Podcasts about Apocalypse Now

Robin Williams reunites with Good Morning Vietnam Director Barry Levinson in this blank check, first draft film that combines the ideas of Willy Wonka, Small Soldiers, and Apocalypse Now.

LOOK UP IN THE SKY!! Superman Returns Full Reaction Watch Along:   / thereelrejects   Start your online business with a $1 per-month trial when you visit https://www.shopify.com/rejects! Andrew & Tara CONTINUE Their Road to James Gunn's Superman giving their Superman Returns Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Join Andrew Gordon & Tara Erickson as they soar back to the Man of Steel's world in Bryan Singer's Superman Returns (2006). After a five-year absence, Clark Kent / Superman (Brandon Routh, Dodgeball, Scott Pilgrim vs. the World) returns to Earth only to discover that his love, Lois Lane (Kate Bosworth, Blue Crush, 3000 Miles to Graceland), has moved on—and even has a young son, Jason. As Clark grapples with heartbreak, he uncovers a nefarious plot by Lex Luthor (Kevin Spacey, American Beauty, The Usual Suspects) to use stolen Kryptonian technology to reforge the world in his image. Rounding out the stellar cast are James Marsden (Cyclops in X-Men, Enchanted) as Lois's fiancé Richard White, Parker Posey (the “Queen of Indies” in Party Girl, Best in Show) as tabloid editor Kitty Kowalski, Sam Huntington (Disturbia, I Am Number Four) as earnest photographer Jimmy Olsen, Frank Langella (Oscar-nominated for Frost/Nixon) as Perry White, and Kal Penn (Harold & Kumar, Designated Survivor) as Richard's brother, Stanford White. The spirit of Superman's father, Jor-El, is heard in archive audio of Marlon Brando (The Godfather, Apocalypse Now), tying this chapter back to the character's origins. Don't miss Tara & Andrew's breakdown of the film's most iconic moments—from the breathtaking sequence where Superman slows time to save Lois and Jason in that penthouse fall, to the jaw-dropping finale atop Lex's oceanic fortress, where Superman confronts a golden statue come to life. We'll discuss the soaring flight through Lois's apartment, the emotional “son of Krypton” reveal, and how Superman Returns balances nostalgia with new stakes for Earth's greatest hero. Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

One last trip up the river. In the late 1970s, as renegade filmmaker Francis Ford Coppola struggles to complete an epic allegory of the Vietnam War, "Apocalypse Now," his wife, Eleanor, films his daily travails with a camera of her own. The documentary based on her footage details the difficulties of the large production -- from weather-related delays in the Philippines to star Martin Sheen's heart attack while filming -- and it provides unprecedented behind-the-scenes clips of one of Hollywood's most-acclaimed films. Release date: November 27, 1991 (USA) Directors: Eleanor Coppola, Fax Bahr, George Hickenlooper Awards: Primetime Emmy Award for Outstanding Individual Achievement in Informational Programming - Directing · See more Running time: 1h 37m Producers: George Zaloom, Les Mayfield Distributed by: Triton Pictures

Liên hoan phim Cannes 2025 đã vinh danh đạo diễn Iran Jafar Panahi với giải Cành Cọ Vàng cho bộ phim "Un simple accident". Tác phẩm không chỉ là một thành tựu nghệ thuật xuất sắc mà còn là biểu tượng của sự kháng cự và hy vọng trong bối cảnh chính trị đầy biến động. Sự kiện này một lần nữa khẳng định mối liên hệ chặt chẽ giữa điện ảnh và chính trị, nơi nghệ thuật trở thành tiếng nói mạnh mẽ chống lại áp bức và bất công. “Liên hoan phim Cannes 2025 là liên hoan của Jafar Panahi”, như nhận định của nhà phê bình điện ảnh Peter Bradshaw trên tờ The Guardian. Sự xuất hiện của đạo diễn Iran trên thảm đỏ tại Cannes, đầy bất ngờ, thu hút sự quan tâm đặc biệt sau 15 năm vắng bóng tại các sự kiện quốc tế, vì bị tước hộ chiếu, bị cầm tù. Với bộ phim “Un simple accident”, tạm dịch là “Một tai nạn đơn thuần”, Panahi đã chinh phục ban giám khảo, mang về giải Cành Cọ Vàng, bổ sung vào bộ sưu tập tượng vàng tại các giải thưởng điện ảnh lớn ở châu Âu (Sư tử vàng, The Circle, 2020;  Gấu vàng,Taxi Téhéran, 2015; Ống Kính Vàng, The white ballon, 1995).Giải Cành Cọ Vàng được cho là dành cho vị đạo diễn can đảm nhất, xứng đáng nhất tại mùa giải năm nay, bởi sự liều lĩnh của ông, bất chấp làm phim, dù có bị cấm đoán gây khó dễ. Trả lời phỏng vấn của RFI Pháp ngữ tại Cannes, ông Panahi giải thích thêm về những khó khăn khi phải lén lút quay phim ở Iran.“Nhìn từ bên ngoài thì sẽ rất khó để nói tình hình ở bên trong ra sao. Ví dụ, khi một nơi bị đánh bom, ở bên ngoài mọi người thấy rằng nơi đó bị tấn công, nhưng cũng thấy là có người sinh sống ở đó và không thể tưởng tượng được họ sống thế nào. Thực tế là họ vẫn sống. Khi hiểu được những phức tạp của việc làm phim, dựa vào kinh nghiệm trong quá khứ, và hiểu quy trình, thì chúng tôi biết là phải hành động nhanh chóng. Chúng tôi mất khoảng 25 ngày để quay bộ phim này. Trong những ngày cuối, thông tin về đoàn làm phim đã bị rò rỉ, và chính quyền vội vã đến, nhưng họ lại không tìm thấy bất cứ thiết bị nào, hay kịch bản, thước phim nào. Do đó, họ không thể bắt chúng tôi. Nhưng ngày hôm sau, họ đã gọi cho một số người trong đoàn làm phim, và ra tối hậu thư cấm chúng tôi làm việc tiếp. Chúng tôi đã hoãn lại một tháng và với một đội ngũ mới, hoàn thiện bộ phim trong một hoặc hai ngày, với những cảnh quay cuối cùng”.Un simple accident là một trong những bộ phim chính kịch nhân văn, sắc sảo, dí dỏm và sâu sắc của Jafar Panahi, "cho thấy những áp bức về chính trị và tính phản kháng đã ăn sâu vào đời sống thường ngày của người Iran như thế nào".Từ một tai nạn đơn thuần đến tai nạn của cả xã hộiBộ phim được mở ra bằng “một tai nạn nhỏ”, với nhân vật Eghbal chở người vợ đang mang thai và cô con gái nhỏ trên xe ô tô, thì vô tình đâm phải chó, khiến xe bị hỏng. Tai nạn này dẫn Eghbal đến nơi Vahid làm việc để sửa xe. Tiếng bước chân và giọng nói của Eghbal quá quen thuộc, quá ám ảnh, khiến Vahid liên tưởng đến kẻ từng tra tấn anh trong tù, hủy hoại cuộc đời mình.Không suy nghĩ nhiều, Vahid đã bắt cóc Eghbal, đào một hố tại sa mạc, định chôn sống Eghbal. Nhưng chưa từng thấy mặt kẻ tra tấn mình, khiến anh do dự, không chắc có đúng là người mình cần tìm hay không, Vahid quy tụ những nạn nhân như anh, từng bị ngục tù đày đoạ đến nhận diện.Không cần những cảnh máu me bạo lực, qua lời kể của những nạn nhân mà khán giả hiểu được vết thương tâm lý mà chế độ bạo quyền để lại sâu hoắm, đau đớn, dã man ra sao. Ngay cả đến khi được trả tự do, cuộc sống ở bên ngoài vẫn chẳng khác gì với ngục tù tăm tối. Tình huống mà đạo diễn tạo ra cũng thật trớ trêu với hình ảnh cặp đôi trong bộ đồ cưới đi chụp ảnh một ngày trước lễ thành hôn, chen chúc trong xe tải, sẵn sàng bỏ lỡ hôn lễ để “xử lý” theo cách của họ kẻ từng tra tấn mình, để khép lại quãng thời gian đau đớn đó.Khán giả tại Cannes đã bị ấn tượng bởi một hình ảnh rất mạnh trong bộ phim : hố chôn mà Vahid đào trên sa mạc. Phải chăng là một hình ảnh mang tính chính trị, là mồ chôn cho nỗi đau tập thể tại Iran ? Đạo diễn Panahi giải thích : “Tình hình tại Iran hiện nay giống như một hình thức cầm tù, khi họ bảo phải mặc gì, nghĩ gì, phải làm gì, không được làm gì,… Người dân bị giới hạn, bị trói buộc vào một hệ tư tưởng, một hình thức thiêng liêng nào đó. Dù có ra khỏi nhà tù nhỏ nhưng sau đó lại bị giam ở trong một nhà tù lớn hơn, là cả lãnh thổ Iran. Tôi chắc chắn rằng không chế độ nào có thể tồn tại vĩnh viễn. Một ngày nào đó, tôi không biết là khi nào, nhưng điều đó sẽ xảy ra. Khi một chế độ cầm quyền là cái vỏ rỗng trên mọi phương diện, khi xét về khía cạnh kinh tế, chính trị, văn hóa, môi trường… Tất cả điều này cho thấy chế độ đó đã sụp đổ. Dù vậy, chế độ ấy vẫn tồn tại ở bề ngoài, nhờ vào bạo lực, quân đội và tài chính, chứ không còn vì tính chính danh hay được lòng dân. Nếu không làm gì để thay đổi thì đồng nghĩa với việc, mỗi ngày, chế độ đó đang tự cầm xẻng đào mồ chôn mình”."Cành Cọ Vàng 2025 là một lựa chọn nghệ thuật, về tính nhân văn và có cả yếu tố chính trị"Nếu như nửa đầu bộ phim tập trung khắc họa các tuyến nhân vật đều mang trong mình khát khao trả thù bằng mọi giá, thì nửa sau lại mở ra một bước ngoặt đầy kịch tính và cảm xúc. Khi con gái của Eghbal gọi điện cầu cứu, thông báo với cha cô - đang bị nhốt trong một chiếc quan tài đặt trong xe của Vahid, chờ bị "xử lý" - phải trở về vì người vợ đang mang thai đã bất tỉnh trong cơn trở dạ. Mọi thứ bỗng chốc đảo chiều.Lúc này, những người từng mang nỗi đau do Eghbal gây ra, buộc phải đối mặt với lựa chọn nghiệt ngã: tiếp tục trừng phạt hay cứu lấy gia đình của kẻ thù?  Nhưng tình người trỗi dậy, và không ai có thể quay lưng trước sự sống. Cuối cùng, chính Vahid đã đưa vợ của Eghbal đến bệnh viện. Anh trả viện phí bằng số tiền ít ỏi tích góp, lại phải móc túi trả thêm một khoản hối lộ y bác sĩ, vì đó là “quy tắc” nơi anh đang sống.Un simple accident được cho là bộ phim thể hiện tính “chính trị” nhất trong sự nghiệp điện ảnh của Panahi. Quyết định của ban giám khảo liệu có bị ảnh hưởng bởi tính chính trị không, khi phương Tây coi vị đạo diễn người Iran là tượng đài phản kháng chống lại chế độ độc tài ở Iran ?Trong buổi họp báo sau lễ bế mạc, chủ tịch ban giám khảo, diễn viên Juliette Binoche giải thích : “Lựa chọn của chúng tôi là một lựa chọn nghệ thuật, về tính nhân văn và có cả yếu tố chính trị. Đây là một bộ phim vươn lên từ sự phản kháng và khát vọng sống còn. Nghệ thuật luôn chiến thắng. Điện ảnh có thể chuyển hóa những thực tại tưởng chừng không thể nào tồn tại nổi. Trong một thế giới đầy bạo lực, t hật đáng kinh ngạc khi một đạo diễn từng bị cầm tù như Panahi lại có thể kể một câu chuyện nhân văn đến thế, thật đáng kinh ngạc, chứ không phải là hành động trả đũa. Bộ phim mang đến niềm hy vọng mãnh liệt, gần như là phi lý trong hoàn cảnh tăm tối, với tinh thần bao dung sâu sắc. Bộ phim nói với chúng ta rằng, có thể chọn một cách sống khác, một cách sống tốt đẹp hơn. Nếu chúng ta không dang tay, đón nhận, tiến về phía đối phương, thì chúng ta không còn là con người nữa.”Panahi và tuyên ngôn nghệ thuật chống lại chế độ độc tàiNhìn từ giới phê bình điện ảnh quốc tế, trang New Yorker cho rằng chiến thắng của Panahi là “một tuyên ngôn mạnh mẽ về sức mạnh của nghệ thuật chống lại các chế độ độc tài”, nhấn mạnh rằng bộ phim là “một lời cảnh báo gửi đến các chính quyền chuyên chế trên toàn thế giới”. Tạp chí Vogue thì dự đoán Un simple accident có thể là ứng cử viên sáng giá cho giải Đạo diễn xuất sắc và Kịch bản gốc tại Oscar 2026, dù khả năng tranh giải Phim quốc tế xuất sắc có thể gặp khó khăn do các hạn chế từ chính phủ Iran.Còn tại Iran, theo AP, các phương tiện truyền thông Nhà nước chỉ trích bộ phim là “sự pha trộn giữa dối trá và bôi nhọ”, nhưng các nhà hoạt động cải cách và nhân quyền, bao gồm cả người đoạt giải Nobel Hòa bình Narges Mohammadi, ca ngợi đây là “chiến thắng của nhân quyền và sự kiên cường nghệ thuật”.Nói đến mối liên hệ giữa điện ảnh và chính trị, hàng năm, chủ tịch của liên hoan phim Cannes Thierry Fremaux đều phải đối mặt với câu hỏi « liệu những phim được lựa chọn có phản ánh xã hội ? » Câu trả lời của ông, theo France Culture, là « có », dù các bộ phim không trực tiếp có liên can đến chính trị.Tại Liên hoan phim năm nay, màu sắc chính trị cũng đã thể hiện rõ ngay từ vài giờ trước lễ khai mạc. Ban đầu hơn 300 nghệ sĩ, đã ký tên bày tỏ ý kiến trên báo Pháp Libération, lên án sự im lặng đối với cuộc diệt chủng ở Gaza, « từ chối để nền nghệ thuật thứ bảy trở thành đồng lõa », con số này sau đó đã lên đến 900, gồm nhiều người sao nổi tiếng như Pedro Pascal, hay diễn viên Pháp Catherine Deneuve, và cả chủ tịch ban giám khảo Juliette Binoche.Chủ tịch ban giám khảo Juliette Binoche đã chọn lễ khai mạc để lên án các cuộc chiến đang diễn ra, từ Ukraina cho đến cuộc xung đột Israel-Palestine, đồng thời tưởng niệm nhà báo ảnh Fatma Hassouna, bỏ mạng tại Gaza trong các cuộc oanh kích của Israel hôm 16/04, chỉ sáu ngày sau khi Liên hoan Cannes công bố tên phim tài liệu về cô được lựa chọn chiếu ở Cannes. Nhiều tác phẩm được trình chiếu tại Liên hoan năm nay cũng đề cập đến số phận của những người Palestine khốn khổ ở Gaza.Những Cành Cọ Vàng có yếu tố chính trịNếu nhìn lại lịch sử 78 mùa liên hoan phim Cannes, không ít lần Cành Cọ Vàng được trao với hàm ý chính trị rõ nét, cho thấy sự kiện này không chỉ là sân chơi của nghệ thuật mà còn là diễn đàn phản chiếu những chuyển biến chính trị, xã hội đương đại.  Ví dụ, năm 1979, Apocalypse Now của Francis Ford Coppola không chỉ là tác phẩm nghệ thuật mà còn là lời lên án sâu sắc về chiến tranh Việt Nam và những hậu quả tàn khốc của cuộc chiến. Hay bộ phim 4 Months, 3 Weeks and 2 Days của đạo diễn Cristian Mungiu (2007), được coi là một ám ảnh điện ảnh về cuộc sống dưới chế độ Ceausescu ở Romania, khi việc phá thai bị cấm tuyệt đối. Bộ phim không chỉ phơi bày sự tàn nhẫn của chế độ độc tài mà còn lên tiếng mạnh mẽ về quyền của người phụ nữ và quyền con người trong một xã hội bị áp bức.Hay tại mùa liên hoan năm 2004, ban giám khảo dưới sự chủ trì của Quentin Tarantino, trao giải thưởng cao quý nhất cho phim Fahrenheit 9/11  của đạo diễn Michael Moore, chỉ trích gay gắt chiến tranh Iraq và chính quyền tổng thống Bush sau vụ tấn công ngày 11/09.Trước làn sóng chỉ trích chính trị lấn sân điện ảnh, Tarantino giải thích : “Nếu bộ phim đó tồi, thì cho dù nó có ủng hộ những quan điểm chính trị của tôi, tôi cũng sẽ không bảo vệ nó. Tôi xin nhắc lại: ưu tiên hàng đầu của tôi không phải là chính trị, mà là điện ảnh. Thông điệp chính trị chỉ thực sự giá trị khi được truyền tải qua một tác phẩm điện ảnh xuất sắc”.

We're back deep diving even deeper into Apocalypse Now (1979). (((THEATRICAL CUT!))) The spoilers... the spoilers... ******* In Vietnam in 1970, Captain Willard (Martin Sheen) takes a perilous and increasingly hallucinatory journey upriver to find and terminate Colonel Kurtz (Marlon Brando), a once-promising officer who has reportedly gone completely mad. In the company of a Navy patrol boat filled with street-smart kids, a surfing-obsessed Air Cavalry officer (Robert Duvall), and a crazed freelance photographer (Dennis Hopper), Willard travels further and further into the heart of darkness. Release date: August 15, 1979 (USA) Director: Francis Ford Coppola Running time: 2h 33m

Send us a textAfter a drug deal gone wrong, a bruised brother must fight his way through the criminal underworld to make an appearance on a floundering podcast, unraveling a deep web of corruption and conspiracy that ensnares the show and its listeners. On Episode 670 of Trick or Treat Radio we are joined by Carlitos for our May Patreon Takeover! Carlitos has selected the films Havoc from director Gareth Evans, and Ash from director Flying Lotus! We also discuss war stories, celebrity encounters, and how to rise above the tropes of a genre. So grab your boxing magazines, practice your gun fu and strap on for the world's most dangerous podcast!Stuff we talk about: Spadoinkle Day, Cannibal: The Musical, Trey Parker, Matt Stone, the end of May, birthdays, Patreon Takeover, Carlitos, The Green Grocers Green Gringo, Benjamin Bratt, Blood In Blood Out, Nasty Boys, Saggin' Knobs, Spunkcast, Tom Towles, Kuso, Goldface the Fantastic Superman, Doom: The Dark Ages, Helldivers II, The Warriors, RIP Cartitos' Dad, Francis Ford Coppola, Apocalypse Now, Robin Williams, Demons, Shocking Dark, Brian Dennehy, Geretta Geretta, Glenn Fabry, Hellblazer, Preacher, Metallica's biggest fan, Pantera, White Zombie, Exodus, Soulfly, Phil Anselmo, 3:00 High, Ernie Hudson, The Dudesons, Mark Waid, Danny Trejo, Rick Martel, Spinal Tap, Ed Begley Jr. Christopher Guest, Dana Carvey, Shannon Tweed, Buff Bagwell, Luis Guzman, Gareth Evans, Havoc, Gangs of London, The Raid: Redemption, The Raid II, Tom Hardy, Dial M for Murder, The Living Head, Dead and Buried, Zombie Nightmare, Witchcraft 9, Jason Goes to Hell, Rupert Everett, Dellamorte Dellamore, Mars Attacks, Ted Levine, Tony Randall, Fist of the North Star, Danny Elfman, Kevin Conway, Bob Hope, The Last Action Hero, cliched action, Mickey 17, Gangs of London, Locke, the hourly rate of a bouncer, mumbaleo, Eric Roberts, The Immortals, that Gotham vibe, John Woo, Judge Dredd, The Book of Boba Fett, John Coltrane, Flying Lotus, Ash, Aaron Paul, Eiza Gonzalez, Heretic, Alien, Star Trek II: The Wrath of Khan, Jimmy Hart knock off, Iko Uwais, Buck Rogers, Event Horizon, scissor violence, Delroy Lindo, Sinners, Michael B. Jordan, Ryan Coogler, The Night Comes For Us, the legendary Brian Grant, Kill, Until Dawn, and trope-a-dope.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

For this minisode, we continue a trend where we come to the determination on what's the ultimate version of a movie after so many special editions and director's cuts have been issued.   In this case, Critic/Podcaster/Filmmaker Anthony Francis (The Movie Revue) strategically steps in to determine which of the four versions of APOCALYPSE NOW best echoes the Vietnam War struggle, provides the best overall viewing experience and just encapsulates the overall Coppola/Milius vision.   We hope you enjoy tuning in as we conclude Memorial Day Week!                 MAIN LINKS:  LinkTree: ⁠https://linktr.ee/JURSPodcast⁠ Facebook Page: ⁠https://www.facebook.com/JackedUpReviewShow/⁠ Facebook Group: ⁠https://www.facebook.com/groups/2452329545040913⁠ Twitter:⁠ https://twitter.com/JackedUpReview ⁠ Instagram: ⁠https://www.instagram.com/jacked_up_podcast/ ⁠       SHOW LINKS: YouTube: ⁠https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ⁠   iHeartRadio: ⁠https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/⁠   Podbean: ⁠https://jackedupreviewshow.podbean.com⁠   Spotify: ⁠https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M⁠   Apple Podcasts: ⁠https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218⁠   RadioPublic: ⁠https://radiopublic.com/the-jacked-up-review-show-We4VjE⁠   Overcast: ⁠https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast⁠   Google Podcasts: ⁠https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz⁠   Anchor:  ⁠https://anchor.fm/s/a46297c/podcast/rss⁠   PocketCasts: ⁠https://pca.st/0ncd5qp4⁠   CastBox:  ⁠https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222⁠   Discord:  ⁠https://discord.com/channels/796154005914779678/796154006358851586⁠         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass 

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: What is the name given to parts of the world where the population lives significantly longer than average? Question 2: In which US state is the fictional hometown of Superman? Question 3: In the biblical story, who did David defeat using a sling and some pebbles? Question 4: Which actress played the role of Mrs. Robinson in The Graduate? Question 5: Which actor has played roles in films including Batman Forever and Donnie Darko? Question 6: In which year was Apocalypse Now first released in the cinema? Question 7: Which of these is a movie directed by Alfred Hitchcock? Question 8: In which year was Pirates of the Caribbean: The Curse of the Black Pearl first released in the cinema? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Francis Ford Coppola's 1979 wartime descent into madness, APOCALYPSE NOW, is our feature presentation this week. We talk the production's chaotic shoot, George Lucas' nearly directing the film, Robert Duvall's iconic role, John Milius' screenplay, and much more! We also pick our TOP 7 FRANCIS FORD COPPOLA MOVIES in this week's SILVER SCREEN 7! Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

It's Memorial Day in the US, so we went with "Apocalypse Now" (1979) for the latest 'Cult Corner' pick! Part of the Morbidly Beautiful Podcasting Network! Go to www.aaspookshow.com & join our Patreon for bonus episodes & content over at https://www.patreon.com/aaspookshow & follow us on X @AASpookshow as well as Facebook, Instagram, TikTok, Slasher, Threads, Bluesky & our YouTube channel by searching All-American Spookshow Podcast. Email us at allamericanspookshow@gmail.com with questions & comments, and be sure to leave us a 5-star review on Apple Podcasts & Spotify! LINKS: https://linktr.ee/aaspookshow

Le 24 mai 1979, le film de Francis Ford Coppola, «Apocalypse Now » recevait la Palme d'Or du 32ème festival de Cannes ! Réécoutons l'un des tubes de la BO : « The end » par The Doors. Ecoutez Le tube de la matinale avec Vincent Perrot du 24 mai 2025.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We're deep diving into Apocalypse Now (1979). (((THEATRICAL CUT!))) Join us as we journey into the heart of Pappy's darkness. ******* In Vietnam in 1970, Captain Willard (Martin Sheen) takes a perilous and increasingly hallucinatory journey upriver to find and terminate Colonel Kurtz (Marlon Brando), a once-promising officer who has reportedly gone completely mad. In the company of a Navy patrol boat filled with street-smart kids, a surfing-obsessed Air Cavalry officer (Robert Duvall), and a crazed freelance photographer (Dennis Hopper), Willard travels further and further into the heart of darkness. Release date: August 15, 1979 (USA) Director: Francis Ford Coppola Running time: 2h 33m

THE OLD WOMAN WITH THE KNIFE MOVIE REVIEW “I watched a snail crawl along the edge of a straight razor. This is my dream, this is my nightmare. Crawling, slighter, along the edge of a straight razor, and surviving.”- Marlon Brando as Col. Kurtz in Francis Ford Coppola's Apocalypse Now. What if that straight razor […]

THE OLD WOMAN WITH THE KNIFE MOVIE REVIEW “I watched a snail crawl along the edge of a straight razor. This is my dream, this is my nightmare. Crawling, slighter, along the edge of a straight razor, and surviving.”- Marlon Brando as Col. Kurtz in Francis Ford Coppola's Apocalypse Now. What if that straight razor […]

LOW-KEY BETTER THAN TOP GUN?? Days of Thunder Full Reaction Watch Along:   / thereelrejects   With Tom Cruise back in Mission: Impossible - The Final Reckoning, Andrew Gordon & Roxy Striar are BACK to give their Days of Thunder Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Download PrizePicks today at https://prizepicks.onelink.me/LME0/RE... & use code REJECTS to get $50 instantly when you play $5! Join Andrew Gordon & Roxy Striar as they burn rubber in the late, great Tony Scott's 1990 NASCAR epic, Days of Thunder. Tom Cruise stars as hot-shot rookie Cole Trickle (Top Gun: Maverick, Jack Reacher), whose harrowing debut crash at Phoenix sets his career—and his life—on a high-stakes trajectory. Veteran crew chief Harry Hogge (Robert Duvall, The Godfather, Apocalypse Now) comes out of retirement to mentor him, while neurosurgeon Dr. Claire Lewicki (Nicole Kidman, Moulin Rouge!, The Hours) brings both medical help and romance to the pit. Cole's fierce rivalry with champion Rowdy Burns (Michael Rooker, Guardians of the Galaxy, The Walking Dead) ignites on-track drama, and his teammate Russ Wheeler (Cary Elwes, The Princess Bride, Saw) pushes the tension even further. Rounding out the crew is team owner Tim Daland (Randy Quaid, Independence Day, The Last Starfighter) and car chief Buck Bretherton (John C. Reilly, Step Brothers, Chicago). Andrew & Roxy break down every unforgettable scene—from the slingshot pass at Darlington and the fiery crash into the Texas oil tank, to the emotional, high-velocity finale at Daytona where Cole risks everything to pull a friend from a burning wreck. Tune in for an in-depth reaction to the film's gravity-defying stunts, behind-the-scenes Bruckheimer flair, and Hans Zimmer's thunderous score! Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

THE ROAD TO JAMES GUNN'S SUPERMAN BEGINS!! Watch DC Studios Showcase on the Max YouTube channel and listen wherever you get your podcasts! https://link.chtbl.com/DCStudiosShowcase Superman 1978 Full Reaction Watch Along:   / thereelrejects   Support The Channel By Getting Some REEL REJECTS Aparrel! https://www.rejectnationshop.com/ With the new DCU launching this July with James Gunn's brand new Superman film, Andrew & Tara REUNITE for their Classic Superman Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Join Andrew Gordon & Tara Erickson as they soar back to 1978 for Richard Donner's groundbreaking superhero epic Superman. From the ice-planet origin of Kal-El and his upbringing as mild-mannered reporter Clark Kent (Christopher Reeve, Somewhere in Time, Deathtrap), to his first heroic rescue of Lois Lane (Margot Kidder, The Amityville Horror, Black Christmas) atop a perilous helicopter and the iconic flight over Metropolis, this film defined comic-book cinema. Gene Hackman (Oscar-winner for The French Connection, Unforgiven) delights as the conniving Lex Luthor, whose audacious plot to trigger a California earthquake with stolen nuclear missiles pits the Man of Steel against his deadliest foe. Marlon Brando (Oscar-winner for The Godfather, Apocalypse Now) lends gravitas as Superman's father Jor-El, while Ned Beatty (iconic in Network, Deliverance) brings comic relief as the bumbling henchman Otis. Jackie Cooper (veteran of The Bowery Boys series and The People vs. Noah Drake) anchors the Daily Planet as Perry White, and Glenn Ford (star of Gilda, Blackboard Jungle) moves hearts as Jonathan Kent. Don't miss our breakdown of every unforgettable moment—from the desert missile test and Lois's rooftop revelation to Superman's climactic airplane rescue and victorious return to the skies! Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Suddenly Something Clicked: The Languages of Film Editing and Sound Design Walter Murch The triple-Oscar winner of the Godfather films, Apocalypse Now and The English Patient presents a masterclass on movies and how they are made. Buy Here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textDerek has been a road warrior the past few weeks and he took a minute to turn down his Spotify Celine Dion playlist to share his thoughts on Skeletá, the latest album from Ghost. Does this review have the production value of Apocalypse Now or The Ten Commandments? Nope, it sure doesn't. If that's what you're looking for we're very sorry, because this ain't it. But know that we still love you and would love for you to subscribe, follow, comment and like this review.Be sure to drop into shittalkreviews.com for all the reviews and you can also find the malcontents on Instagram.#ghostband #thebandghost #ghostbc #ghost #papaemeritus #namelessghouls #cardinalcopia #tobiasforge #papaemeritusiv #papaemeritusiii #meliora #prequelle #opuseponymous #papaemeritusii #infestissumam #namelessghoul #impera #papanihil #ifyouhaveghost #thebandghostbc #childrenofghost #ghouls #papaemeritusi #namelessghoulettes #popestar #thenamelessghouls #ghoulettes #hailghost #metal #ceremonyanddevotion

A British war movie classic comes into focus in the latest episode of the STUDIOCANAL Presents podcast, as The Dam Busters celebrates its 70th birthday.  Host Simon Brew is joined by Dr Matthew Sweet as the pair chat about the film, drawing parallels with work as far and wide as Apocalypse Now, Star Wars, Dunkirk and even a dab of Top Gun Maverick. Also, why a version of the film written by Roald Dahl and directed by Howard Hawks never came to be. Quite the bonus double bill in this episode, too!

Director Francis Ford Coppola is widely regarded as one of the greatest directors of the twentieth century, the visionary force behind The Godfather, Apocalypse Now, and dozens of other films. For decades, Coppola had sought to make a film drawing parallels between the fall of the Roman Republic and the future of the United States by retelling the Catilinarian conspiracy in modern New York, but was unable to secure studio funding. After three decades of fits and starts, Coppola ultimately spent $120 million of his own money to make the film, drawn largely from the fortune he made in the winemaking business. Released in fall of 2024, the ensemble cast features Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, and Laurence Fishburne. After a troubled production and a rocky reception at Cannes, where the film premiered, Coppola was forced to spend additional money to market the film, but the trailer was removed for using fabricated pull quotes. Ultimately, the film grossed only $14.3 million at the box office - barely 10% of what it cost to make. But is this film - the ultimate vanity project - worth the wait or does it collapse under the weight of its own ambitions? All roads lead to Megalopolis! For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can write to Rum Daddy directly: rumdaddylegends@gmail.com   You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com Music: Title Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/  

A movie podcast so expansive, so intense, it took several weeks to edit!  Actor.musician.cinephile Andras Jones (Nightmare on Elm Street 4, Sorority Babes in the Slimeball Bowl-o-rama, https://previouslyyours.com) and Secret Movie Club founder Craig Hammill have part 2 of their conversation about what exactly defines cinema? Andras challenges Craig on Craig's definitions of simulation, artifice, consent since many great movies, documentaries ignore those things.  Craig puts forward that trust and shared vision among cast & crew are critical to getting the best out of a movie, especially when the subject matter is unsettling. Everything from Coppola's Apocalypse Now to Fassbinder's In a Year of 13 Moons to Gallo's The Brown Bunnny gets discussed. And we try to get closer to that obscure object of definition "What is cinema"?

On this episode of Antioch MFA's LitCit, host Jonathan Chou chats with poet, children's book author, filmmaker, multidisciplinary artist, and the Antioch MFA program's new Core faculty head of Poetry, Cathy Linh Che. Together they go in-depth of Cathy Linh Che's previous poetry collection, Split, and her new collection, Becoming Ghost, in addition to discussing Jonathan Chou's collection, Resemblance. They discuss the role of memory in community building, activism, and poetry, false memories found in culture such as in the film, Apocalypse Now, and what it means to write poetry as an Asian-American. This episode was produced by Bo Thomas Newman and mastered by David Blixit.

Being sick sucks, the satanic potato bug, changing a stale routine, liquor lessons, moving on up, fear and loathing in Ashburn, John McClane and Rick Blaine, a pretty nifty new action movie, one of the worst things I've ever come up with while stoned, another sad suicide, and a kind of shitty song. Stuff mentioned: Gay Talese "Frank Sinatra Has a Cold" (Esquire Magazine, April 1966 https://web.archive.org/web/20230131114645/https://www.esquire.com/news-politics/a638/frank-sinatra-has-a-cold-gay-talese), Go West "King of Wishful Thinking" (1990), Bill & Ted's Excellent Adventure (1989), Lethal Weapon (1987), The Jeffersons (1975-1985), Janet DuBois "The Jeffersons (Movin' on Up)" (1974), Apocalypse Now (1979), D.O.A. Bloodied But Unbowed (1983), Die Hard (1988), Casablanca (1942), Cleaner (2025), and Edge of Darkness (2010).

En prélude à la 78éme édition du Festival de Cannes, Philippe BRIOT partage avec nous ses coups de cœurs dans la liste des films récompensés. Musique au Générique, version croisette, nous fait redécouvrir aujourd'hui la palme d'or ex-aequo de l'édition 1979, un film de Francis Ford Coppola, son titre, Apocalypse Now. Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this thirtieth installment of fictional horror written and narrated by Dan Cummins.... we head to the tropical jungle of Vietnam's Annamese mountains. On a dark, rainy night in January of 1968, PsyWar Detachment Six - a six-man team and part of the US military's shadowy MACV-SOG Command - was conducting black operations meant to terrify and break the spirits of the Viet Cong. But in the end, no one will be scared more than the soldiers themselves... This episode was scored by Logan Keith. We recommend listening with headphones to experience the full effect of all the creepy background noises! If you like this episode, please let us know wherever you rate and review podcasts. Thanks so much!For Merch and everything else Bad Magic related, head to: https://www.badmagicproductions.com

In the latest episode of Shrinking Trump, Dr. John Gartner and Dr. Harry Segal dive headfirst into the psychological and political chaos Donald Trump's is unleashing on the world. From his malignant narcissism to troubling signs of cognitive decline, the hosts break down how Trump's behavior is reshaping America into an increasingly unstable landscape. Be sure to subscribe to our show on your favorite podcast app: Our site Subscribe on iTunes Subscribe on Spotify Subscribe on Amazon Music Subscribe on iHeartRadio Dr. Gartner kicks things off by revealing he almost titled this episode “Apocalypse Now”—a nod to the unfolding constitutional crisis, which they describe as riddled with pathological lies, defiance of Supreme Court orders, and dangerous authoritarian policies. They tackle the Trump administration's blatant disregard for legal norms, exploring how Trump's persona appeals to autocratic world leaders like the President of El Salvador, and drawing eerie parallels to oppressive regimes of the past. As leading psychologists, Dr. Gartner and Dr. Segal take a deep dive into Trump's severe narcissistic personality disorder, which they say is the driving force behind his chaotic governance. They examine how his thrill in flouting the law and disregarding human rights is a symptom of his narcissism—which poses serious risks to the nation's well-being. But we also take a look at moments of resilience, like Harvard University's bold stand against federal overreach. The hosts praise this act of defiance as a beacon of hope, urging other institutions to follow suit and push back against Trump's threats. Dr. Gartner and Dr. Segal issue an urgent call to action: stay vigilant, stay engaged, and fight for democracy no matter how you're able. Every proactive step, no matter how small, helps chart a new course for America. The episode is packed with warnings and unique insights, but it also inspires hope for a democratic resurgence. Be sure to subscribe, share your thoughts in the comments, and stay tuned for next week's special episode! Learn more about your ad choices. Visit megaphone.fm/adchoices

For nearly as long as we've been waging war, we've sought ways to chronicle it. “Warfare,” a new movie co-directed by the filmmaker Alex Garland and the former Navy SEAL Ray Mendoza, takes an unorthodox approach, recreating a disastrous real-life mission in Iraq according to Mendoza's own memories and those of the soldiers who fought alongside him. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss how “Warfare” 's visceral account brings us closer to a certain kind of truth, while also creating a space into which viewers can project their own ideologies. The hosts consider how artists have historically portrayed conflict and its aftermath—referencing Virginia Woolf's depiction of a shell-shocked soldier in “Mrs. Dalloway” and Vietnam-era classics such as “Apocalypse Now” and “Full Metal Jacket”—and how “Warfare,” with its emphasis on firsthand experience, marks a departure from much of what came before. “That personal tinge to me seems to be characteristic of the age,” Cunningham says. “Part of the emotional appeal is, This happened, and I'm telling you. It's not diaristic—but it is testimonial.”Read, watch, and listen with the critics:“Warfare” (2025)“Apocalypse Now” (1979)“Full Metal Jacket” (1987)“Beau Travail” (1999)“Saving Private Ryan” (1998)“The Hurt Locker” (2008)“Zero Dark Thirty” (2012)“Barry” (2018–23)“Mrs. Dalloway,” by Virginia Woolf“In Flanders Fields,” by John McCraeNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

Quintin, Tristan, Andrea, and Welling rank the twelve best movies directors made after winning Best Director at the Academy Awards. Which movies will they pick between Roma, Avatar, and Apocalypse Now? Find out now!

“Worship is central to what's happening in Revelation—it's not just about the ‘end times,' but about allegiance to the Lamb in the here and now.” - Dr Craig Keener.In this third episode of the "Apocalypse Now?" series, Jo, Chris, and Alex are joined by world-renowned Biblical scholar, Dr Craig Keener, to explore the major themes of the Book of Revelation. Together, they uncover the rich symbolism in the text, focusing on themes like cosmic conflict, worship, God's justice, and hope for the future. The conversation also delves into practical insights on how the broader church can better engage with Revelation's challenging imagery and prophecies.With Dr Keener's expertise, the discussion balances theology, history, and personal application, encouraging listeners to move beyond surface-level readings of Revelation and instead see it as a deeply spiritual and transformative book.Resources "Revelation (NIV Application Commentary)" by Dr Craig Keener – A detailed analysis that bridges the historical-cultural context and application for today."The IVP Bible Background Commentary: New Testament" by Dr Craig Keener – Offers essential historical and cultural insights on the New Testament, including Revelation."Discipleship on the Edge" by Darrell W. Johnson – A study on Revelation that considers its relevance for Christian discipleship."Reading Revelation Responsibly" by Michael J. Gorman – A user-friendly guide to understanding the apocalyptic message of Revelation without fear or misinterpretation.Big thanks to Tim Whittle for editing and extra production on this podcast. Get more info at Riverlife Church, and find us on Facebook and Instagram.Subscribe to Bible Streams on Apple, Spotify, Google, and Amazon.

In late February in DC, I attended the US premiere of the Bertelsmann Foundation of North America produced documentary “Lithium Rising”, a movie about the extraction of essential rare minerals like lithium, nickel and cobalt. Afterwards, I moderated a panel featuring the movie's director Samuel George, the Biden US Department of Energy Director Giulia Siccardo and Environmental Lawyer JingJing Zhang (the "Erin Brockovich of China"). In post Liberation Day America, of course, the issues addressed in both “Lithium Rising” and our panel discussion - particularly US-Chinese economic rivalry over these essential rare minerals - are even more relevant. Tariffs or not, George's important new movie uncovers the essential economic and moral rules of today's rechargeable battery age. FIVE TAKEAWAYS* China dominates the critical minerals supply chain, particularly in refining lithium, cobalt, and nickel - creating a significant vulnerability for the United States and Western countries who rely on these minerals for everything from consumer electronics to military equipment.* Resource extraction creates complex moral dilemmas in communities like those in Nevada, Bolivia, Congo, and Chile, where mining offers economic opportunities but also threatens environment and sacred lands, often dividing local populations.* History appears to be repeating itself with China's approach in Africa mirroring aspects of 19th century European colonialism, building infrastructure that primarily serves to extract resources while local communities remain impoverished.* Battery recycling offers a potential "silver lining" but faces two major challenges: making the process cost-effective compared to new mining, and accumulating enough recycled materials to create a closed-loop system, which could take decades.* The geopolitical competition for these minerals is intensifying, with tariffs and trade wars affecting global supply chains and the livelihoods of workers throughout the system, from miners to manufacturers. FULL TRANSCRIPTAndrew Keen: Hello, everybody. Last year, we did a show on a new book. It was a new book back then called Cobalt Red about the role of cobalt, the mineral in the Congo. We also did a show. The author of the Cobalt Red book is Siddharth Kara, and it won a number of awards. It's the finalist for the Pulitzer Prize. We also did a show with Ernest Scheyder, who authored a book, The War Below, Lithium, Copper, and the Global Battle to Power Our Lives. Lithium and cobalt are indeed becoming the critical minerals of our networked age. We've done two books on it, and a couple of months ago, I went to the premiere, a wonderful new film, a nonfiction documentary by my guest Samuel George. He has a new movie out called Lithium Rising and I moderated a panel in Washington DC and I'm thrilled that Samuel George is joining us now. He works with the Bertelsmann Foundation of North America and it's a Bertelsman funded enterprise. Sam, congratulations on the movie. It's quite an achievement. I know you traveled all over the world. You went to Europe, Latin America, a lot of remarkable footage also from Africa. How would you compare the business of writing a book like Cobalt read or the war below about lithium and cobalt and the challenges and opportunities of doing a movie like lithium rising what are the particular challenges for a movie director like yourself.Samuel George: Yeah, Andrew. Well, first of all, I just want to thank you for having me on the program. I appreciate that. And you're right. It is a very different skill set that's required. It's a different set of challenges and also a different set of opportunities. I mean, the beauty of writing, which is something I get a chance to do as well. And I should say we actually do have a long paper coming out of this process that I wrote that will probably be coming out in the next couple months. But the beauty of writing is you need to kind of understand your topic, and if you can really understand your topics, you have the opportunity to explain it. When it comes to filming, if the camera doesn't have it, you don't have it. You might have a sense of something, people might explain things to you in a certain way, but if you don't have it on your camera in a way that's digestible and easy for audience to grasp, it doesn't matter whether you personally understand it or not. So the challenge is really, okay, maybe you understand the issue, but how do you show it? How do you bring your audience to that front line? Because that's the opportunity that you have that you don't necessarily have when you write. And that's to take an audience literally to these remote locations that they've never been and plant their feet right in the ground, whether that be the Atacama in Northern Chile, whether that'd be the red earth of Colwaisy in the Democratic Republic of the Congo. And that's the beauty of it, but it takes more of making sure you get something not just whether you understand it is almost irrelevant. I mean I guess you do need to understand it but you need to be able to draw it out of a place. It's easier when you're writing to get to some of these difficult places because you don't have to bring 900 pounds of equipment and you can kind of move easier and you're much more discreet. You can get places much easier as you can imagine, where with this, you're carrying all this equipment down. You're obvious from miles away. So you really have to build relationships and get people to get comfortable with you and be willing to speak out. So it's different arts, but it's also different rewards. And the beauty of being able to combine analysis with these visuals is really the draw of what makes documentary so magic because you're really kind of hitting different senses at the same time, visual, audio, and combining it to hopefully make some sort of bigger story.Andrew Keen: Well, speaking, Sam, of audio and visuals, we've got a one minute clip or introduction to the movie. People just listening on this podcast won't get to see your excellent film work, but everybody else will. So let's just have a minute to see what lithium rising is all about. We'll be back in a minute.[Clip plays]Andrew Keen: Here's a saying that says that the natural resources are today's bread and tomorrow's hunger. Great stuff, Sam. That last quote was in Spanish. Maybe you want to translate that to English, because I think, in a sense, it summarizes what lithium rising is about.Samuel George: Right. Well, that's this idea that natural resources in a lot of these places, I mean, you have to take a step back that a lot of these resources, you mentioned the lithium, the cobalt, you can throw nickel into that conversation. And then some of the more traditional ones like copper and silver, a lot are in poor countries. And for centuries, the opportunity to access this has been like a mirage, dangled in front of many of these poor countries as an opportunity to become more wealthy. Yet what we continue to see is the wealth, the mineral wealth of these countries is sustaining growth around the world while places like Potosí and Bolivia remain remarkably poor. So the question on their minds is, is this time gonna be any different? We know that Bolivia has perhaps the largest lithium deposits in the world. They're struggling to get to it because they're fighting amongst each other politically about what's the best way to do it, and is there any way to it that, hey, for once, maybe some of this resource wealth can stay here so that we don't end up, as the quote said, starving. So that's where their perspective is. And then on the other side, you have the great powers of the world who are engaged in a massive competition for access to these minerals.Andrew Keen: And let's be specific, Sam, we're not talking about 19th century Europe and great powers where there were four or five, they're really only two great powers when it comes to these resources, aren't they?Samuel George: I mean, I think that's fair to say. I think some people might like to lump in Western Europe and the EU with the United States to the extent that we used to traditionally conceive of them as being on the same team. But certainly, yes, this is a competition between the United States and China. And it's one that, frankly, China is winning and winning handily. And we can debate what that means, but it's true. I showed this film in London. And a student, who I believe was Chinese, commented, is it really fair to even call this a race? Because it seems to be over.Andrew Keen: Yeah, it's over. You showed it at King's College in London. I heard it was an excellent event.Samuel George: Yeah, it really was. But the point here is, to the extent that it's a competition between the United States and China, which it is, China is winning. And that's of grave concern to Washington. So there's the sense that the United States needs to catch up and need to catch up quickly. So that's the perspective that these two great powers are going at it from. Whereas if you're the Democratic Republic of Congo, if you are Bolivia, if your Chile, you're saying, what can we do to try to make the most of this opportunity and not just get steamrolled?Andrew Keen: Right. And you talk about a grave concern. Of course, there is grave concern both in Washington, D.C. and Beijing in terms of who's winning this race for these natural resources that are driving our networked age, our battery powered age. Some people might think the race has ended. Some people may even argue that it hasn't even really begun. But of course, one of the biggest issues, and particularly when it comes to the Chinese, is this neocolonial element. This was certainly brought out in Cobalt Red, which is quite a controversial book about the way in which China has essentially colonized the Congo by mining Cobalt in Congo, using local labor and then shipping out these valuable resources back to China. And of course, it's part of a broader project in Africa of the Chinese, which for some critics actually not that different from European 19th century colonialism. That's why we entitled our show with Siddharth Kara, The New Heart of Darkness. Of course, the original Heart of darkness was Joseph Conrad's great novel that got turned into Apocalypse Now. Is history repeating itself, Sam, when it comes to these natural resources in terms of the 19th-century history of colonialism, particularly in Africa?Samuel George: Yeah, I mean, I think it's so one thing that's fair to say is you hear a lot of complaining from the West that says, well, look, standards are not being respected, labor is being taken advantage of, environment is not being taken care of, and this is unfair. And this is true, but your point is equally true that this should not be a foreign concept to the West because it's something that previously the West was clearly engaged in. And so yes, there is echoes of history repeating itself. I don't think there's any other way to look at it. I think it's a complicated dynamic because sometimes people say, well, why is the West not? Why is it not the United States that's in the DRC and getting the cobalt? And I think that's because it's been tough for the United states to find its footing. What China has done is increasingly, and then we did another documentary about this. It's online. It's called Tinder Box Belt and Road, China and the Balkans. And what we increasingly see is in these non-democracies or faulty democracies that has something that China's interested in. China's willing to show up and basically put a lot of money on the table and not ask a whole lot of questions. And if the West, doesn't wanna play that game, whatever they're offering isn't necessarily as attractive. And that's a complication that we see again and again around the world and one, the United States and Europe and the World Bank and Western institutions that often require a lot of background study and open tenders for contracts and democracy caveats and transparency. China's not asking for any of that, as David Dollar, a scholar, said in the prior film, if the World Bank says they're going to build you a road, it's going to be a 10-year process, and we'll see what happens. If China says they'll build you a road a year later, you'll have a road.Andrew Keen: But then the question sound becomes, who owns the road?Samuel George: So let's take the Democratic Republic of the Congo, another great option. China has been building a lot of roads there, and this is obviously beneficial to a country that has very limited infrastructure. It's not just to say everything that China is doing is bad. China is a very large and economically powerful country. It should be contributing to global infrastructure. If it has the ability to finance that, wonderful. We all know Africa, certain African countries can really benefit from improved infrastructure. But where do those roads go? Well, those roads just happen to conveniently connect to these key mineral deposits where China overwhelmingly owns the interest and the minerals.Andrew Keen: That's a bit of a coincidence, isn't it?Samuel George: Well, exactly. And I mean, that's the way it's going. So that's what they'll come to the table. They'll put money on the table, they'll say, we'll get you a road. And, you know, what a coincidence that roads going right by the cobalt mine run by China. That's debatable. If you're from the African perspective, you could say, look, we got a road, and we needed that road. And it could also be that there's a lot of money disappearing in other places. But, you know that that's a different question.Andrew Keen: One of the things I liked about Lithium Rising, the race for critical minerals, your new documentary, is it doesn't pull its punches. Certainly not when it comes to the Chinese. You have some remarkable footage from Africa, but also it doesn't pull its punches in Latin America, or indeed in the United States itself, where cobalt has been discovered and it's the indigenous peoples of some of the regions where cobalt, sorry, where lithium has been discovered, where the African versus Chinese scenario is being played out. So whether it's Bolivia or the western parts of the United States or Congo, the script is pretty similar, isn't it?Samuel George: Yeah, you certainly see themes in the film echoed repeatedly. You mentioned what was the Thacker Pass lithium mine that's being built in northern Nevada. So people say, look, we need lithium. The United States needs lithium. Here's the interesting thing about critical minerals. These are not rare earth minerals. They're actually not that rare. They're in a lot of places and it turns out there's a massive lithium deposit in Nevada. Unfortunately, it's right next to a Native American reservation. This is an area that this tribe has been kind of herded onto after years, centuries of oppression. But the way the documentary tries to investigate it, it is not a clear-cut story of good guy and bad guy, rather it's a very complicated situation, and in that specific case what you have is a tribe that's divided, because there's some people that say, look, this is our land, this is a sacred site, and this is going to be pollution, but then you have a whole other section of the tribe that says we are very poor and this is an opportunity for jobs such that we won't have to leave our area, that we can stay here and work. And these kind of entangled complications we see repeated over and over again. Cobalt is another great example. So there's some people out there that are saying, well, we can make a battery without cobalt. And that's not because they can make a better battery. It's because they want to avoid the Democratic Republic of the Congo. But that cobalt is providing a rare job opportunity. And we can debate the quality of the job, but for the people that are working it, as they say in my film, they say, look, if we could do something else, we would do it. But this is all there is. So if you deprive them of that, the situation gets even worse. And that something we see in Northern Chile. We see it in Nevada. We see in Africa. We see it in Indonesia. What the film does is it raises these moral questions that are incredibly important to talk about. And it sort of begs the question of, not only what's the answer, but who has the right to answer this? I mean, who has right to speak on behalf of the 10 communities that are being destroyed in Northern Chile?Andrew Keen: I have to admit, I thought you did a very good job in the film giving everybody a voice, but my sympathy when it came to the Nevada case was with the younger people who wanted to bring wealth and development into the community rather than some of the more elderly members who were somehow anti-development, anti-investment, anti mining in every sense. I don't see how that benefits, but certainly not their children or the children of their children.Samuel George: I guess the fundamental question there is how bad is that mine going to be for the local environment? And I think that's something that remains to be seen. And one of the major challenges with this broader idea of are we going to greener by transitioning to EVs? And please understand I don't have an opinion of that. I do think anywhere you're doing mining, you're going to have immediate consequences. The transition would have to get big enough that the external the externalities, the positive benefits outweigh that kind of local negativity. And we could get there, but it's also very difficult to imagine massive mining projects anywhere in the world that don't impact the local population. And again, when we pick up our iPhone or when we get in our electric vehicle, we're not necessarily thinking of those 10 villages in the Atacama Desert in Chile.Andrew Keen: Yeah, and I've been up to the Atacama's, perhaps the most beautiful part in the world I've ever seen. It's nice. I saw the tourist side of it, so I didn't see the mining. But I take your point. There is one, perhaps, the most positive section of the film. You went to France. I think it was Calais, you took your camera. And it seems as if the French are pioneering a more innovative development of batteries which benefit the local community but also protect them environmentally. What did you see in northern France?Samuel George: Point, and that gets back to this extractive cycle that we've seen before. Okay, so northern France, this is a story a lot of us will know well because it's similar to what we've see in the Rust Belt in the United States. This is an industrial zone, historically, that faced significant deindustrialization in recent decades and now has massive problems with unemployment and lack of job opportunities, as one of the guys says in the film. Nothing's open here anymore except for that cafe over there and that's just because it has gambling guy. I couldn't have said it any better. This EV transition is offering an opportunity to bring back industrial jobs to whether it's Northern France or the United States of America. So that is an opportunity for people to have these more advanced battery-oriented jobs. So that could be building the battery itself. That could be an auto manufacturing plant where you're making EV electric vehicles. So there is job creation that's happening. And that's further along the development stage and kind of higher level jobs. And we meet students in France that are saying, look, this is an opportunity for a career. We see a long-term opportunity for work here. So we're really studying batteries and that's for university students. That's for people maybe 10, 15 years older to kind of go back to school and learn some skills related to batteries. So there is job creation to that. And you might, you may be getting ready to get to this, but where the real silver lining I think comes after that, where we go back to Georgia in the United States and visit a battery recycling plant.Andrew Keen: Right, yeah, those two sections in the movie kind of go together in a sense.Samuel George: Right, they do. And that is, I think, the silver lining here is that these batteries that we use in all of these appliances and devices and gadgets can be recycled in such a way that the cobalt, the lithium, the nickel can be extracted. And it itself hasn't degraded. It's sort of funny for us to think about, because we buy a phone. And three years later, the battery is half as good as it used to be and we figure well, materials in it must be degrading. They're not. The battery is degrading, the materials are fine. So then the idea is if we can get enough of this in the United States, if we can get old phones and old car batteries and old laptops that we can pull those minerals out, maybe we can have a closed loop, which is sort of a way of saying we won't need those mines anymore. We won't have to dig it up. We don't need to compete with China for access to from Bolivia or Chile because we'll have that lithium here. And yes, that's a silver lining, but there's challenges there. The two key challenges your viewers should be aware of is one, it's all about costs and they've proven that they can recycle these materials, but can they do it in a way that's cheaper than importing new lithium? And that's what these different companies are racing to find a way to say, look, we can do this at a way that's cost effective. Then even if you get through that challenge, a second one is just to have the sheer amount of the materials to close that loop, to have enough in the United States already, they estimate we're decades away from that. So those are the two key challenges to the silver lining of recycling, but it is possible. It can be done and they're doing it.Andrew Keen: We haven't talked about the T word, Sam. It's on everyone's lips these days, tariffs. How does this play out? I mean, especially given this growing explicit, aggressive trade war between the United States and China, particularly when it comes to production of iPhones and other battery-driven products. Right. Is tariffs, I mean, you film this really before Trump 2-0, in which tariffs were less central, but is tariffs going to change everything?Samuel George: I mean, this is just like so many other things, an incredibly globalized ecosystem and tariffs. And who even knows by the time this comes out, whatever we think we understand about the new tariff scenario could be completely outdated.Andrew Keen: Guaranteed. I mean, we are talking on Wednesday, April the 9th. This will go out in a few days time. But no doubt by that time, tariffs will have changed dramatically. They already have as we speak.Samuel George: Here's the bottom line, and this is part of the reason the story is so important and so timely, and we haven't even talked about this yet, but it's so critical. Okay, just like oil, you can't just dig oil out of the ground and put it in the car. It's got to be refined. Lithium, nickel, cobalt, it's got be refined as well. And the overwhelming majority of that refining occurs in China. So even your success story like France, where they're building batteries, they still need to import the refined critical minerals from China. So that is a massive vulnerability. And that's part of where this real fear that you see in Washington or Brussels is coming from. You know, and they got their first little taste of it during the COVID supply chain meltdown, but say in the event where China decided that they weren't gonna export any more of this refined material it would be disastrous for people relying on lithium devices, which by the way, is also the military. Increasingly, the military is using lithium battery powered devices. So that's why there's this urgency that we need to get this on shore. We need to this supply chain here. The problem is that's not happening yet. And okay, so you can slap these tariffs on and that's going to make this stuff much more expensive, but that's not going to automatically create a critical mineral refining capacity in the United States of America. So that needs to be built. So you can understand the desire to get this back here. And by the way, the only reason we're not all driving Chinese made electric vehicles is because of tariffs. The Chinese have really, really caught up in terms of high quality electric vehicles at excellent prices. Now, the prices were always good. What's surprising people recently is the quality is there, but they've basically been tariffed out of the United States. And actually the Biden administration was in part behind that. And it was sort of this tension because on the one hand, they were saying, we want a green revolution, we want to green revolution. But on the other hand, they were seeing these quality Chinese electric vehicles. We're not gonna let you bring them in. But yeah, so I mean, I think the ultimate goal, you can understand why a country that's convinced that it's in a long term competition with China would say we can't rely on Chinese refined materials. Slapping a tariff on it isn't any sort of comprehensive strategy and to me it almost seems like you're putting the horse before the cart because we're not really in a place yet where we can say we no longer need China to power our iPhone.Andrew Keen: And one of the nice things about your movie is it features miners, ordinary people living on the land whose lives are dramatically impacted by this. So one would imagine that some of the people you interviewed in Bolivia or Atacama or in Africa or even in Georgia and certainly in Nevada, they're going to be dramatically impacted by the tariffs. These are not just abstract ideas that have a real impact on people's lives.Samuel George: Absolutely. I mean, for decades now, we've built an economic system that's based on globalization. And it's certainly true that that's cost a lot of jobs in the United States. It's also true that there's a lot jobs and companies that have been built around global trade. And this is one of them. And you're talking about significant disruption if your global supply chains, as we've seen before, again, in the COVID crisis when the supply chains fall apart or when the margins, which are already pretty slim to begin with, start to degrade, yeah, it's a major problem.Andrew Keen: Poorly paid in the first place, so...Samuel George: For the most part, yeah.Andrew Keen: Well, we're not talking about dinging Elon Musk. Tell us a little bit, Sam, about how you made this movie. You are a defiantly independent filmmaker, one of the more impressive that I know. You literally carry two large cameras around the world. You don't have a team, you don't have an audio guy, you don't ever sound guy. You do it all on your own. It's quite impressive. Been you shlep these cameras to Latin America, to Southeast Asia, obviously all around America. You commissioned work in Africa. How did you make this film? It's quite an impressive endeavor.Samuel George: Well, first of all, I really appreciate your kind words, but I can't completely accept this idea that I do it all alone. You know, I'm speaking to you now from the Bertelsmann Foundation. I'm the director of Bertelsman Foundation documentaries. And we've just had this fantastic support here and this idea that we can go to the front line and get these stories. And I would encourage people to check out Bertelsmen Foundation documentation.Andrew Keen: And we should have a special shout out to your boss, my friend, Irene Brahm, who runs the BuzzFeed Foundation of North America, who's been right from the beginning, a champion of video making.Samuel George: Oh, absolutely. I mean, Irene Brahm has been a visionary in terms of, you know, something I think that we align on is you take these incredibly interesting issues and somehow analysts manage to make them extraordinarily boring. And Irene had this vision that maybe it doesn't have to be that way.Andrew Keen: She's blushing now as she's watching this, but I don't mean to make you blush, Sam, but these are pretty independent movies. You went around the world, you've done it before, you did it in the Serbian movie too. You're carrying these cameras around, you're doing all your own work, it's quite an achievement.Samuel George: Well, again, I'm very, very thankful for the Bertelsmann Foundation. I think a lot of times, sometimes people, when they hear a foundation or something is behind something, they assume that somebody's got an ax to grind, and that's really not the case here. The Bertelsman Foundation is very supportive of just investigating these key issues, and let's have an honest conversation about it. And maybe it's a cop-out, but in my work, I often don't try to provide a solution.Andrew Keen: Have you had, when we did our event in D.C., you had a woman, a Chinese-born woman who's an expert on this. I don't think she's particularly welcome back on the mainland now. Has there been a Chinese response? Because I would say it's an anti-Chinese movie, but it's not particularly sympathetic or friendly towards China.Samuel George: And I can answer that question because it was the exact same issue we ran into when we filmed Tinder Box Belt and Road, which was again about Chinese investment in the Balkans. And your answer is has there been a Chinese reaction and no sort of official reaction. We always have people sort of from the embassy or various affiliated organizations that like to come to the events when we screen it. And they're very welcome to. But here's a point that I want to get across. Chinese officials and people related to China on these issues are generally uniformly unwilling to participate. And I think that's a poor decision on their part because I think there's a lot they could say to defend themselves. They could say, hey, you guys do this too. They could say, we're providing infrastructure to critical parts of the world. They could said, hey we're way ahead of you guys, but it's not because we did anything wrong. We just saw this was important before you did and built the network. There are many ways they could defend themselves. But rather than do that, they're extremely tight-lipped about what they're doing. And that can, if you're not, and we try our best, you know, we have certain experts from China that when they'll talk, we'll interview them. But that kind of tight-lip approach almost makes it seem like something even more suspicious is happening. Cause you just have to guess what the mindset must be cause they won't explain themselves. And I think Chinese representatives could do far more and it's not just about you know my documentary I understand they have bigger fish to fry but I feel like they fry the fish the same way when they're dealing with bigger entities I think it's to their detriment that they're not more open in engaging a global conversation because look China is gonna be an incredibly impactful part of world dynamics moving forward and they need to be, they need to engage on what they're doing. I think, and I do think they have a story they can tell to defend themselves, and it's unfortunate that they very much don't do it.Andrew Keen: In our DC event, you also had a woman who'd worked within the Biden administration. Has there been a big shift between Biden policy on recycling, recyclable energy and Trump 2.0? It's still the early days of the new administration.Samuel George: Right. And we're trying to get a grip on that of what the difference is going to be. I can tell you this, the Biden approach was very much the historic approach of the United States of America, which is to try to go to a country like Congo and say, look, we're not going to give you money without transparency. We're not gonna give you this big, you know, beautiful deal. We're going to the cheapest to build this or the cheapest build that. But what we can compete with you is on quality and sustainability and improved work conditions. This used to be the United States pitch. And as we've seen in places like Serbia, that's not always the greatest pitch in the world. Oftentimes these countries are more interested in the money without questions being asked. But the United states under the Biden administration tried to compete on quality. Now we will have to see if that continues with the Trump administration, if that continuous to be their pitch. What we've see in the early days is this sort of hardball tactic. I mean, what else can you refer to what's happening with Ukraine, where they say, look, if you want continued military support, we want those minerals. And other countries say, well, maybe that could work for us too. I mean that's sort of, as I understand it, the DRC, which is under, you know, there's new competition there for power that the existing government is saying, hey, United States, if you could please help us, we'll be sure to give you this heaping of minerals. We can say this, the new administration does seem to be taking the need for critical minerals seriously, which I think was an open question because we see so much of the kind of green environmentalism being rolled back. It does still seem to be a priority with the new administration and there does seem to be clarity that the United States is going to have to improve its position regarding these minerals.Andrew Keen: Yeah, I'm guessing Elon Musk sees this as well as anyone, and I'm sure he's quite influential. Finally, Sam, in contrast with a book, which gets distributed and put in bookstores, doing a movie is much more challenging. What's the goal with the movie? You've done a number of launches around the world, screenings in Berlin, Munich, London, Washington D.C. you did run in San Francisco last week. What's the business model, so to speak here? Are you trying to get distribution or do you wanna work with schools or other authorities to show the film?Samuel George: Right, I mean, I appreciate that question. The business model is simple. We just want you to watch. You know, our content is always free. Our films are always free, you can go to bfnadox.org for our catalog. This film is not online yet. You don't need a password, you don't a username, you can just watch our movies, that's what we want. And of course, we're always on the lookout for increased opportunities to spread these. And so we worked on a number of films. We've got PBS to syndicate them nationally. We got one you can check your local listings about a four-month steel workers strike in western Pennsylvania. It's called Local 1196. That just started its national syndication on PBS. So check out for that one. But look, our goal is for folks to watch these. We're looking for the most exposure as we can and we're giving it away for free.Andrew Keen: Just to repeat, if people are interested, that's bfna.docs.org to find more movies. And finally, Sam, for people who are interested perhaps in doing a showing of the film, I know you've worked with a number of universities and interest groups. What would be the best way to approach you.Samuel George: Well, like you say, we're a small team here. You can always feel free to reach out to me. And I don't know if I should pitch my email.Andrew Keen: Yeah, picture email. Give it out. The Chinese will be getting it too. You'll be getting lots of invitations from China probably to show the film.Samuel George: We'd love to come talk about it. That's all we want to do. And we try, but we'd love to talk about it. I think it's fundamental to have that conversation. So the email is just Samuel.George, just as you see it written there, at BFN as in boy, F as in Frank, N as in Nancy, A. Let's make it clearer - Samuel.George@bfna.org. We work with all sorts of organizations on screenings.Andrew Keen: And what about the aspiring filmmakers, as you're the head of documentaries there? Do you work with aspiring documentary filmmakers?Samuel George: Yes, yes, we do often on projects. So if I'm working on a project. So you mentioned that I work by myself, and that is how I learned this industry, you know, is doing it by myself. But increasingly, we're bringing in other skilled people on projects that we're working on. So we don't necessarily outsource entire projects. But we're always looking for opportunities to collaborate. We're looking to bring in talent. And we're looking to make the best products we can on issues that we think are fundamental importance to the Atlantic community. So we love being in touch with filmmakers. We have internship programs. We're open for nonprofit business, I guess you could say.Andrew Keen: Well, that's good stuff. The new movie is called Lithium Rising, The Race for Critical Minerals. I moderated a panel after the North American premiere at the end of February. It's a really interesting, beautifully made film, very compelling. It is only 60 minutes. I strongly advise anyone who has the opportunity to watch it and to contact Sam if they want to put it on their school, a university or other institution. Congratulations Sam on the movie. What's the next project?Samuel George: Next project, we've started working on a project about Southern Louisiana. And in there, we're really looking at the impact of land loss on the bayous and the local shrimpers and crabbers and Cajun community, as well as of course This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

In this episode of our series 'Apocalypse Now?', we delve into the opening chapter of the Book of Revelation, setting the stage for an exploration of its profound imagery and messages. Join Chris, Jo, and Alex as they unpack the initial verses, discussing the significance of the seven churches, the symbolism of numbers, and the powerful vision of the risen Christ.We explore the dual nature of Revelation as both a prophetic and apocalyptic text, revealing how it offers not just predictions of future events, but a call to faithful living amidst trials. Discover how the themes of divine sovereignty, the eternal nature of God, and the role of Jesus as the faithful witness resonate with believers today.From the historical context of the first-century church to the timeless truths that continue to inspire, this episode invites you to see Revelation not as a cryptic puzzle, but as a source of hope and encouragement. Tune in as we begin this journey through one of the most intriguing books of the Bible, and find your place in God's unfolding story.SourcesRichard Bauckham - The Theology of the Book of RevelationDavid deSilva - An Introduction to the New TestamentN.T. Wright - Revelation and the Politics of Apocalyptic InterpretationMichael Gorman - Reading Revelation ResponsiblyJ. Ramsey Michaels - Interpreting the Book of RevelationBig thanks to Tim Whittle for editing and extra production on this podcast. Get more info at Riverlife Church, and find us on Facebook and Instagram.Subscribe to Bible Streams on Apple, Spotify, Google, and Amazon.

HOW DOES TOM CRUISE STACK UP TO ALAN RITCHSON??? Jack Reacher Full Reaction Watch Along!! https://www.patreon.com/thereelrejects With the Reacher Season 3 Finale out now + Tom Cruise & Christopher McQarrie teaming up once again for Mission: Impossible - The Final Reckoning, Greg 'n John Go Back to where it all began with a Jack Reacher Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Visit https://huel.com/rejects to get 15% off your order Start your online business with a $1 per-month trial when you visit https://www.shopify.com/rejects! Join Greg Alba and John Humphrey as they dissect the high-octane 2012 film adaptation of Jack Reacher, starring Tom Cruise and brought to life by writer/director Christopher McQuarrie (famed for his work on Mission: Impossible – Rogue Nation and The Usual Suspects). Based on Lee Child's bestselling thriller "One Shot," this action-packed mystery follows former Army investigator Jack Reacher (Tom Cruise, celebrated for Top Gun and Mission: Impossible) as he unravels a web of deceit surrounding a seemingly random sniper attack. In addition to Cruise's magnetic portrayal of the stoic drifter, the film features standout performances by Rosamund Pike as Helen Rodin (known for Gone Girl and Die Another Day), whose sharp intellect and determination add layers to the investigation along with veteran actor Richard Jenkins (The Visitor, Step Brothers, The Way of Water), David Oyelowo (Selma, Interstella), Robert Duvall (The Godfather, Apocalypse Now, To Kill a Mockingbird), + a chilling turn from Werner Herzog (Fitzcarraldo, Nosferatu The Vampire, Grizzly Man) as the Zec, & our FIRST exposure to Jai Courtney (The Suicide Squad, Terminator: Genisys, Divergent). The movie is packed with memorable moments—from the tension-filled interrogation scenes to heart-stopping chase sequences and an unexpected twist that redefines the entire case. Greg and John break down every riveting detail, offering insights into the film's masterful blend of suspense, action, and mystery. Whether you're a longtime fan of the Jack Reacher novels or experiencing this thrilling adaptation for the first time, our reaction and review is your ultimate guide to every explosive moment! Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

The use of non-diagetic songs in cinema is often designed to provoke a type of nostalgia, or at least an understanding of the era the film is set in. Apocalypse Now opens very effectively to the sounds of The End by The Doors. Goodfellas keeps updating the jukebox as the story travels over the years (Scorsese is a master of that). So, if you watch a film set in the 50s like American Graffiti or That'll Be The Day, the jukebox soundtracks to these films are like characters constantly reminding the viewers where they are timewise. The romantic (and sometimes lascivious) songs of the doo wop era paint a picture of American life in the 50s somewhat removed from the turmoils of segregation, a conflict in Korea, and McCarthyism….they paint the picture that many films are trying to portray. Welcome to episode 125 of See Hear Podcast. One of the singers in the latter part of the original doo wop era was Kenny Vance, a member of beloved group, Jay & The Americans. His experience as a young man singing with the group brought him into contact with so many other doo wop groups and eventually figures in the soul and pop world (he supported The Beatles on an American tour). He went on to be a musical director consultant for many films focusing on the 50s era. Eventually, he decided to become a director and document the original doo wop scene as he and some of his colleagues recalled it, what they went on to do, and how their pioneering sound influenced many others who don't even realise the gigantic shoulders they're standing on. The film he directed is called “Heart & Soul: A Love Story”, and it is a thing of beauty. Tim and I were joined by Melbourne doo wop guru Peter Merrett (of the Malt Shop Hop radio show) to chat with Kenny not only about his film, but a vast number of topics all related to his time in doo wop, the people who ran the labels, the session musicians, and the singers he worked with. WE get stories about Little Anthony & The Imperials, The Flamingos, The Chantels and so much more. I have to say that Kenny's memory is sharp and he regaled us with many incredible stories from a life in music. He's a true mentsch….and he even sang for us!!!! We've done our share of episodes, but this is one I will be remembering for a long time. If you haven't tuned into an episode in a while (or never have), start here….you don't need to have seen the film to appreciate this wonderful conversation, but we would certainly encourage watching it first chance you get. Our thanks not only go to Kenny for hanging out with us, but also to executive producer Liz Nickles who put us in contact with him. Tim and I also are grateful to Peter Merrett for bringing his expertise to the conversation. For details about screenings, go to https://www.heartandsoulthemovie.com/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com . Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). You can also download the episode from the website at https://seehearpodcast.blogspot.com/2025/03/see-hear-125-interview-with-kenny-vance.html Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

The use of non-diagetic songs in cinema is often designed to provoke a type of nostalgia, or at least an understanding of the era the film is set in. Apocalypse Now opens very effectively to the sounds of The End by The Doors. Goodfellas keeps updating the jukebox as the story travels over the years (Scorsese is a master of that). So, if you watch a film set in the 50s like American Graffiti or That'll Be The Day, the jukebox soundtracks to these films are like characters constantly reminding the viewers where they are timewise. The romantic (and sometimes lascivious) songs of the doo wop era paint a picture of American life in the 50s somewhat removed from the turmoils of segregation, a conflict in Korea, and McCarthyism….they paint the picture that many films are trying to portray. Welcome to episode 125 of See Hear Podcast. One of the singers in the latter part of the original doo wop era was Kenny Vance, a member of beloved group, Jay & The Americans. His experience as a young man singing with the group brought him into contact with so many other doo wop groups and eventually figures in the soul and pop world (he supported The Beatles on an American tour). He went on to be a musical director consultant for many films focusing on the 50s era. Eventually, he decided to become a director and document the original doo wop scene as he and some of his colleagues recalled it, what they went on to do, and how their pioneering sound influenced many others who don't even realise the gigantic shoulders they're standing on. The film he directed is called “Heart & Soul: A Love Story”, and it is a thing of beauty. Tim and I were joined by Melbourne doo wop guru Peter Merrett (of the Malt Shop Hop radio show) to chat with Kenny not only about his film, but a vast number of topics all related to his time in doo wop, the people who ran the labels, the session musicians, and the singers he worked with. WE get stories about Little Anthony & The Imperials, The Flamingos, The Chantels and so much more. I have to say that Kenny's memory is sharp and he regaled us with many incredible stories from a life in music. He's a true mentsch….and he even sang for us!!!! We've done our share of episodes, but this is one I will be remembering for a long time. If you haven't tuned into an episode in a while (or never have), start here….you don't need to have seen the film to appreciate this wonderful conversation, but we would certainly encourage watching it first chance you get. Our thanks not only go to Kenny for hanging out with us, but also to executive producer Liz Nickles who put us in contact with him. Tim and I also are grateful to Peter Merrett for bringing his expertise to the conversation. For details about screenings, go to https://www.heartandsoulthemovie.com/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com . Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this emotionally charged episode of Born to Watch, the team marches into the searing heat and moral quagmire of Oliver Stone's Platoon (1986), a film that's arguably the definitive Vietnam War movie of its era. Whitey, G-Man, and the V8 Interrupter Dan revisit the battlefield with a mix of reverence, nostalgia, and hard truths, dissecting the film's impact, legacy, and the deep emotional chord it struck back in the day—and still does today.Kicking off with stories of their first encounters with Platoon, the guys quickly descend into one of their most layered and personal discussions to date. Whitey recalls being told by his dad he wasn't allowed to watch the film—despite already seeing Apocalypse Now and Mad Max at age six. That rebellious spark only deepened his bond with the movie once he finally got his hands on it as a teen. Dan admits to cheating on the crew, watching Platoon with his war-obsessed neighbours back in the ‘80s, completely unaware at the time of the deeper commentary Stone was laying down. For G-Man, Platoon was a rite of passage during his VHS-rented youth, watched on loop like a war-soaked mixtape.But the nostalgia is tempered with fresh eyes. This time around, Platoon hits different. What once felt like badass war action now reveals itself as a gut-punching meditation on morality, survival, and the breakdown of innocence. The guys explore the duality of the film's core—the Elias vs. Barnes dichotomy—representing each soldier's internal war. It's not just America vs. the Viet Cong; it's soul vs. savagery, duty vs. darkness.The cast? Stacked. And not just with stars—but future legends. Tom Berenger and Willem Dafoe snagged Oscar nods for roles that flipped their usual screen personas. Charlie Sheen's Chris Taylor acts as the audience's moral compass, thrust into a world of chaos with no road map. And in the wings, you catch early glimpses of Johnny Depp, Forest Whitaker, Kevin Dillon, and even a scene-stealing John C. McGinley. The Born to Watch crew marvel at the rawness and authenticity that pulses through every frame—helped in no small part by the film's unique decision to shoot in sequence, letting the emotional weight build naturally.And then there's the man behind the camera: Oliver Stone. A real-life Vietnam vet, Stone channelled his firsthand experience into a script that didn't just depict war—it unpacked it, exposed it, and dared to say that sometimes, the worst of humanity wears your own uniform. The pod digs into how Stone's commitment to realism (aided by military advisor Dale Dye, another vet) shaped everything from the dialogue to the weight of each bullet fired.There's the usual Born to Watch flavor too—G-Man's got the box office and awards rundown (hello, Best Picture and Best Director at the ‘87 Oscars), while Dan goes on a bandana-fueled tangent and questions whether Lieutenant Wolfe might be cinema's most inept officer. Whitey can't resist diving into the musical legacy, from that haunting Samuel Barber theme to how the soundtrack now echoes the trauma and tragedy of a generation.Of course, it wouldn't be Born to Watch without Listen to This, Voicemail Roulette (shoutout to “Will the Worky”), and the always-fun “Hit, Sleeper, Dud” segment, where Heartbreak Ridge, Extreme Prejudice, and King Kong Lives get their moment in the spotlight—or the firing line.By the end, the question looms large: Platoon or Apocalypse Now? Each host makes their case in what might be the pod's most respectful debate yet. As G-Man puts it, Platoon is about the war within, while Apocalypse Now is a descent into madness. Either way, both films leave an indelible mark—and so does this episode.So strap in, pop smoke, and join the squad as Born to Watch heads into the heart of darkness with Platoon. This one's for the grunts, the film buffs, and anyone who ever got lost in the jungle of morality and memory.

Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz welcomes an industry titan-- film producer and studio executive Mike Medavoy. With a career spanning over five decades, Medavoy has been closely involved with over 300 feature films, with seven winning Best Picture Oscars. From agent to studio chief to producer, his remarkable journey from Shanghai to Hollywood has shaped some of cinema's most important films, including Rocky, One Flew Over the Cuckoo's Nest, Apocalypse Now, Platoon, and Silence of the Lambs. With characteristic humility and wisdom, Medavoy shares fascinating stories from his illustrious career.Early Life and Global Upbringing (03:12)Born in Shanghai in 1941 to Russian-Ukrainian Jewish parents, Medavoy moved to Chile in 1947 before settling in California, speaking Shanghai-nese, Russian, Spanish, and English.Breaking into Hollywood (07:40)After UCLA and the US Army Reserve, Medavoy started in Universal's mailroom in 1964, making industry friendships that became the foundation of his career.From Agent to Studio Executive (11:15)Medavoy recounts transitioning from talent agent to Senior VP of Production at United Artists, where his first major film was One Flew Over the Cuckoo's Nest.United Artists and an Unprecedented Oscar Run (16:26)At UA, Medavoy helped shepherd three consecutive Best Picture winners: One Flew Over the Cuckoo's Nest, Rocky, and Annie Hall.Formation of Orion Pictures (19:43)Medavoy discusses co-founding Orion Pictures, which produced classics like Amadeus, Platoon, and The Silence of the Lambs.Stories Behind the Classics (24:26)Fascinating behind-the-scenes stories about iconic films including Platoon, Terminator, and Apocalypse Now.Advice for the Next Generation (38:56) For emerging filmmakers, Medavoy recommends "The Story of Film" as essential viewing.Throughout this conversation, Medavoy reveals himself as not just an industry treasure but a thoughtful observer of both cinema and life. His journey from immigrant roots to Hollywood exemplifies the dream many pursue but few achieve. With remarkable candor, he discusses both triumphs and regrets, offering listeners a rare glimpse into the mind of someone who has truly shaped modern cinema while remaining, as Kevin notes, "a very charming and decent human being."If you enjoyed this episode, please leave us a review or connect on social media. We look forward to bringing you more revelations from behind the scenes next time on Don't Kill the Messenger!Host: Kevin GoetzGuest: Mike MedavoyProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, Nick Nunez, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Mike Medavoy:Wikipedia: https://en.wikipedia.org/wiki/Mike_MedavoyIMDB: https://www.imdb.com/name/nm0005219/Amazon: https://www.amazon.com/Youre-Only-Good-Your-Next/dp/0743400550For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter (X), Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website: www.ScreenEngineASI.com

On May 29, 2010, Dennis Hopper – the legendary actor and filmmaker whose groundbreaking performances and visionary direction in films like Easy Rider, Blue Velvet, Apocalypse Now, Hoosiers, and Speed, made him a defining figure of American cinema – passed away from prostate cancer at the age of 74. Hopper's passing was a significant loss to those who knew him, but his legacy is secure as one of the most daring, influential, and enduring artists in film history. Hosts: Derek Kaufman & Jason Beckerman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tetragrammaton with Rick Rubin ✓ Claim : Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- Francis Ford Coppola is a critically acclaimed filmmaker, screenwriter, and producer, best known for directing The Godfather trilogy. A key figure in the New Hollywood movement of the later 20th century, he redefined American cinema with bold storytelling and technical innovation. The Godfather, Coppola's breakthrough film, and The Godfather Part II won Best Picture Oscars, with the latter earning him his first Best Director award. His films, including The Conversation and Apocalypse Now, both recipients of the Palme d'Or at the Cannes Film Festival, are celebrated for their masterful direction and psychological depth. Building a legacy of visionary filmmaking, Coppola continues to push boundaries, most recently with his long-awaited epic Megalopolis, released in September 2024. ------ Thank you to the sponsors that fuel our podcast and our team: Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Francis Ford Coppola is a critically acclaimed filmmaker, screenwriter, and producer, best known for directing The Godfather trilogy. A key figure in the New Hollywood movement of the later 20th century, he redefined American cinema with bold storytelling and technical innovation. The Godfather, Coppola's breakthrough film, and The Godfather Part II won Best Picture Oscars, with the latter earning him his first Best Director award. His films, including The Conversation and Apocalypse Now, both recipients of the Palme d'Or at the Cannes Film Festival, are celebrated for their masterful direction and psychological depth. Building a legacy of visionary filmmaking, Coppola continues to push boundaries, most recently with his long-awaited epic Megalopolis, released in September 2024. ------ Thank you to the sponsors that fuel our podcast and our team: Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

Free preview episode cross-over with the Bang-Bang Podcast. A madcap collage of American Berserk—that's one way to describe David O. Russell's Three Kings, and it's exactly how Van, Lyle, and screenwriter Kevin Fox dive into it.This two-part episode (the second installment drops shortly) unpacks the film's wild genre mash-up: comic book absurdities collide with nods to Star Wars and Apocalypse Now, all while a grim commentary on U.S. militarism and society simmers underneath. The group digs into how the film disorients viewers with slapstick humor and sudden, brutal violence—like Mark Wahlberg's character, whose torture by an Iraqi soldier (grieving the loss of his son to an American bombing) flips the script on American power. When Wahlberg's character feebly defends U.S. actions as “maintaining stability in the Middle East,” the soldier shoves a CD-ROM in his mouth—a searing metaphor for the imposition of U.S. hegemony.From cartoonish “United States of Freedom” patriotism to cow guts and milk truck explosions, Three Kings might not be the perfect vehicle for telling Americans—and all the privileged in the Global North—what they need to hear. But at times, it sure comes close.Subscribe to the Bang-Bang Podcast to unlock the rest of this episode, Part II, and the entire Bang-Bang catalog: https://www.bangbangpod.com/p/part-i-three-kings-1999-w-kevin-foxFurther ReadingKevin's Website“The Class of 1999: ‘Three Kings',” by Matthew Goldenberg“Three Kings: neocolonial Arab representation,” by Lila Kitaeff“The Gulf War, Iraq and Western Liberalism,” by Peter Gowan“The Gulf War's Afterlife: Dilemmas, Missed Opportunities, and the Post-Cold War Order Undone,” by Samuel Helfont

“The horror! The horror!” Joseph Conrad's ‘Heart of Darkness' - the inspiration for Francis Ford Coppola's ‘Apocalypse Now' - is one of the most celebrated literary works of all time, though now increasingly contentious. Based on Conrad's own terrible journey into the Congo in 1890, and the horrors he beheld there while it was under the sway of King Leopold of Belgium's monstrous regime, the novella, published in 1899, delves into man's capacity for evil - the primal beast lurking beneath the surface of all humans - and has long stood as the preeminent cultural representation of European colonialism. It tells the story of Mr Kurtz, a great ivory trader who has disappeared deep into the African interior, and appears to have lost his mind, having penetrated some terrifying, ancient truth. Initially, Conrad's disturbing account was viewed as the ultimate attack on imperialism, though aspects of the novella have also invited accusations of racism and imperialism, in part owed to Conrad's own sympathy for Empire. So what is the truth at the heart of 'Heart of Darkness'? And who was Joseph Conrad himself? What horrors did he behold to have inspired such a poignant account of the nightmares within and without…? Join Dominic and Tom as they discuss Joseph Conrad, ‘Heart of Darkness' and the real life events that inspired it, and the long term reverberations of the novella in culture and literary criticism today. EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/restishistory Try it risk-free now with a 30-day money-back guarantee! _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude Editor: Jack Meek Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Se você tem preocupação com a censura e o acesso restrito a conteúdos internacionais, a solução é usar uma VPN. Ao buscar liberdade e segurança na navegação, use a NordVPN, que permite acessar conteúdos globais, encontrar melhores preços e navegar sem rastros. Acesse https://nordvpn.com/cafebrasil para obter um desconto e quatro meses extras grátis, além da opção de reembolso em 30 dias. Neste episódio exploramos o impacto das psyops, táticas usadas para moldar percepções, manipular emoções e influenciar comportamentos. Do cinema, com a icônica cena de Apocalypse Now, à história, passando por Sun Tzu, Gêngis Khan e até as redes sociais atuais, entendemos como a guerra psicológica é travada diariamente. Prepare-se para refletir sobre manipulações que afetam sua autonomia e aprenda como se proteger dessas estratégias sutis, mas poderosas. Uma aula essencial para tempos de desinformação.See omnystudio.com/listener for privacy information.

In this special movie episode: the same week that we rediscover the first filmic Ned Kelly, we lose the chance to have Apocalypse Now made in Australia – and while sexy times sell ‘sinema' tickets, singer-stripper-philosopher-turned-soft core star Count Copernicus hangs up his G-string. Plus, the new trend to sci-fi flicks that includes ‘The Star Wars', Colonel Sanders pops in for a meat pie and a British fashion commando gives our blokes the big thumbs up.Patreon: patreon.com/forgottenaustraliaApple: apple.co/forgottenaustraliaShowgirls, Teen Wolves and Astro Zombies - the link is actually too long to paste here. But it's available on Amazon.com.au The Story of the Kelly Gang: https://www.youtube.com/watch?v=cdD99am_-zUThe Cosmic Clownhttps://www.youtube.com/watch?v=7Xc3vgPD4jk&t=3sCheck out Ross Hamilton's band Stringybarkhttps://stringybark.com/Aussie Inventions That Changed The World - show (episode 8 has the Ned Kelly segment)https://tv.apple.com/au/show/aussie-inventions-that-changed-the-world/umc.cmc.1jkri86gatihce11p8d3wvvc6Aussie Inventions That Changed The World - podcast (episode 8 has David Hunt and me in conversation)https://podcasts.apple.com/au/podcast/aussie-inventions-that-changed-the-world/id1468061172To buy They'll Never Hold Me:https://www.booktopia.com.au/they-ll-never-hold-me-michael-adams/book/9781923046474.htmlThe Murder Squad:https://www.booktopia.com.au/the-murder-squad-michael-adams/book/9781923046504.htmlHanging Ned Kelly:https://www.booktopia.com.au/hanging-ned-kelly-michael-adams/book/9781922992185.htmlAustralia's Sweetheart:https://www.booktopia.com.au/australia-s-sweetheart-michael-adams/book/9780733640292.htmlEmail: forgottenaustraliapodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

The Mikes are kicking off season 20 with Brad Pitt...in space!Listen in as Mike Butler and Mike Field discuss the 2019 science fiction "Apocalypse Now" inspired "Ad Astra" also starring Tommy Lee Jones, written and directed by James Gray.Butler finds the movie slowly, emotionless, with unexplained story beats, dumb character decisions, and one of the worst voiceovers of all time. Field agrees, but thinks Butler is wrong anyway; because it wouldn't be Forgotten Cinema if he didn't. So, grab your popcorn and soda, please notice the exits to the left and right of you and settle down for Forgotten Cinema. Join our FC community on Patreon, it's free to join! www.patreon.com/forgottencinema. If you'd like to support us further, we've also got a merch shop at www.etsy.com/shop/ForgottenCinemaShopSpecial thanks to our Patreon supporters who make this show possible.0:00 - Introduction2:13 - Film Facts9:23 - Film Discussion41:47 - Critic Reviews45:00 - Who Would You Recommend This To?49:17 - Why Is This Forgotten?51:57 - Plugs

Clint Lanier and Dave McArthur discuss the 1979 Francis Ford Coppola opus Apocalypse Now while drinking Pabst Blue Ribbon beer. 

Season 11 of Saturday Night Live is often regarded as the weirdest—and possibly the worst—season in the show's history, and episode 13 serves as a prime example of why. In this episode of That Show..., Nick revisits the infamous night when George Wendt hosted, Phillip Glass was the musical guest, and none other than Francis Ford Coppola directed the show. In an attempt to address harsh criticism, dismal ratings, and skepticism about the show's direction, Lorne Michaels decided to transform SNL into an Apocalypse Now-like experiment. The result was a surreal, chaotic, and unforgettable broadcast that must be seen to be believed. Nick delves into the wild sketches, the bizarre creative choices, and the behind-the-scenes stories that led to one of the boldest—and strangest—episodes in television history. Relive this fascinating moment in SNL lore! [Ep108]

What do Babygirl, Singing in the Rain and Apocalypse Now have in common? They've all been overlooked by Oscar voters.Some Oscar blunders fall into the category of snubs - others show a failure to recognize films that will endure.Now sometimes, these critiques are a matter of movie taste. Sometimes, they're a broader matter of representation – raising questions about who the movie industry chooses to celebrate or ignore.The Academy Awards have made some truly epic misses over their long history.Two of NPR's film regulars dig into those times when the Oscars got things very wrong, and what that tells us about the art, culture and business of the movies. For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.orgEmail us at considerthis@npr.orgLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Join me for news and tons of tips and tricks as we crank out big mileage swimming, biking, and running during the latest cold spell ending in SNOW! Shownotes: Garmin introducing passcode lock on some devices. Drew Dillman is moving to Lauf bikes! Why titanium is probably the best frame material for gravel. Downtube storage... all upsides and no downsides? Chat GPT knows who Zen and the Art of Endurance is! Our town is moving up. We got an REI! Will our Trek store work out? How I use it. Green smoothies make you feel young. Laughing at Backyard Ultra videos by people that think they know what will happen. Ultra events are defined by you having to let go of knowing. Your car is literally a time machine. It shrinks time getting from point A to B. Diet Coke is both healthy and unhealthy and that's OK. Analog watches are making a comeback. YES! Check out the "Captain Willard" Seiko from Apocalypse Now. We are overmonitoring our body metrics. Simplify if you can. Why drying out your swimsuit rightside out is critical after every swim. "When you reach the end, that's when Zen begins." The whole point is to go past what you know, then you can learn. You can train for ultra by doing an ultra. How you treat the people at the aid stations after you've bonked shows who you really are. And knowing who you really are creates the confidence you need in life to be truly happy. The "I'm not X right now" trick. Coming to terms with men wearing pajama bottoms in public. You swim faster when relaxed and in "rest and digest" mode. Planning out huge gravel ride while running with River. Pool will be closed for incoming snowstorm, so planning out biking and running instead. You can strap a bike light to your watch for a flashlight like the Garmin Fenix 8. Phil Gaimon liked my EPO tweet! Using the electronic bike pump and pissing off the neighbors. 10 mile run with River in freezing temps. Gravel ride was great until it wasn't when guts when bad. Weird! Cold weather ultra running tips!

The Artist is afraid his lizard has gone all Apocalypse Now. The Mexican then breaks down the presidential inauguration and makes sure Jelly Roll gets a good seat. Your Huckleberry thinks his management team of Mouth of Sauron and Gothmog should take their babies by the hand, make 'em do a high head stand.

The legendary director of “The Outsiders,” “The Godfather” trilogy, and “Apocalypse Now” reunites with Rob Lowe to discuss memories from “The Outsiders” auditions, the passing of his wife and longtime collaborator Eleanor Coppola, his new film “Megalopolis,” and much more. You can watch the full episode on YouTube atYouTube.com/@LiterallyWithRobLowe! “Megalopolis” is available to rent at home right now. Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show!