THEY SHOOT HORSES, DON’T THEY, THE LONG WALK, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:04:32 They Shoot Horses, Don’t They Keynote: 00:04:32-00:09:38 They Shoot Horses, Don’t They Discussion: 00:09:38-00:50:10 Feedback/outro: 00:52:06-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #491: Kings' Ransoms, Pt. 2 — Highest 2 Lowest 1:24:15
1:24:15 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:24:15
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदSpike Lee’s HIGHEST 2 LOWEST is built on the rock-solid narrative foundation of HIGH AND LOW, but the “interpretation” of Akira Kurosawa’s 1963 crime-thriller classic he builds atop it can be shaky at times. We’re all in agreement that HIGHEST 2 LOWEST has flaws, but whether those flaws add up to ruin or simply provide texture to a singular filmmaker’s singular film is up for discussion in the first part of this week’s episode. Then we move into Connections to see where Lee and Kurosawa’s films align and diverge when it comes to high-low metaphor and imagery, the intersection of media and public opinion, and the value of police work. And in Your Next Picture Show, Scott recommends an earlier collaboration between Lee and HIGHEST 2 LOWEST star Denzel Washington that has only grown in his estimation since its 1998 release. Please share your thoughts about HIGH AND LOW, HIGHEST 2 LOWEST, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Francis Lawrence’s THE LONG WALK and Sydney Pollack’s THEY SHOOT HORSES, DON’T THEY? Intro: 00:00:00-00:02:02 Highest 2 Lowest discussion: 00:02:02 - 00:30:51 Highest 2 Lowest / High and Low Connections: 00:30:51-01:12:02 Your Next Picture Show and goodbyes: 01:12:02-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #490: Kings' Ransoms, Pt. 1 — High and Low (1963) 1:03:58
1:03:58 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:03:58
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe new HIGHEST 2 LOWEST includes an onscreen credit for “the master” Akira Kurosawa as inspiration for a film that has the same basic shape and mistaken-identity kidnapping premise of 1963’s HIGH AND LOW, but is still unmistakably a Spike Lee joint. So in order to better evaluate Lee’s modernization of a crime classic, we’re returning to the master’s version to see how Kurosawa himself reshaped HIGH AND LOW from its pulp-novel origins, utilizing a bifurcated structure and leading man Toshirō Mifune to challenge viewers’ assumed sympathies towards a villain and a victim on opposite sides of the class divide. Then in Feedback, a letter from a listener underlines a point about storytelling that HIGH AND LOW handily illustrates: the necessity of a three-act structure has been greatly exaggerated. Please share your thoughts about HIGH AND LOW, HIGHEST 2 LOWEST, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:06:18 High and Low Keynote: 00:06:18-00:13:10 High and Low Discussion: 00:13:10-00:52:06 Feedback/outro: 00:52:06-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #489: The Kids Aren't Alright, Pt. 2 — Weapons 1:11:30
1:11:30 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:11:30
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदZach Cregger’s WEAPONS overlaps with Atom Egoyan’s THE SWEET HEREAFTER in both its broad narrative setup — a town grapples with the sudden disappearance of a group of children — and its non-traditional structure, but diverges considerably in its tone. Then again, WEAPONS diverges considerably from its own tone as it goes on, artfully shifting gears as it makes its way through a story that prioritizes entertainment value over horror allegory. We’re joined once again by Vulture movie critic Alison Willmore to talk about why that approach worked so well on us, and less so on the film’s detractors, before bringing THE SWEET HEREAFTER back in to discuss how each film’s broken timeline serves to reveal the intricacies of a community shattered by grief and anger. Then in Your Next Picture Show, we offer two recommendations for follow-up viewing, one for each half of this pairing. Please share your thoughts about THE SWEET HEREAFTER, WEAPONS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Spike Lee’s HIGHEST 2 LOWEST and Akira Kurosawa’s HIGH AND LOW. Intro: 00:00:00-00:02:14 Weapons discussion: 00:02:14 - 00:36:00 Weapons/The Sweet Hereafter Connections: 00:36:00-00:58:58 Your Next Picture Show and goodbyes: 00:58:58-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #488: The Kids Aren't Alright, Pt. 1 — The Sweet Hereafter 1:13:03
1:13:03 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:13:03
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदAs a story about a community shattered by the disappearance of its children, Zach Cregger’s WEAPONS lured us, Pied Piper-like, toward Atom Egoyan’s 1997 film THE SWEET HEREAFTER, which doesn’t have quite as many jump scares as Cregger’s film, but makes up for it in enveloping sadness as it explores the far-reaching effects of a school bus crash on a small Canadian town. So this week we’re revisiting Egoyan’s film with the help of Vulture movie critic Alison Willmore, to discuss how telling this story out of order shapes both the narrative and the characterization, where certain performances help fill in blanks left by the dialogue, and what we’re meant to take from the film’s ending. Then, in lieu of Feedback, we’re acknowledging a tough loss for the Chicago film criticism community by celebrating some of the critics and editors who helped shape it, and us. Please share your thoughts about THE SWEET HEREAFTER, WEAPONS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:02:44 The Sweet Hereafter Keynote: 00:02:44-00:08:09 The Sweet Hereafter Discussion: 00:08:09-00:59:15 Feedback/outro: 00:59:15-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
1 #487: Double Drebin, Pt. 2 — The Naked Gun (2025) 1:09:04
1:09:04 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:09:04
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदAkiva Schaffer’s new take on THE NAKED GUN sends up both the cop-story cliches that inspired the 1988 Zucker-Abrahams-Zucker original and the modern action tropes littering the filmography of star Liam Neeson, but at heart it’s less a genre parody than a spoof of nostalgia reboots like, well, this one. That meta layer is a major distinction between Schaffer’s film and the original, but it’s not the only one, so in between rehashing some of our favorite bits we attempt to determine where the new film’s ZAZ homage ends and its specific comedic sensibility begins. Then in Connections we use the many elements these two films share — bumbling cops and femmes fatale, a blend of timely and timeless humor, guns — to further distinguish between their approaches to satire, spoofery, and slapstick. And in Your Next Picture Show, our resident Quaid offers a recommendation for Schaffer’s podcast with his Lonely Island compatriots and Seth Meyers. Please share your thoughts about any and all NAKED GUNs, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Zach Cregger’s WEAPONS and Atom Egoyan’s THE SWEET HEREAFTER Intro: 00:00:00-00:02:10 The Naked Gun 2025 discussion: 00:02:10 - 00:28:04 The Naked Gun 1988/2025 Connections: 00:28:04 - 00:55:54 Your Next Picture Show and goodbyes: 00:55:54-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #486: Double Drebin, Pt. 1 — The Naked Gun (1988) 1:01:52
1:01:52 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:01:52
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदWhile technically a sequel, Akiva Schaffer’s new THE NAKED GUN is more accurately a reboot of the 1988 Zucker-Abrahams-Zucker cop-show spoof, which was itself a sequel-slash-reboot of their TV series POLICE SQUAD and would go on to spawn two sequels of its own. As circuitous as this IP has become over the years, though, THE NAKED GUN remains simple in both its approach and its appeal, which are essentially the same: lots and lots and lots of jokes. The original NAKED GUN was not unique in that approach, particularly within the spoof genre, but it is uniquely successful at it, so this week we’re parsing how it balances small comedic one-offs with drawn-out set pieces, contemporary references with timeless silliness, and broad mugging with underplayed straight-facedness. Then, in Feedback, a listener helps fill in some knowledge gaps from our recent F1 episode. Please share your thoughts about any and all NAKED GUNs, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:03:59 Naked Gun Keynote: 00:03:59-00:10:01 Naked Gun Discussion: 00:10:01-00:45:29 Feedback/outro: 00:45:29-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
New pairing launching Tuesday, August 12th. Learn more about your ad choices. Visit megaphone.fm/adchoices
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The Next Picture Show
1 485: Men of Steel, Pt. 2 — Superman (2025) 1:13:41
1:13:41 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:13:41
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदBy skipping the origin story and dropping viewers right into the action, James Gunn’s SUPERMAN avoids feeling like the franchise reset it is, and allows the director to get to work creating the sort of busy, quick-paced onscreen universe at which he excels. We’re joined once again by writer, podcaster, and Superman aficionado Chris Klimek to break exactly down why it works so well, as well as a few places where it doesn’t, before returning to the film that helped facilitate this shorthand approach, 1978’s SUPERMAN, to see how these different iterations of the title character — not to mention the familiar ensemble surrounding him — play in close proximity to each other. Can Superman be too corny? Is Lois Lane a good or terrible journalist? Why is Lex Luthor obsessed with land grabs, and what does his associate Eve Teschmacher actually add to these movies? We dig into all of that, then offer some options for Super-lementary viewing and reading in Your Next Picture Show. Please share your thoughts about either and all versions of SUPERMAN, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. 00:00:00. Intro 00:03:58. Superman 2025 discussion 00:30:12. Superman 1978/2025 Connections 01:00:12. Your Next Picture Show and goodbyes Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #484: Men of Steel, Pt. 1 — Superman (1978) 1:15:22
1:15:22 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:15:22
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदJames Gunn’s new SUPERMAN begins from the assumption that audiences already have a working knowledge of the Man of Steel’s origin story, his super-skill set, and his romance with Lois Lane. Gunn’s film benefits greatly from being able to skip past the basics, but it wouldn’t have been possible without Richard Donner’s franchise-launching blockbuster SUPERMAN, which codified those basics for the big screen. So this week we’re spinning the planet backwards to 1978 and revisiting filmgoers’ first introduction to The Last Son Of Krypton — who we don’t properly meet until nearly an hour in because, as it turns out, there are about four different movies tucked inside SUPERMAN. We’re joined by writer, podcaster, and Supes superfan Chris Klimek to discuss how it all holds together from a modern perspective, and whether Christopher Reeve’s definitive performance is enough to overcome all the film’s flaws, or just most of them. Then in Feedback, the SINNERS conversation lives on, with a listener detailing its many connections to another film that we considered for that pairing. Please share your thoughts about either and all versions of SUPERMAN, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. 00:00:00 Intro 00:11:41 Superman Keynote 00:18:48 Superman Discussion 01:04:47 Feedback/outro Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #483: Kings of the Road, Pt. 2 — F1 1:01:17
1:01:17 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:01:17
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदOn the one hand, the IMAX-driven spectacle of F1 is undeniably satisfying to watch on the big screen; on the other hand, we all walked out of Joseph Kosinski’s second teamup with producer Jerry Bruckheimer unsure whether it qualifies as a movie and not just a sophisticated simulation thereof. Despite the star power of Brad Pitt and a plethora of familiar sports-movie tropes, there’s a human element missing from F1 that left us all slightly perplexed, and which is thrown into even sharper relief when placed against the character-driven comedy of the other film in this pairing, TALLADEGA NIGHTS. But despite their drastically different points of view, the two share some uncanny similarities that we get into during Connections, from their shared narrative tension between team loyalty and individual glory, to a crash-and-burn approach to trauma, to a wallpaper-like view of corporate sponsorship. Then we take an extra lap on this racing pairing with a Your Next Picture show recommendation for the long-running Netflix docuseries F1: DRIVE TO SURVIVE. Please share your thoughts about TALLADEGA NIGHTS, F1, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: James Gunn’s SUPERMAN and Richard Donner’s SUPERMAN Intro: 00:00:00-00:02:11 F1 discussion: 00:02:12-00:29:30 F1/Talladega Nights Connections: 00:29:31-00:50:44 Your Next Picture Show: 00:50:45-00:54:14 Next episode preview and goodbyes: 00:54:15-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #482: Kings of the Road, Pt. 1 — Talladega Nights: The Ballad of Ricky Bobby 1:07:18
1:07:18 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:07:18
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe new F1 brings even more attention to a sport/brand that’s becoming as popular in the U.S. as it is internationally, but its application of sports-movie tropes to the world of racing, in particular its focus on an intersquad rivalry, has big, booming echoes in the defiantly American world of NASCAR as depicted in TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY. The 2006 Adam McKay/Will Ferrell comedy isn’t even two decades old, but as discussed in this week’s revisitation, its loose, improv-driven approach already feels like a relic of the past, and to what degree it all holds up today is a matter of some debate — though we can at least all agree that Baby Jesus is the best Jesus. After that, we dip into some listener Feedback inspired by a couple of new releases recently covered on the podcast, MATERIALISTS and PAVEMENTS. Please share your thoughts about TALLADEGA NIGHTS, F1, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:08:55 Talladega Nights Keynote: 00:08:55-00:15:19 Talladega Nights Discussion: 00:15:19-00:51:14 Feedback/outro: 00:51:14-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #481: For Love or Money, Pt. 2 — Materialists 1:06:33
1:06:33 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:06:33
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदCeline Song’s new MATERIALISTS feints at being a romcom, but it’s far too interested in the economic realities and calculated compromise of modern dating for the label to be a comfortable fit; its romantic leanings are more in line with the works of Jane Austen and several cinematic adaptations thereof, as laid out in the “movie syllabus” Song made for her film and which inspired this pairing. But MATERIALISTS is more of a riff on Austen than a flat-out homage, and Song’s spin on the material worked better for some than others on this panel. We get into that before bringing Austen back into the picture via Joe Wright’s PRIDE & PREJUDICE to see how past speaks to present when it comes to the intersection of wealth and marriage, the art of matchmaking, nature as the realm of romance vs. the cold scrutiny of society, and the centuries-spanning fear of being “left on the shelf” as a single woman. Then in Your Next Picture Show we touch on some of the other films on Song’s list and how they might have fit into this pairing as a triple feature. Please share your thoughts about PRIDE & PREJUDICE, MATERIALISTS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Joseph Kosinski’s F1 THE MOVIE and Adam McKay’s TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY Intro: 00:00:00-00:02:43 Materialists discussion: 00:02:43-26:43 Materialists/Pride & Prejudice Connections: 00:26:43-52:41 Your Next Picture Show: 00:52:41-00:57:11 Next episode preview and goodbyes: 00:57:11-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #480: For Love or Money, Pt. 1 — Pride & Prejudice (2005) 59:09
59:09 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद59:09
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदCeline Song’s new not-quite-a-rom-com MATERIALISTS openly evokes Jane Austen in its focus on the rituals and codes of courtship, as well as its frankness about how one’s net worth can shape their romantic prospects. That could have led us to any number of Austen adaptations, but few as instantly beguiling as Joe Wright’s 2005 feature debut, PRIDE & PREJUDICE. So this week we’re discussing what makes Wright’s “muddy hem” take on the material stand out in a crowded field of Austen adaptations, whether the film’s lush style complements or drowns out its substance, and why that hand flex made such a meme-able impression. And in Feedback, a listener schools us on poetry and philosophy as it relates to the most opaque segment of I’M NOT THERE. Please share your thoughts about PRIDE & PREJUDICE, MATERIALISTS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:03:41 Pride & Prejudice Keynote: 00:03:41-00:28:59 Pride & Prejudice Discussion: 00:28:59-48:23 Feedback/outro: 00:48:23-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #479: Musical Not-obiography, Pt. 2 — Pavements 1:06:49
1:06:49 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:06:49
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदLike I’M NOT THERE, Alex Ross Perry’s new docu-like feature PAVEMENTS takes a “print the legend” approach to its subject, blurring reality and fiction to convey the significance of defining ‘90s indie rock group Pavement from a few different semi-fabricated angles. Is that approach better suited to established fans, including our returning guest and longtime friend Noel Murray, than it is to newcomers less equipped to parse how the film skews the band’s history and creative output? Perhaps, and we get into that this week before placing PAVEMENTS’ slanted snapshot next to I’M NOT THERE’s fractured Bob Dylan portrait to see how each attempts to portray an artist’s essence, if not their biography, and explores how fame can turn a person into a persona. And in Your Next Picture Show we recommend another one of Perry’s experiments in using music-biopic conventions to tell a different kind of rock-n-roll story, 2018’s HER SMELL. Please share your thoughts about I’M NOT THERE, PAVEMENTS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Celine Song’s MATERIALISTS and Joe Wright’s PRIDE & PREJUDICE Intro: 00:00:00-00:02:34 Friendship discussion: 00:02:34-00:31:28 Friendship/The Master Connections: 00:31:28-00:53:11 Your Next Picture Show: 00:53:11-00:57:40 Next episode preview and goodbyes: 00:57:40-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #478: Musical Not-obiography, Pt. 1 — I'm Not There 55:48
55:48 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद55:48
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदAlex Ross Perry’s new hybrid documentary PAVEMENTS rejects convention in a way that’s both in keeping with the spirit of the ’90s indie-rock band at its center, and reminiscent of Todd Haynes’ deconstructed Bob Dylan biopic I’M NOT THERE. And while you arguably don’t need to be well-versed in either act to appreciate the films about them, it certainly doesn’t hurt, which is why we’ve brought in our old friend Noel Murray to help us parse two films that are more concerned with conveying an artist’s essence than their biography, beginning this week with I’M NOT THERE’s freewheelin’ approach to Bob Dylan. Then, in place of Feedback, our resident Dylan scholars provide several recommendations that offer some other, more straightforward angles from which to approach the man and his music. Please share your thoughts about I’M NOT THERE, PAVEMENTS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:04:09 I’m Not There Keynote: 00:04:09-0010:12 I’m Not There Discussion: 00:10:12-00:43:23 Feedback/outro: 00:43:23-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #477: Pain Pals, Pt. 2 — Friendship 1:00:32
1:00:32 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:00:32
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदWe were admittedly a bit dubious going into this pairing, which was spoken into existence by writer-director Andrew DeYoung invoking THE MASTER when describing his new Tim Robinson/Paul Rudd comedy FRIENDSHIP, but it’s not the stretch we thought it would be. In fact, Paul Thomas Anderson’s discomfiting psychological drama proves such an interesting lens through which to view FRIENDSHIP’s discomfiting absurdist comedy that we move into Connections early, to discuss how each of these two films about lonely men at odds with their own reality bucks convention, not only in terms of narrative and character, but in style and structure as well. Then in Your Next Picture Show we give a glimpse of the episode that could have been if we had chosen the PTA film we went into FRIENDSHIP expecting to be reminded of (and still kind of were): PUNCH-DRUNK LOVE. Please share your thoughts about THE MASTER, FRIENDSHIP, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Alex Ross Perry’s PAVEMENTS and Todd Haynes’ I’M NOT THERE Intro: 00:00:00-00:01:57 Friendship discussion: 00:01:57-00:16:17 Friendship/The Master Connections: 00:16:17-00:48:01 Your Next Picture Show: 00:48:01-00:51:22 Next episode preview and goodbyes: 00:51:22-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #476: Pain Pals, Pt. 1 — The Master 1:08:04
1:08:04 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:08:04
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदWe can’t say that it would have occurred to us to pair the new Tim Robinson/Paul Rudd comedy FRIENDSHIP with THE MASTER if writer-director Andrew DeYoung hadn’t specifically invoked Paul Thomas Anderson’s 2012 psychological drama, but the two films do wind up being unexpectedly complementary portraits of relationships between emotionally unstable men. Plus, we’re happy to have an excuse to revisit THE MASTER, a slippery film wherein nearly every scene has a claim to being the most important one. So this week we’re taking a closer look at a few of those scenes and the multiple interpretations they invite. And in Feedback we’re still fielding listener interpretations of SINNERS, this time one that addresses one of Tasha’s only complaints about the film. Please share your thoughts about THE MASTER, FRIENDSHIP, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:06:04 "The Master" Keynote: 00:06:04-00:12:17 "The Master" Discussion:00:12:17-00:57:26 Feedback/outro: 00:57:26-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #475: Less Than Hero, Pt. 2 — Thunderbolts* 1:15:35
1:15:35 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:15:35
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe new THUNDERBOLTS* assembles a group of leftovers from various MCU stories to face off against their personal failings in a way that’s broadly reminiscent of, yet tonally distinct from, the wannabe superheroes of 1999’s MYSTERY MEN. It’s also tonally distinct from most recent Marvel projects in a way that we all responded to, even if we differ on whether THUNDERBOLTS* is punching above its power class in the metaphor department. We debate that before bringing MYSTERY MEN back in to explore the various power differentials both between and within these two groups of superheroes with self-esteem issues. And in Your Next Picture Show we entertain another hypothetical “misfit superheroes” pairing that Scott argues has a better claim to the “classic” designation than MYSTERY MEN. Please share your thoughts about MYSTERY MEN, THUNDERBOLTS*, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Andrew DeYoung’s FRIENDSHIP and Paul Thomas Anderson’s THE MASTER Intro: 00:00:00-00:01:39 Thunderbolts discussion: 00:01:39-00:34:23 Thunderbolts/Mystery Men Connections: 00:34:23-01:03:20 Your Next Picture Show: 01:03:20-01:06:51 Next episode preview and goodbyes: 01:06:51-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #474: Less Than Hero, Pt. 1 — Mystery Men 1:02:36
1:02:36 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:02:36
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe new THUNDERBOLTS* assembles some leftovers from the Marvel Cinematic Universe who are tough to describe as superheroes but nonetheless step up to save the day when their city needs them, which reminded us of MYSTERY MEN and its negligibly powered not-so-superteam. A flop in 1999, the comedy is as chaotic and sloppy as its titular (with an asterisk) group, but that imperfect charm is arguably central to the cult appreciation it’s attained since. So this week we’re taking a closer look at MYSTERY MEN’s small-time wannabe crime-fighters to determine how they fit into the bigger picture of modern superhero cinema. Then in Feedback, we keep the SINNERS conversation going with the help of some prompts from our listeners. Please share your thoughts about MYSTERY MEN, THUNDERBOLTS*, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:07:56 Mystery Men Keynote: 00:07:57-00:15:51 Mystery Men Discussion: 00:15:52-00:45:35 Feedback/outro: 00:45:36-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #473: The Dead of Night, Pt. 2 — Sinners 1:15:52
1:15:52 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:15:52
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदIntro: 00:00:00-00:02:03 Sinners Discussion: 00:02:04-00:28:46 Connections: 00:28:47-1:02:37 Your Next Picture Show, next pairing, and goodbyes: 1:02-38-end Director Ryan Coogler has been generous in sharing his many points of inspiration for SINNERS, including the other film in this pairing, but his exceptional new feature is refreshingly singular in both vision and execution. It makes for an admittedly lopsided comparison with FROM DUSK TILL DAWN, but also an illuminating one: examining Coogler’s vision through the lens of the 1996 Robert Rodriguez/Quentin Tarantino teamup sheds light on the added depth SINNERS brings to its own vampire mythology, criminal-brother protagonists, and mid-film genre shift. And in Your Next Picture Show, we briefly imagine the conversation we could have had if we’d instead paired SINNERS with the Coen brothers’ O BROTHER, WHERE ART THOU? Please share your thoughts about FROM DUSK TILL DAWN, SINNERS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Jake Schreier's THUNDERBOLTS and Kinka Usher’s MYSTERY MEN Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #472: The Dead of Night, Pt. 1 — From Dusk Till Dawn 1:08:19
1:08:19 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:08:19
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदComparing 1996's FROM DUSK TILL DAWN to the new SINNERS can feel a bit like, as Scott puts it, comparing “Chopsticks” to Beethoven’s Fifth. But Robert Rodriguez and Quentin Tarantino’s sleazy vampire flick was clearly on Ryan Coogler’s mind when crafting his own film about a pair of brothers who spend one fateful night defending a nightclub from an invading horde of the undead. Coogler’s film also has much more on its mind beyond that pulpy premise, which we’ll get into next week, but for now we’re digging as deep as we can into the shallow pleasures and frustrating shortcomings of FROM DUSK TILL DAWN, from the awkward but arguably endearing performances from George Clooney and Tarantino as fugitive brothers, to the moments that test the limits of Rodriguez’s run-and-gun filmmaking approach — and yes, of course we have to talk about the foot stuff, too. Then in Feedback, we respond to a couple of listeners pushing back on some of our Cronenbergian categorization in the last pairing. Please share your thoughts about FROM DUSK TILL DAWN, SINNERS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:06:57 From Dusk Till Dawn Keynote: 00:06:57-00:11:55 From Dusk Till Dawn Discussion: 00:11:56-00:54:04 Feedback/outro: 00:54:04-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #471: Body By Cronenberg, Pt. 2 — The Shrouds 1:12:16
1:12:16 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:12:16
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदOver the decades, David Cronenberg has carved a distinctive and provocative filmography out of his interest in human decay and death, up to and including his new THE SHROUDS, a late-career entry in the writer-director’s body-horror canon. It’s a film that left some of us confounded in a way that our returning guest, critic Charles Bramesco, might argue is part of its Cronenbergian appeal; but placing it next to THE FLY in Connections clarifies how much it’s simply an evolution of the same pet themes Cronenberg has been circling since 1986 (and earlier), from overlapping obsessions with the mutability of bodies and technology, to the horror and guilt of watching a loved one deteriorate before our very eyes. And in Your Next Picture Show, we’re inspired to talk over another recent, highly personal project from an elder-statesman auteur that received a mixed reception, and which we never got to cover on the show: Francis Ford Coppola’s MEGALOPOLIS. Please share your thoughts about THE FLY, THE SHROUDS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Ryan Coogler’s SINNERS and Robert Rodriguez’s FROM DUSK TIL DAWN Intro: 00:00:00-00:02:00 The Shrouds discussion: 00:02:04-00:26:23 The Shrouds/The Fly Connections: 00:26:24-00:59:16 Your Next Picture Show: 00:59:17-01:03:15 Next episode preview and goodbyes: 1:03:16-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #470: Body By Cronenberg, Pt. 1 — The Fly (1986) 59:41
59:41 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद59:41
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe way David Cronenberg’s new THE SHROUDS splices together unsettling ideas about technology and bodily transformation made us think of… well, a lot of his filmography, but the film’s visceral interest in how the human body decays feels directly connected to the director’s unlikeliest hit, his remake of THE FLY. We’re joined this week by critic and our nascent “gross and scary” correspondent Charles Bramesco to teleport back to 1986 and examine what lies beneath the rotting flesh of THE FLY, from its tender central relationship to its oozing physical effects to its Howard Shore score, that makes it a distinctly Cronenbergian grossout. Then in Feedback, a listener uses our recent discussion of THE THIN MAN to broach a bigger question about what we value most in our mystery stories. Please share your thoughts about THE FLY, THE SHROUDS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:03:38 The Fly Keynote: 00:03:39-00:08:18 The Fly Discussion: 00:08:19-00:44:11 Feedback/outro: 00:44:12-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #469: Mr. and Mrs. Mystery, Pt. 2 — Black Bag 1:11:51
1:11:51 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:11:51
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदBLACK BAG, Steven Soderbergh’s latest 90-minute collaboration with writer David Koepp, is in theory a sprawling international spy thriller, but in practice it’s a more intimate study of how a marriage can thrive in an environment where trusting your spouse is considered a weakness. This week we talk about how that genre disconnect works for and against BLACK BAG, before bringing in this pairing’s companion film, 1934’s THE THIN MAN, to compare how Nick and Nora Charles’s bantering, crime-solving partnership compares to the cooler, less boozy charms of Cate Blanchett and Michael Fassbender’s married spies. Then for Your Next Picture Show, we reach back to one of this podcast’s very first episodes to cannibalize a recommendation for a film that we’ve already covered on the show, but was too clear an inspiration on BLACK BAG to ignore. (And really, is there ever a bad time to recommend WHO’S AFRAID OF VIRGINIA WOOLF?) Please share your thoughts about THE THIN MAN, BLACK BAG, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next pairing: David Cronenberg’s THE SHROUDS and THE FLY Chapters: Intro: 00:00:00-00:02:04 Black Bag discussion: 00:02:04-00:29:03 Black Bag/The Thin Man Connections: 00:29:03-00:58:35 Your Next Picture Show: 00:58:35-01:04:50 Next episode preview and goodbyes: 1:104:50-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #468: Mr. and Mrs. Mystery, Pt. 1 — The Thin Man 1:09:13
1:09:13 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:09:13
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदSteven Soderbergh’s new BLACK BAG is a spy thriller, sure, but it’s also the story of a marriage, and watching its sophisticated central couple banter their way through a sprawling mystery, it’s hard not to be reminded of one of cinema’s most enduring and endearing crime-solving couples, Nick and Nora Charles. So this week we’re going back to their film debut, 1934’s THE THIN MAN, to see how W.S. Van Dyke’s (barely) pre-Code crime caper balances the effervescent charm of its hard-drinking stars against the plot mechanics of a murder mystery, and whether any of the film’s many supporting players ever manage to steal the spotlight from Nick, Nora, and their disobedient dog Asta. Then in Feedback, a listener writes in with a notable omission from our recent discussion of STARSHIP TROOPERS. Please share your thoughts about THE THIN MAN, BLACK BAG, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Chapters: Intro/favorite movie dinner scenes: 00:00:00-00:08:44 The Thin Man Keynote: 00:08:45-00:15:43 The Thin Man Discussion: 00:15:44-00:56:44 Feedback/outro: 00:56:45-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #467: Kill 'Em All, Pt. 2 — Mickey 17 1:20:21
1:20:21 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:20:21
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदBong Joon Ho’s new MICKEY 17 takes a lot of big swings, from star Robert Pattinson’s vocal affectation to a comedic fixation on “sauce,” all of it in service of big, bold, arguably blunt satire. It all makes for a somewhat messy but highly discussable film, both on its own and in conversation with Paul Verhoeven’s STARSHIP TROOPERS, another big swing of a sci-fi satire that aims to entertain as it undermines propagandistic societies where leaders rule by catchphrase, where citizenship is conditional, and where working-class lives are expendable. We dive into all of that, plus space bugs that may not actually be bugs, then offer a Your Next Picture Show recommendation for another MICKEY 17 pairing contender, Duncan Jones’ MOON. Please share your thoughts about STARSHIP TROOPERS, MICKEY 17, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next pairing: Steven Soderbergh’s BLACK BAG and W.S. Van Dyke’s THE THIN MAN Chapters: Intro: 00:00:00-00:01:55 Mickey 17 discussion: 00:01:56-00:31:19 Mickey 17/Starship Troopers Connections: 00:31:20-1:07:03 Your Next Picture Show: 1:07:04-1:12:50 Next episode preview and goodbyes: 1:12:51-1:16:11 Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #466: Kill 'Em All, Pt. 1 — Starship Troopers 1:02:54
1:02:54 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:02:54
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThis week’s pairing is brought to you by: space bugs! Specifically, space bugs as a metaphor for a fascistic society’s disregard for any perceived-to-be-lower life form, human or otherwise. Inspired by the clear satire of Bong Joon Ho’s new MICKEY 17, we’re revisiting Paul Verhoeven’s STARSHIP TROOPERS, whose satirical intent was less clear to some audiences when it hit theaters in 1997. Today, while we’re on the same page as far as what Verhoeven was going for with his propagandistic display of military might, opinions still differ among our panel as to how well he pulled it off. We get into that disagreement, as well as the surprisingly enduring effects and the improbability of a film like this being made in Hollywood today. Then in Feedback, a listener inspired by a recent pairing shares their reaction to a first-time viewing of THE KILLING FIELDS. Please share your thoughts about STARSHIP TROOPERS, MICKEY 17, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Intro/space threats discussion: 00:00:00-00:06:02 Starship Troopers Keynote: 00:06:03-00:11:41 Starship Trooper Discussion: 00: 11:42-00:52:46 Feedback/outro: 00:52:47-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #465: Late Innings, Pt. 2 — Eephus 1:13:26
1:13:26 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:13:26
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदCarson Lund’s feature debut EEPHUS moves at the same deliberate pace as the trick pitch for which it’s named, leisurely unfolding over the course of a season-ending game between two small-town recreation leagues that’s also probably the last time many on the field will ever play. This week we’re joined again by film critic and baseball lover Tim Grierson to discuss how EEPHUS approaches that sense of finality with low-key humor and a subtle sense of nostalgia, before bringing Ron Shelton’s BULL DURHAM back on the field to compare these two films’ ideas about aging, masculinity, and America’s pastime, emphasis on the “past.” And in Your Next Picture Show we offer a recommendation for another unconventional baseball movie that offers a rarely seen perspective on the game, 2008’s SUGAR. Please share your thoughts about BULL DURHAM, EEPHUS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next pairing: Bong Joon Ho’s MICKEY 17 and Paul Verhoeven’s STARSHIP TROOPERS Chapters: Intro: 00:00:00-00:01:51 Eephus discussion: 00:01:52-00:27:37 Connections: 00:27:38-1:00:12 Your Next Picture Show: 1:00:13-1:04:25 Next episode preview and goodbyes: 1:04:26-end Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #464: Late Innings, Pt. 1 — Bull Durham 1:03:32
1:03:32 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:03:32
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदQuietly observing as a small-town recreation league plays out their last game of the season, and likely ever, the new EEPHUS is a feature-length subversion of “the big game,” simultaneously embracing and rejecting such baseball-movie cliches in a manner that reminded us of 1988’s BULL DURHAM. We’re joined this week by pinch-hitter Tim Grierson to discuss all the ways Ron Shelton’s classic, often cited as the best baseball movie ever, throws out the sports-movie playbook, from its multiple protagonists and rom-com structure to its acknowledgment that baseball, like life, has an expiration date. And in Feedback, a frequent contributor returns with some bonus observations from our recent pairing of PRESENCE and THE OTHERS. Intro/favorite movie sports teams: 00:00:00-00:08:51 Bull Durham Keynote: 00:08:51-00:14:55 Bull Durham Discussion: 00:14:56-00:56:14 Feedback/outro: 00:56:14-end Please share your thoughts about BULL DURHAM, EEPHUS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #463: War Bonds, Pt. 2 — No Other Land 1:00:50
1:00:50 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:00:50
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe story of two journalists reporting on a common cause despite their vastly different backgrounds is what gives NO OTHER LAND its narrative shape — and is what inspired us to pair it with 1984’s THE KILLING FIELDS — but the Oscar-nominated documentary is at heart a story about activism, and the weight of maintaining hope amid a generations-spanning conflict with no resolution in sight. We’re joined again this week by Slate culture writer Sam Adams to discuss how NO OTHER LAND makes the political personal, then bring THE KILLING FIELDS back in to compare these two portrayals of journalism from very different moments in journalism history, and the quandaries of privilege and guilt that accompany partnerships of unequals. Then in Your Next Picture Show we tout SWIMMING TO CAMBODIA and Jonathan Demme’s ability to spin Spalding Gray’s monologue about his bit role in THE KILLING FIELDS into a BTS feature like none other. Intro: 00:00:00-00:02:25 No Other Land discussion: 00:02:26-00:24:28 Connections: 00:24:29-00:46:00 Your Next Picture Show/Goodbyes: 00:46:01-00:56:35 Please share your thoughts about THE KILLING FIELDS, NO OTHER LAND, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Carson Lund’s EEPHUS and Ron Shelton’s BULL DURHAM Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #462: War Bonds, Pt. 1 — The Killing Fields 53:37
53:37 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद53:37
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदIntro & Oscars Chitchat: 00:00:00-00:08:52 Keynote: 00:08:53-00:13:50 The Killing Fields Discussion: 00:13:51-44:37 Feedback & Outro: 00:44:38-end Summary: The Oscar-nominated documentary NO OTHER LAND, a collaboration between Palestinian and Israeli filmmakers whose common cause and eventual friendship does not change the stark contrast in their political status, brought to mind another story of two journalists from strikingly different backgrounds who bond in the midst of a geopolitical hotspot: 1984’s THE KILLING FIELDS. We’re joined this week by Slate writer and critic Sam Adams to revisit Roland Joffé’s dramatization of the relationship between New York Times reporter Sydney Schanberg and Dith Pran, the Cambodian interpreter who worked alongside him as the country fell to the Khmer Rouge, to consider how THE KILLING FIELDS plays several decades removed from a conflict that would have been recent history for contemporary audiences. And in Feedback we share a listener’s explanation for one of our lingering questions from our recent discussion of THE OTHERS. Please share your thoughts about THE KILLING FIELDS, NO OTHER LAND, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #461: House Haunters, Pt. 2 — Presence 1:15:20
1:15:20 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:15:20
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदSteven Soderbergh’s new PRESENCE flips the typical haunted house narrative inside out, but unlike the other film in this pairing, THE OTHERS, it makes its point of view clear from the opening frames. But that POV doesn’t slide fully into focus until PRESENCE’s final-act reveal, which left us with some questions, both critical and metaphysical, to dig into this week. Then we bring THE OTHERS back into the conversation to discuss how these two very different takes on the haunted house — one classical, one revisionist — each makes use of confined space, complex parent-child dynamics, and ambiguity about how time functions in an eternal afterlife. Then we keep the ghost stories coming in Your Next Picture Show, with some recommendations for films with an unusual or memorable perspective on domestic hauntings. Intro: (00:00:00-00:01:58) Presence review (spoiler-free): (00:01:590-00:20:10) Presence review continued (spoilers): (00:20:11-00:27:56) Connections: (00:27:57-00:56:14) Your Next Picture Show: (00:56:15-01:06:50) Next episode preview and credits: (01:06:51-01:11:05) Please share your thoughts about THE OTHERS, PRESENCE, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Your Next Picture Show: • David Lowery’s A GHOST STORY • Guillermo del Toro’s CRIMSON PEAK • Jack Clayton’s THE INNOCENTS • Sidney J. Furie’s THE ENTITY Next Pairing: NO OTHER LAND and THE KILLING FIELDS Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #460: House Haunters, Pt. 1 — The Others 1:07:31
1:07:31 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:07:31
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदSteven Soderbergh’s new PRESENCE is an unconventional haunted house story with a twist that reminded us of 2001’s THE OTHERS, though to say exactly why risks spoiling how Alejandro Amenábar performs his own twist on a comparatively traditional haunted house story. That twist forms the foundation of our discussion this week, which freely roams spoiler territory as we consider how the ending revelation shapes our understanding of THE OTHERS' perspective on religion and the afterlife, and how the film’s abundant symbolism lines up with its narrative as a ghost story. Then in Feedback, we revisit our recent “Fanged Attraction” pairing with a couple of listeners offering their own interpretations of BRAM STOKER’S DRACULA and NOSFERATU. Please share your thoughts about THE OTHERS, PRESENCE, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices…
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1 #459: Fanged Attraction Pt. 2 — Nosferatu (2024) 1:19:55
1:19:55 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:19:55
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदGiven their shared source material, Robert Eggers’ NOSFERATU and Francis Ford Coppola’s BRAM STOKER’S DRACULA understandably have a lot overlap in terms of plot and character, but the two films are miles apart in their interpretation of that source material, particularly as applied to its titular vampire. We’re of split opinions on Eggers’ bleak, monster-forward characterization of Orlock, especially how it plays against NOSFERATU’s ideas about female desire and sexuality, but agree it provides a fascinating counterpoint to Coppola’s florid spin on the Count as a tragic romantic antihero. We examine that contrast further in Connections alongside other character parallels — the Renfields, the Van Helsings, the maidens fair — as well as how the two films’ diverging styles each reinforce their filmmaker’s take on the title character. And in place of Your Next Picture Show, we offer some impromptu reflections on the life and work of David Lynch, who died the day this episode was recorded. Please share your thoughts about BRAM STOKER’S DRACULA, NOSFERATU, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Next Pairing: Steven Soderbergh’s PRESENCE and Alejandro Amenábar’s THE OTHERS Learn more about your ad choices. Visit megaphone.fm/adchoices…
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The Next Picture Show
1 #458: Fanged Attraction, Pt. 1 — Bram Stoker's Dracula 1:02:31
1:02:31 बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंद1:02:31
बाद में चलाएं बाद में चलाएं सूचियाँ पसंद पसंदThe heightened gothic sensibility of Robert Eggers’ new NOSFERATU recalls — in its intensity if not its precise contours — BRAM STOKER’S DRACULA, Francis Ford Coppola’s feverish 1992 horror-romance that follows the same story from a markedly different perspective. This led us to reconsider Coppola’s flawed but fascinating DRACULA as a film that, even if it arguably never achieves greatness, inarguably leaves an impression. Yes, Keanu Reeves’ accent is part of that impression, but so is the film’s grandiose art design, its recasting of Dracula as a tragic romantic antihero, and its overall commitment to cinematic maximalism, for better or worse. Please share your comments, thoughts, and questions about BRAM STOKER’S DRACULA, NOSFERATU, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net , or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices…
प्लेयर एफएम में आपका स्वागत है!
प्लेयर एफएम वेब को स्कैन कर रहा है उच्च गुणवत्ता वाले पॉडकास्ट आप के आनंद लेंने के लिए अभी। यह सबसे अच्छा पॉडकास्ट एप्प है और यह Android, iPhone और वेब पर काम करता है। उपकरणों में सदस्यता को सिंक करने के लिए साइनअप करें।
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Jim and A.Ron review each week's episode of HBO's House of the Dragon and your feedback.
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The Ringer’s Mallory Rubin and Jason Concepcion return to take their signature deep dives into the Marvel Cinematic Universe, covering all 23 films!
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Are you a fan of Game of Thrones? Never read the books? No problem! Check out this podcast where the host, Liz, discusses about some of the things you missed out from the books! If you're interested in this podcast or the fandom, check out the website (https://www.thewesterosiprimer.com) to find out more! Sign up to the newsletter for the latest updates to the podcast or website. Artwork by Art - https://www.fiverr.com/lordoflogos Music by Cloud Road Music - https://www.cloudroadmusic.com/
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Brains On!® is a science podcast for curious kids and adults from Brains On Universe. Each week, a different kid co-host joins Molly Bloom to find answers to fascinating questions about the world sent in by listeners. Like, do dogs know they’re dogs? Or, why do feet stink? Plus, we have mystery sounds for you to guess, songs for you to dance to, and lots of facts -- all checked by experts. Sales and Distribution by Lemonada Media https://lemonadamedia.com/
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Bald Move Pulp is where you can get your fix of robots, aliens, action space adventures, and everything in between; on television or on the big screen. Pulp was not made for serious drama, if that’s your thing, you might be looking for Bald Move Prestige.
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DumTeeDum is a weekly podcast about The Archers featuring fans of Ambridge. Hosted on Acast. See acast.com/privacy for more information.
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Our sixth season is Cleopatra, a six-episode series about one of the most expensive and infamous movies ever made. Directed by Joseph L. Mankiewicz and starring Elizabeth Taylor, Cleopatra should have been a smash. Instead, it was a shoot plagued by medical emergencies, climate disasters, nervous breakdowns, and the most scandalous love affair to ever hit a movie set. Join host Ben Mankiewicz as he digs through his own family stories to understand how it turned out so badly for his Oscar-win ...
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Join Tom Elliot in the Rondo award winning Twilight Zone Podcast. A journey through Rod Serling’s classic television series. With reviews, interviews and readings from The Twilight Zone… Become a supporter of this podcast: https://www.spreaker.com/podcast/the-twilight-zone-podcast--5856481/support.
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In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
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Player FM - पॉडकास्ट ऐप
Player FM ऐप के साथ ऑफ़लाइन जाएं!
Player FM ऐप के साथ ऑफ़लाइन जाएं!
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