Podcast appearances and mentions of cecil b demille

Maxwell House Coffee Time. September 26, 1946. NBC net. Sponsored by: Maxwell House Coffee, Birdseye Foods. George and Gracie go on a quiz show to win new appliances. They're going to appear on, "It Pays To Be A Schnook," but wind up on Kay Kyser's show instead. Kay Kyser sounds like he is being impersonated. The Maxwell House production commercial is based on, "Ramona.". George Burns, Gracie Allen, Meredith Willson and His Orchestra, Frank Nelson, Bill Goodwin, Kay Kyser (?), Mel Blanc, Paul Henning (writer), Keith Fowler (writer).Frontier Gentleman. February 02, 1958. CBS net. "South Sunday". Sustaining. The first show of the series. Kendall takes on the entire Shelton gang in a small town in the Montana Territory. Parts of the public service announcements have been deleted. The story titles given for this series are subject to correction, in fact, the series may not have story titles at all. John Dehner, Jack Kruschen, Harry Bartell, Barney Phillips, Virginia Gregg, Stacy Harris, Johnny Jacobs (announcer), Antony Ellis (creator, writer, producer, director), Jerry Goldsmith (composer, conductor).The Lux Radio Theatre. October 11, 1937. CBS net. "Stella Dallas". Sponsored by: Lux. The third anniversary show of the series. A tearful story of mother love and sacrifice, "soon to be made into a radio serial.". Barbara Stanwyck, John Boles, Anne Shirley, Barbara O'Neil, Bruce Satterlee, Cecil B. DeMille, Dickie Jones, Elia Braca (doubles), Frank Nelson (doubles, commercial spokesman, program opening announcer), Grace Kern (doubles), Hudson Faussett (doubles), Jack Egger, James Eagles (doubles), Joan Taylor (doubles, commercial spokesman), Lou Merrill, Louis Silvers (music director), Margaret Brayton (triples), Margaret McKay (doubles), Mary Lansing (doubles), Melville Ruick (announcer), Ross Forrester (doubles), Sada Cowan (doubles), Teresa Harris (doubles), Wallis Roberts (doubles), Sarah Y. Mason (screenwriter), Victor Heerman (screenwriter), Harry Wagstaff (adaptor), Gertrude Purcell (adaptor), Joe Bigelow (additional dialogue), Frances Marion (screenwriter), Olive Higgins Prouty (author), T. Keith Glennon (intermission guest: operations manager for Paramount), Frank Woodruff (director), George Wells (adaptor), Charlie Forsyth (sound effects). Crime Classics. December 3, 1952. CBS net. "The Crime Of Bathsheba Spooner". Sustaining. An audition recording. The script was used for the first show of the series on June 15, 1953. The story of the first woman tried and executed in the United states. Lou Merrill (host), Morton Fine (writer), David Friedkin (writer), Bernard Herrmann (composer, conductor), Elliott Lewis (producer, director), Mary Jane Croft, William Johnstone, Tudor Owen, Georgia Ellis, Herb Butterfield, Ben Wright, Sam Edwards.Lights Out. March 09, 1943. Program #21. CBS net origination, syndicated rebroadcast. "The Ball". Sponsored by: Commercials added locally. A ghastly story of the headless, walking dead. Syndicated program name: "The Devil and Mr. O." The story is also known as, "Paris Macabre." See cat. #77942 for a network, sponsored version of this broadcast. Arch Oboler (writer, host), Bea Benaderet, Jane Morgan.TOTAL TIME: 2:59:13.184SOURCES: Wikipedia and The RadioGoldindex.com

  In 1950, as Hollywood was roiled by the investigations of the House Committee on Un-American Activities and the Hollywood 10 were fresh in memory, a war broke out between legendary director Cecil B. DeMille and relative director newcomer Joseph L. Mankiewicz, whom DeMille had practically appointed as president of the Screen Directors Guild. The object of that war was DeMille's demand that SDG adopt a compulsory loyalty oath. Mankiewicz refused and subsequently DeMille organized a recall campaign that led to one of the most celebrated union hall meetings in history at the Beverly Hills Hotel.  This week, Steve is joined by former Showtime President of Programming Jerry Offsay, screenwriter/author Steve Molton and film historian Avie Hern as they talk about their film project, currently in development, which details this dramatic "Battle for Hollywood." 

El 'Cinema a la Xarxa' d'aquesta setmana est

Jaume Segalés y su equipo hablan de cine clásico y de la zarzuela solidaria en el Auditorio Nacional. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: Zarzuela solidaria en el Auditorio La Fundación Padre Arrupe nos brinda la posibilidad de disfrutar de lo mejor de la zarzuela este domingo, 18 de mayo. El concierto tendrá lugar en la Sala Sinfónica del Auditorio Nacional de Música (c/ Príncipe de Vergara, 146) a las 12:00. La mejor música por una buena causa. Una selección de piezas de las mejores zarzuelas, ideal para asistir con familia y amigos. Obras de Tomás Bretón, Federico Chueca, Ruperto Chapí, Vives y Barbieri, entre otros, interpretadas (bajo la magistral dirección de Silvia Sanz) por la Orquesta Metropolitana de Madrid, el Coro Talía y el Coro Talía Mini. Pasajes emblemáticos del género chico a los que pondrán voz los tenores Miguel Borrallo y Napoleón Domínguez y la soprano María Zapata. Además, también participaran once bailarinas de la Compañía Sara Martín de Danza Española y Flamenco. Un concierto inolvidable donde la música se une a una causa solidaria: llevar educación de calidad a niñas y niños en riesgo de exclusión social en El Salvador. Entrevistamos a la directora general de la Fundación Padre Arrupe, Aurora de Rato Salazar-Simpson. Entradas disponibles en puntos de venta de El Corte Inglés y en la web: https://www.fundacionpadrearrupe.com/zarzuela-en-concierto Sección de cine clásico "Es sesión continua" Antolín de la Torre hoy nos habla sobre El mayor espectáculo del mundo (The Greatest Show on Earth). Drama estadounidense de 1952 sobre el mundo del circo rodada en el Ringling Brothers and Barnum & Bailey Circus. El filme fue dirigido, producido y narrado por Cecil B. DeMille. Ganó el Óscar a mejor película en el año 1953. La protagonizan Charlton Heston, Betty Hutton, Cornel Wilde y Dorothy Lamour, entre otros.

Lux Radio Theatre, a hugely popular hour-long radio show, brought dramas to life with live audiences for over twenty years. It aired on various networks from 1934 to 1955 and started with Broadway plays before switching to movies. It was so successful it even got a TV version, Lux Video Theatre. Sponsored by Lux Soap, the show kicked off in 1934 with Seventh Heaven and had recurring characters like producer Douglass Garrick. A big moment came in 1936 when Cecil B. DeMille became the host, attracting big movie stars. They paid actors well, usually getting the original stars from the films they adapted. While focused on movies, they also had famous radio personalities. They even adapted a radio show, The Life of Riley, and did a show with an all-soldier cast during World War II. There's a funny story about a made-up blooper involving Sonny Tufts that people thought was real. DeMille left over a disagreement about union rules. After him, several people hosted until William Keighley took over for a while. The show had tons of famous stage and screen stars, making it a real golden age of radio.

Lux Radio Theatre, a hugely popular hour-long radio show, brought dramas to life with live audiences for over twenty years. It aired on various networks from 1934 to 1955 and started with Broadway plays before switching to movies. It was so successful it even got a TV version, Lux Video Theatre. Sponsored by Lux Soap, the show kicked off in 1934 with Seventh Heaven and had recurring characters like producer Douglass Garrick. A big moment came in 1936 when Cecil B. DeMille became the host, attracting big movie stars. They paid actors well, usually getting the original stars from the films they adapted. While focused on movies, they also had famous radio personalities. They even adapted a radio show, The Life of Riley, and did a show with an all-soldier cast during World War II. There's a funny story about a made-up blooper involving Sonny Tufts that people thought was real. DeMille left over a disagreement about union rules. After him, several people hosted until William Keighley took over for a while. The show had tons of famous stage and screen stars, making it a real golden age of radio.

Lux Radio Theatre, a hugely popular hour-long radio show, brought dramas to life with live audiences for over twenty years. It aired on various networks from 1934 to 1955 and started with Broadway plays before switching to movies. It was so successful it even got a TV version, Lux Video Theatre. Sponsored by Lux Soap, the show kicked off in 1934 with Seventh Heaven and had recurring characters like producer Douglass Garrick. A big moment came in 1936 when Cecil B. DeMille became the host, attracting big movie stars. They paid actors well, usually getting the original stars from the films they adapted. While focused on movies, they also had famous radio personalities. They even adapted a radio show, The Life of Riley, and did a show with an all-soldier cast during World War II. There's a funny story about a made-up blooper involving Sonny Tufts that people thought was real. DeMille left over a disagreement about union rules. After him, several people hosted until William Keighley took over for a while. The show had tons of famous stage and screen stars, making it a real golden age of radio.

Praise the Lord! TGMEM is covering yet another adaptation of the book of Exodus, but this one has absolutely zero musical sing-alongs and definitely has an extrabiblical romance that takes up too much of the run time! But then again, it also has Yul Brynner's huge biceps and a hell of a Charlton Heston fake beard, so hopefully those make this movie's four hour journey worth it. What's the 11th commandment? It's “thou shalt listen to The Greatest Movie Ever Made!”The Ten Commandments (1956) is directed by Cecil B. DeMille and stars Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, and Yvonne De Carlo.Music: “Fractals” by Kyle Casey and White Bat Audio

“You are mine—body and soul!” – The Cheat (1915)This week, we're traveling back to 1915 with returning guests Amanda Rush and Jae Kim for a deep dive into Cecil B. DeMille's The Cheat. A landmark of early American cinema, The Cheat helped shape visual storytelling through its pioneering use of lighting, editing, and narrative tension. But alongside its technical innovation lies a deeply troubling legacy—particularly in its portrayal of race and power.Amanda and Jae help us unpack the film's lasting influence, Sessue Hayakawa's complex role in Hollywood history, and how The Cheat fits into the broader conversation about preserving films that reflect both the artistry and the prejudices of their time.• The Cheat (1915) was directed by Cecil B. DeMille and stars Fannie Ward and Sessue Hayakawa• Selected to the National Film Registry in 1993• Celebrated for its dramatic lighting, narrative structure, and early use of cross-cutting• Discussion topics include:• The visual legacy of The Cheat• Sessue Hayakawa's breakthrough role and its cultural implications• Representations of race and gender in early Hollywood• The importance of preserving films that capture both cinematic milestones and historical biases Follow the Show:TwitterInstagramWebsite Music by Mike Natale

A discussion about and look into the stories, the history and personalities that came together to make the silent film "Male and Female" in 1919. Directed by Cecil B. DeMille and starring Gloria Swanson, Thomas Meighan and Lila Lee.Bluesky - @goldensilentscastInstagram - goldensilentscastTwitter/X = @goldensilents1Silent Film Fridays can be found at ATK42Games on Twitch

Cecil B. DeMille was a legend, a trailblazer, and a person of ambition and talent. In this episode, DeMille talks with others like him, movers and shakers who have risen to the top of their chosen fields. Greatness, talking with greatness on the Lux Radio Theater. DeMille's guests include: Father Flanagan H.V. Kaltenborn Grand Duchess … Continue reading When Radio Ruled #121 – Cecil B DeMille Interviews part 2 The Movers and Shakers

These Interviews were a regular feature of The Lux Radio Theater, a show that presented radio versions of current Hollywood films. At act break host Cecil B. Demille and an expert guest would comment on the radio play so far. Sometimes the guest would be from the rich, famous and powerful classes, we'll hear those … Continue reading When Radio Ruled #117 – Cecil B. DeMille interviews 1939 part 1 – the Common Man

MJ welcomes Alan Oppenheimer, a legendary actor with a career spanning over 70 years. The conversation explores their deep friendship, Alan's vibrant spirit, and his remarkable journey through Hollywood. They share laughter, stories of love, and insights into the entertainment industry, highlighting Alan's experiences and the importance of positivity and romance in life. In this engaging conversation, Alan Oppenheimer and MJ delve into personal stories about relationships, career milestones, and the lessons learned throughout their lives. They reflect on the beauty of aging, the importance of living in the moment, and the value of communication and honesty in relationships. Alan shares anecdotes from his Broadway career and discusses the unexpected turns in his life that led to significant opportunities. The conversation is filled with humor, wisdom, and a deep appreciation for the journey of life. More about Alan Oppenheimer: Alan Oppenheimer is recognized as the voice of many characters, often for Filmation in the 1970s and 1980s, such as Mighty Mouse, Ming the Merciless on Flash Gordon, the Overlord on BlackStar, and Skeletor, Man-At-Arms and Mer-Man from Filmation's 1980s cartoon He-Man and the Masters of the Universe. Other notable voice roles include Thundarr the Barbarian, Vanity on The Smurfs, Rhinokey and Crock from The Wuzzles and Falkor, Gmork, Rockbiter, and the Narrator from 1984's The NeverEnding Story. In the early 1990s, Oppenheimer was the voice of Merlin in The Legend of Prince Valiant. He also performed various supporting roles in various incarnations of Scooby Doo. He took over the voice of Roger Smith's butler Norman Burg in the second season of The Big O. Oppenheimer also worked on The Transformers, most notably as two contrasting characters, the pacifist Beachcomber and the bellicose Warpath.. He was the voice of Alistair Crane on the soap opera Passions. Oppenheimer recently provided the voice of the Scientist for the film “9.” Oppenheimer's repertoire also includes video games, voicing Dr. Piotr Ivanovich in Soldier of Fortune II: Double Helix, Prometheus in God of War II and Jandor the Airship Captain in Nox. In Fallout: Brotherhood of Steel, he spoke the part of Harold, an ancient mutated survivor of nuclear holocaust who has appeared in four of the Fallout series games. Oppenheimer was Dr. Rudy Wells in the Six Million Dollar Man. He was nominated for an Emmy for ‘MURPHY BROWN' and starred in many TV shows and films, including LITTLE BIG MAN, THE HINDENBURG, FREAKY FRIDAY. He also co-starred on Broadway as Cecil B. DeMille in SUNSET BOULEVARD.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Lux Radio Theater "Seven Keys to Baldpate" September 26, 1938 CBS Jack Benny, Mary Livingston and Cecil B DeMille

We start off our second round of MGM Studio Year by Year episodes with these 1930 films: the Marion Davies comedy vehicle The Florodora Girl (directed by Harry Beaumount) and Cecil B. DeMille's Madam Satan, which Elise decides is something like Eyes Wide Shut if it was made by James Cameron (but, alas, not as interesting as that sounds). (It's still pretty interesting, though, if only for the Art Deco Lightning Dancers. Yes, you read that right.) Plus, we give our impressions of MGM based on our first round of viewings and draw attention to some of the highlights from it.  Time Codes: 0h 00m 25s: MGM Recap 0h 28m 41s: THE FLORODORA GIRL [dir. Harry Beaumont] 0h 45m 29s: MADAM SATAN [dir. Cecil B. DeMille]   Year in Film information from Forgotten Films to Remember by John Springer Studio Film Capsules provided by The MGM Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join! 

One of our favorite recurring guests, Gil Kidron, has another podcast about movies and we had a wild time discussing the 1956 classic movie "The 10 Commandments" starring Charlton Heston, Yule Brenner, John Derrick and directed by Cecil B. DeMille. Amazing movie. Great discussion. Don't miss it!Links to "As Depicted on Film"spotify https://open.spotify.com/show/72b4ZP8s0Ed7qvnn4gveeAApple https://podcasts.apple.com/gb/podcast/as-depicted-on-film/id1458014104The 10 Commandments moviehttps://www.youtube.com/playlist?list=PLeGnfbJRp8LGVzRHcj-R64l8XZ1aeEVg-buymeacoffee.com/WhatsNewInHistoryThis is a podcast by Dan Hörning and Bernie Maopolski.If you like what we do you can support the Fan of History project on https://www.patreon.com/fanofhistoryContact information:E-mail: zimwaupodcast@gmail.comhttp://facebook.com/fanofhistoryhttps://twitter.com/danhorninghttps://www.instagram.com/dan_horning/Music: “Tudor Theme” by urmymuse.Used here under a commercial Creative Commons license. Find out more at http://ccmixter.org/files/urmymuse/40020 Support the show and listen ad-free to all of the episodes, including episode 1-87. Click here: https://plus.acast.com/s/history. Hosted on Acast. See acast.com/privacy for more information.

Pour vous abonner et écouter l'émission en une fois, sans publicité : https://m.audiomeans.fr/s/S-tavkjvmo Les Dix Commandements… Voilà trois mots qui nous transportent aussitôt dans des temps lointains, mystérieux et captivants. Des images célèbres nous viennent immédiatement en tête : combien de peintres, de sculpteurs et, plus tard, de cinéastes, parmi lesquels, bien entendu, Cecil B. DeMille, ont représenté les Hébreux, peuple innocent et pacifique, asservi par un pharaon cruel et tyrannique, assoiffé de puissance et de gloire ? Comment oublier le magnifique Charlton Heston, Moïse magistral et colossal, tenant à deux mains les deux célèbres stèles de pierre, gravées des paroles des Dix Commandements, écrites de la main même de Dieu ? Image devenue légendaire, une icône.Mais, justement, est-ce une légende, ou l'écho d'un évènement historique ? Les Hébreux ont-ils réellement séjourné en Egypte ? Ont-ils été vraiment réduits en esclavage par des fonctionnaires égyptiens despotiques ? Ou, au contraire, étaient-ils, plutôt que des esclaves, des ouvriers, des artisans et des commerçants, qui échangeaient leurs produits contre des biens alimentaires, issus des domaines agricoles égyptiens ?Peut-on répondre objectivement à ces questions grâce à l'archéologie, ou doit-on se contenter de ce que raconte le récit biblique ?S'il existe un sujet sur lequel il est bien difficile de démêler le vrai du faux, c'est bien celui du séjour des Hébreux en Egypte, et de leur asservissement par le pouvoir pharaonique. La tradition populaire a associé l'épisode des Hébreux en Egypte au plus grand pharaon qui aie jamais régné sur le pays du Nil : Ramsès II. Les textes antiques et modernes s'accordent pour le dénoncer comme celui qui a fait vivre un véritable enfer aux malheureux fils d'Israël, en les faisant travailler dur sur les chantiers de ses innombrables palais, temples ou encore ouvrages d'urbanisme, frappés par des contremaîtres violents, affamés, assoiffés et harassés de fatigue. C'est lui qui apparaît dans les nombreux romans, opéras et films qui s'attachent à faire revivre cet épisode capital de l'histoire juive, puis chrétienne.Etrangement, ce n'est pas sous son règne que l'on trouve la première mention des fils d'Israël, mais sous celui de son fils, le pharaon Mérenptah. Lorsque l'égyptologue anglais William Flinders Petrie exhume, en février 1896, sur le site de Thèbes, une extraordinaire stèle en granit noir, il ne se doute pas qu'il vient de faire une découverte extraordinaire. Il tombe de son siège quand ses yeux se portent sur un nom inattendu : Israël. Ces paroles qu'il est en train de traduire, ce sont celles de Mérenptah en personne, qui proclame : « Canaan a été razzié de la pire manière. Ascalon a été enlevée. Gézer a été vaincue. Yénoam est comme si elle n'avait pas existé. Israël est dévasté, sa semence n'existe plus. » Sans le savoir, il vient d'inventer l'archéologie biblique. Et de faire entrer les Hébreux de plain-pied dans l'Histoire...

Pour vous abonner et écouter l'émission en une fois, sans publicité : https://m.audiomeans.fr/s/S-tavkjvmo Les Dix Commandements… Voilà trois mots qui nous transportent aussitôt dans des temps lointains, mystérieux et captivants. Des images célèbres nous viennent immédiatement en tête : combien de peintres, de sculpteurs et, plus tard, de cinéastes, parmi lesquels, bien entendu, Cecil B. DeMille, ont représenté les Hébreux, peuple innocent et pacifique, asservi par un pharaon cruel et tyrannique, assoiffé de puissance et de gloire ? Comment oublier le magnifique Charlton Heston, Moïse magistral et colossal, tenant à deux mains les deux célèbres stèles de pierre, gravées des paroles des Dix Commandements, écrites de la main même de Dieu ? Image devenue légendaire, une icône.Mais, justement, est-ce une légende, ou l'écho d'un évènement historique ? Les Hébreux ont-ils réellement séjourné en Egypte ? Ont-ils été vraiment réduits en esclavage par des fonctionnaires égyptiens despotiques ? Ou, au contraire, étaient-ils, plutôt que des esclaves, des ouvriers, des artisans et des commerçants, qui échangeaient leurs produits contre des biens alimentaires, issus des domaines agricoles égyptiens ?Peut-on répondre objectivement à ces questions grâce à l'archéologie, ou doit-on se contenter de ce que raconte le récit biblique ?S'il existe un sujet sur lequel il est bien difficile de démêler le vrai du faux, c'est bien celui du séjour des Hébreux en Egypte, et de leur asservissement par le pouvoir pharaonique. La tradition populaire a associé l'épisode des Hébreux en Egypte au plus grand pharaon qui aie jamais régné sur le pays du Nil : Ramsès II. Les textes antiques et modernes s'accordent pour le dénoncer comme celui qui a fait vivre un véritable enfer aux malheureux fils d'Israël, en les faisant travailler dur sur les chantiers de ses innombrables palais, temples ou encore ouvrages d'urbanisme, frappés par des contremaîtres violents, affamés, assoiffés et harassés de fatigue. C'est lui qui apparaît dans les nombreux romans, opéras et films qui s'attachent à faire revivre cet épisode capital de l'histoire juive, puis chrétienne.Etrangement, ce n'est pas sous son règne que l'on trouve la première mention des fils d'Israël, mais sous celui de son fils, le pharaon Mérenptah. Lorsque l'égyptologue anglais William Flinders Petrie exhume, en février 1896, sur le site de Thèbes, une extraordinaire stèle en granit noir, il ne se doute pas qu'il vient de faire une découverte extraordinaire. Il tombe de son siège quand ses yeux se portent sur un nom inattendu : Israël. Ces paroles qu'il est en train de traduire, ce sont celles de Mérenptah en personne, qui proclame : « Canaan a été razzié de la pire manière. Ascalon a été enlevée. Gézer a été vaincue. Yénoam est comme si elle n'avait pas existé. Israël est dévasté, sa semence n'existe plus. » Sans le savoir, il vient d'inventer l'archéologie biblique. Et de faire entrer les Hébreux de plain-pied dans l'Histoire...

Pour vous abonner et écouter l'émission en une fois, sans publicité : https://m.audiomeans.fr/s/S-tavkjvmo Les Dix Commandements… Voilà trois mots qui nous transportent aussitôt dans des temps lointains, mystérieux et captivants. Des images célèbres nous viennent immédiatement en tête : combien de peintres, de sculpteurs et, plus tard, de cinéastes, parmi lesquels, bien entendu, Cecil B. DeMille, ont représenté les Hébreux, peuple innocent et pacifique, asservi par un pharaon cruel et tyrannique, assoiffé de puissance et de gloire ? Comment oublier le magnifique Charlton Heston, Moïse magistral et colossal, tenant à deux mains les deux célèbres stèles de pierre, gravées des paroles des Dix Commandements, écrites de la main même de Dieu ? Image devenue légendaire, une icône.Mais, justement, est-ce une légende, ou l'écho d'un évènement historique ? Les Hébreux ont-ils réellement séjourné en Egypte ? Ont-ils été vraiment réduits en esclavage par des fonctionnaires égyptiens despotiques ? Ou, au contraire, étaient-ils, plutôt que des esclaves, des ouvriers, des artisans et des commerçants, qui échangeaient leurs produits contre des biens alimentaires, issus des domaines agricoles égyptiens ?Peut-on répondre objectivement à ces questions grâce à l'archéologie, ou doit-on se contenter de ce que raconte le récit biblique ?S'il existe un sujet sur lequel il est bien difficile de démêler le vrai du faux, c'est bien celui du séjour des Hébreux en Egypte, et de leur asservissement par le pouvoir pharaonique. La tradition populaire a associé l'épisode des Hébreux en Egypte au plus grand pharaon qui aie jamais régné sur le pays du Nil : Ramsès II. Les textes antiques et modernes s'accordent pour le dénoncer comme celui qui a fait vivre un véritable enfer aux malheureux fils d'Israël, en les faisant travailler dur sur les chantiers de ses innombrables palais, temples ou encore ouvrages d'urbanisme, frappés par des contremaîtres violents, affamés, assoiffés et harassés de fatigue. C'est lui qui apparaît dans les nombreux romans, opéras et films qui s'attachent à faire revivre cet épisode capital de l'histoire juive, puis chrétienne.Etrangement, ce n'est pas sous son règne que l'on trouve la première mention des fils d'Israël, mais sous celui de son fils, le pharaon Mérenptah. Lorsque l'égyptologue anglais William Flinders Petrie exhume, en février 1896, sur le site de Thèbes, une extraordinaire stèle en granit noir, il ne se doute pas qu'il vient de faire une découverte extraordinaire. Il tombe de son siège quand ses yeux se portent sur un nom inattendu : Israël. Ces paroles qu'il est en train de traduire, ce sont celles de Mérenptah en personne, qui proclame : « Canaan a été razzié de la pire manière. Ascalon a été enlevée. Gézer a été vaincue. Yénoam est comme si elle n'avait pas existé. Israël est dévasté, sa semence n'existe plus. » Sans le savoir, il vient d'inventer l'archéologie biblique. Et de faire entrer les Hébreux de plain-pied dans l'Histoire...

Pour vous abonner et écouter l'émission en une fois, sans publicité : https://m.audiomeans.fr/s/S-tavkjvmo Les Dix Commandements… Voilà trois mots qui nous transportent aussitôt dans des temps lointains, mystérieux et captivants. Des images célèbres nous viennent immédiatement en tête : combien de peintres, de sculpteurs et, plus tard, de cinéastes, parmi lesquels, bien entendu, Cecil B. DeMille, ont représenté les Hébreux, peuple innocent et pacifique, asservi par un pharaon cruel et tyrannique, assoiffé de puissance et de gloire ? Comment oublier le magnifique Charlton Heston, Moïse magistral et colossal, tenant à deux mains les deux célèbres stèles de pierre, gravées des paroles des Dix Commandements, écrites de la main même de Dieu ? Image devenue légendaire, une icône.Mais, justement, est-ce une légende, ou l'écho d'un évènement historique ? Les Hébreux ont-ils réellement séjourné en Egypte ? Ont-ils été vraiment réduits en esclavage par des fonctionnaires égyptiens despotiques ? Ou, au contraire, étaient-ils, plutôt que des esclaves, des ouvriers, des artisans et des commerçants, qui échangeaient leurs produits contre des biens alimentaires, issus des domaines agricoles égyptiens ?Peut-on répondre objectivement à ces questions grâce à l'archéologie, ou doit-on se contenter de ce que raconte le récit biblique ?S'il existe un sujet sur lequel il est bien difficile de démêler le vrai du faux, c'est bien celui du séjour des Hébreux en Egypte, et de leur asservissement par le pouvoir pharaonique. La tradition populaire a associé l'épisode des Hébreux en Egypte au plus grand pharaon qui aie jamais régné sur le pays du Nil : Ramsès II. Les textes antiques et modernes s'accordent pour le dénoncer comme celui qui a fait vivre un véritable enfer aux malheureux fils d'Israël, en les faisant travailler dur sur les chantiers de ses innombrables palais, temples ou encore ouvrages d'urbanisme, frappés par des contremaîtres violents, affamés, assoiffés et harassés de fatigue. C'est lui qui apparaît dans les nombreux romans, opéras et films qui s'attachent à faire revivre cet épisode capital de l'histoire juive, puis chrétienne.Etrangement, ce n'est pas sous son règne que l'on trouve la première mention des fils d'Israël, mais sous celui de son fils, le pharaon Mérenptah. Lorsque l'égyptologue anglais William Flinders Petrie exhume, en février 1896, sur le site de Thèbes, une extraordinaire stèle en granit noir, il ne se doute pas qu'il vient de faire une découverte extraordinaire. Il tombe de son siège quand ses yeux se portent sur un nom inattendu : Israël. Ces paroles qu'il est en train de traduire, ce sont celles de Mérenptah en personne, qui proclame : « Canaan a été razzié de la pire manière. Ascalon a été enlevée. Gézer a été vaincue. Yénoam est comme si elle n'avait pas existé. Israël est dévasté, sa semence n'existe plus. » Sans le savoir, il vient d'inventer l'archéologie biblique. Et de faire entrer les Hébreux de plain-pied dans l'Histoire...

Pour vous abonner et écouter l'émission en une fois, sans publicité : https://m.audiomeans.fr/s/S-tavkjvmo Les Dix Commandements… Voilà trois mots qui nous transportent aussitôt dans des temps lointains, mystérieux et captivants. Des images célèbres nous viennent immédiatement en tête : combien de peintres, de sculpteurs et, plus tard, de cinéastes, parmi lesquels, bien entendu, Cecil B. DeMille, ont représenté les Hébreux, peuple innocent et pacifique, asservi par un pharaon cruel et tyrannique, assoiffé de puissance et de gloire ? Comment oublier le magnifique Charlton Heston, Moïse magistral et colossal, tenant à deux mains les deux célèbres stèles de pierre, gravées des paroles des Dix Commandements, écrites de la main même de Dieu ? Image devenue légendaire, une icône.Mais, justement, est-ce une légende, ou l'écho d'un évènement historique ? Les Hébreux ont-ils réellement séjourné en Egypte ? Ont-ils été vraiment réduits en esclavage par des fonctionnaires égyptiens despotiques ? Ou, au contraire, étaient-ils, plutôt que des esclaves, des ouvriers, des artisans et des commerçants, qui échangeaient leurs produits contre des biens alimentaires, issus des domaines agricoles égyptiens ?Peut-on répondre objectivement à ces questions grâce à l'archéologie, ou doit-on se contenter de ce que raconte le récit biblique ?S'il existe un sujet sur lequel il est bien difficile de démêler le vrai du faux, c'est bien celui du séjour des Hébreux en Egypte, et de leur asservissement par le pouvoir pharaonique. La tradition populaire a associé l'épisode des Hébreux en Egypte au plus grand pharaon qui aie jamais régné sur le pays du Nil : Ramsès II. Les textes antiques et modernes s'accordent pour le dénoncer comme celui qui a fait vivre un véritable enfer aux malheureux fils d'Israël, en les faisant travailler dur sur les chantiers de ses innombrables palais, temples ou encore ouvrages d'urbanisme, frappés par des contremaîtres violents, affamés, assoiffés et harassés de fatigue. C'est lui qui apparaît dans les nombreux romans, opéras et films qui s'attachent à faire revivre cet épisode capital de l'histoire juive, puis chrétienne.Etrangement, ce n'est pas sous son règne que l'on trouve la première mention des fils d'Israël, mais sous celui de son fils, le pharaon Mérenptah. Lorsque l'égyptologue anglais William Flinders Petrie exhume, en février 1896, sur le site de Thèbes, une extraordinaire stèle en granit noir, il ne se doute pas qu'il vient de faire une découverte extraordinaire. Il tombe de son siège quand ses yeux se portent sur un nom inattendu : Israël. Ces paroles qu'il est en train de traduire, ce sont celles de Mérenptah en personne, qui proclame : « Canaan a été razzié de la pire manière. Ascalon a été enlevée. Gézer a été vaincue. Yénoam est comme si elle n'avait pas existé. Israël est dévasté, sa semence n'existe plus. » Sans le savoir, il vient d'inventer l'archéologie biblique. Et de faire entrer les Hébreux de plain-pied dans l'Histoire...

Today on the Christian History Almanac, we remember another link between Hollywood and the Church in the work of Cecil B. DeMille. Show Notes: Support 1517 Podcast Network 1517 Podcasts 1517 on Youtube 1517 Podcast Network on Apple Podcasts 1517 Events Schedule 1517 Academy - Free Theological Education What's New from 1517: Bible in One Year with Chad Bird Broken Bonds: A Novel of the Reformation, Book 1 of 2 by Amy Mantravadi Junk Drawer Jesus By Matt Popovits More from the hosts: Dan van Voorhis SHOW TRANSCRIPTS are available: https://www.1517.org/podcasts/the-christian-history-almanac CONTACT: CHA@1517.org SUBSCRIBE: Apple Podcasts Spotify Stitcher Overcast Google Play FOLLOW US: Facebook Twitter Audio production by Christopher Gillespie (gillespie.media).

Lucasfilm has about a dozen Star Wars movies in various stages of development. One of them is a prequel from James Mangold that will tell the origins of the Force, the mysterious energy field created by life that binds the Star Wars galaxy together.In a recent interview with MovieWeb, Mangold opened up about what convinced him to make a Star Wars movie for Lucasfilm, sharing that "the really important aspects [were] the freedom to make something new." Mangold, who is co-writing the screenplay with Beau Willimon, explained that they wanted to find "a way on the page to say something original." With his movie set to take place 25,000 years before any other Star Wars project, Mangold will seemingly be freed from decades of lore. "I'm not that interested in being handcuffed by so much lore at this point that it's almost immovable, and you can't please anybody," the director added, suggesting that his Star Wars movie may drastically shake up the fandom's current understanding of the force.Announced in April 2023 at Star Wars Celebration Europe IV, Mangold's Star Wars movie will be part of an era dubbed "Dawn of the Jedi" by Lucasfilm. "The Force has become a kind of religious legend that spans through all these movies. But where did it come from? How is it found? Who found it? Who was the first Jedi? And that's what I'm writing right now," teased Mangold at the time of its announcement. Mangold has since cited Cecil B. DeMille's 1923 silent religious epic The Ten Commandments as a major inspiration for the movie.However, it is unclear when exactly the "Dawn of the Jedi" movie will go into production, as there is a chance Mangold's next movie will instead be his DC Universe feature, Swamp Thing. The filmmaker became attached to Swamp Thing in February 2023 and has been juggling the screenplays for both movies ever since. DC Studios co-CEO James Gunn has repeatedly stated that no DC movie will get greenlit until there is a finished screenplay that is worth turning into a movie, so there's a good chance that Swamp Thing may also be a ways off.The next Star Wars movie to hit theaters will be The Mandalorian & Grogu in May 2026. When the movie is finally released, it will have been almost seven years since the last Star Wars movie, 2019's The Rise of Skywalker. The Mandalorian & Grogu is a feature-length continuation of the Disney+ series The Mandalorian. While plot details remain under wraps, Pedro Pascal's Din Djarin and the lovable alien Grogu will be joined on their first big-screen adventure by Star Wars Rebels character Garazeb "Zeb" Orrelios, Sigourney Weaver (in a mystery role), and Jeremy Allen White, who will voice a grown-up Rotta the Hutt. Jon Favreau — who created The Mandalorian — co-wrote and directed The Mandalorian & Grogu, which was shot entirely in California between August and December 2024 and is currently in post-production&

Welcome back OTW Listeners! This week our #OTWEEKLYPLAYLIST has sounds from Mary J Blige, Earthgang, Cordae, & Flo! In #MUSICNEWS we discuss the football game at Beyonce's Christmas Halftime Show as well as the 2025 Coachella lineup! During #THEBLACKNESS we get into the incoming clown cabinet of the president-elect, as well as shine a #QUEENSPOTLIGHT on Viola Davis set to receive the Cecil B. DeMille award at the 2025 Golden Globes! WATCH FULL INTERVIEW WITH LAROYCE HAWKINS ON YOUTUBE: https://youtu.be/gFLEdLNCcgo Follow Us: All Links: https://linktr.ee/otwweekly Instagram/Twitter: @onthewayweekly FB: facebook.com/onthewaypod | Youtube: https://bit.ly/3CWxgPZ Website: instinctent.com/ontheway | www.mochapodcastsnetwork.com/ontheway Sylvee - @sweatbyvee Kahlil - @kahlilxdaniel | www.kahlildaniel.com | www.facebook.com/kxdmusic Learn more about your ad choices. Visit megaphone.fm/adchoices

This is our third bonus episode and our fifth review of the season! We are covering one of Dad's childhood favorites: Cecil B. DeMille's notorious tale of forbidden love and Roman Empire decadence, The Sign of the Cross. With scandalous scenes such as the Dance of the Naked Moon and an over-the-top extravaganza in the Roman Colosseum (naked women! elephants trampling gladiators! lions mauling Christian traitors!), Sara and Dad discuss whether this movie is a hidden treasure or a guilty pleasure.PLUS, our history timeline includes a perplexing moment where Albert Einstein is...a villain? Books mentioned by Dad:Louvish,  Simon. Cecil B. DeMille and the Golden Calf. Faber & Faber, 2007.Quirk, Lawrence. The Films of Fredric March. Citadel Press, 1971.Boller, Paul. Hollywood Anecdotes. William Morrow & Company, 1987.Please leave us a review wherever you are listening!Email us rants as well as raves: sheacinema@gmail.comYou can also find us on Instagram (and now Twitter/X): @sheacinema

Cecil B. DeMille

We've apparently been doing this five whole years! In our fifth anniversary episode, Annie revisits a real childhood favourite (who on earth was monitoring what this ten-year-old girl was watching???) and gets Dave to watch the Cecil B DeMille's 1956 The Ten Commandments! Will Dave like it at all and will Annie stil love it after the discussion? Email: willyoustillloveit@gmail.com Merch: https://bit.ly/love-it-tomorrow-podcast  

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Joanna Robinson and Dave Gonzales, coauthors of the book MCU: The Reign of Marvel Studios, out in paperback this week.I really loved the book, it dives into what is the main flywheel of mainstream entertainment, for better or for worse, and dives into the fascinating history of the MCU. Whether you're a fan of Marvel movies or just someone living in a world dominated by them, the book is a really interesting look into contemporary filmmaking and the pressures and economics and just simply human scale of these massive operations.We spoke about Marvel's journey from underdog to cultural icon, how its moviemaking process has changed over time, and what it was like covering a narrative that was developing in real time.Robinson and Gonzales can both be found on the podcast Trial by Content, and the book can be found wherever books are sold.This interview has been condensed and edited. Dave and Joanna, thank you so much for coming on.GONZALES: Absolutely.ROBINSON: Thanks for having us.I really, really love this book. So happy to see it out in paperback. I guess I'll just kick it off with an easy one: What were each of your first experiences with Marvel? How'd you get into this?ROBINSON: As in the comic books or the films?Anything.ROBINSON: Anything at all. Gosh, I think X-Men: The Animated Series was my introduction, back in my infancy. It really got into the world they created, the various characters, their character sets, the trading cards, and then everything spirals out from there. That was my introduction.GONZALES: Mine was probably with the comics. I might have had some X-Men: The Animated Series in there, but I got much more into the comics around late 1993, early '94, when I happened to buy a Spider-Man issue that was part of “The Trial of Peter Parker.” Suddenly I had questions: Why was Peter Parker on trial? How many different Spider-Man books were there? Because I bought an issue of The Spectacular Spider-Man, but the next part of “The Trial of Peter Parker” was The Amazing Spider-Man.That led me to get a cubby at my local comic book shop in Louisville, Colorado, which was Time Warp Comics at the time. That was my way in, just being a comic book fan. I also jumped in on one of the longest and mostly considered worst Spider-Man arcs, but loved it. So imagine how good “good” Spider-Man was to me as a child, because I got weaned in on “bad” Spider-Man.Amazing. One reason I really dug the book is that it's about the MCU, but it's also about Marvel, the history of this entire company, and its very different evolution over time, from the '60s to the period of the '90s. What was it like trying to cover not just a film series, but a big franchise with a lot of moving parts as part of an even bigger company with even more moving parts?ROBINSON: A good question we asked ourselves was both where to start and where to end, and where to end was a constant, ongoing question mark. I'll let Dave address that. But in terms of where to start, there were certain things we felt we had to backdate, because there were players involved in the major “How did Marvel Studios come to be?” question and you had to know who they were, why they were important, how did we get here and what were the stakes? Being able to loosely explain who's Stan Lee, who's Perlmutter, who's Avi Arad, who are all these people, helped us tell that story without losing the audience entirely by throwing a bunch of new names at them. Dave, what about ending the book?GONZALES: Oh, ending the book. That was super fun. We started right as Avengers: Endgame was in theaters. I remember seeing Endgame and knowing that Joanna and I were going to work on this, so we started off thinking, what a fantastic hill that Marvel climbed, this interconnected universe with three phases. Everything surely was planned out from the beginning and could only go up from here. The book was originally “The Rise of Marvel Studios,” because we thought surely this was just up and up and up.Then the pandemic hit — which was very good for us, having to write the book and just sit down and figure out what it was. It also gave us and a lot of sources a pause to regain our footing. As Marvel started rolling out, we tried to peg an end date. I wanted it to be Blade to Blade when we started, but Mahershala Ali's project has still not come out, so that became an impossibility. Then WandaVision premiered and suddenly there was this whole other aspect to the story we were trying to tell. So we wanted to do that and just tried to report things as they went along.We were blessed and cursed by the year that we published the hardcover, October 2023. As we were turning in the final part of the book in January and February, a whole bunch of Marvel news started breaking. Ike Perlmutter left Disney; Victoria Alonso, who was a big mover and shaker in Marvel Studios, was let go, so we had to report that out; Jonathan Majors went on trial.It was only in a panic over all those things that I really ended up appreciating what we had done just by thinking of all these topics so thoroughly for several years. Even though we were tacking new endings on, it wasn't that hard to make it feel like it was a whole arc because we were kind of working there anyway. I wouldn't say I'd've enjoyed releasing the first version of this book in one of Marvel's worst financial years and most critical years ever, but I do think it provided an interesting little tie-off or a fascinating ellipses that allowed us to be relevant and, more importantly, in the year 2024, look like we knew exactly what we were talking about in Marvel's rebounds.That's a really good point. When I met you on tour, a key thing you were getting at was that the idea that Marvel has not had a slump before is naive, and also ahistorical. A fun thing about the book is that you go through all these different eras, and sure, there's an easier story and probably a more polished, corporate story that's ever upward, toward Excelsior, all that crap.But you really do cover the pits and troughs of this. There was Iron Man 2; there was Thor: The Dark World; there was that period of time between the assorted Spider-Mans. What was that perspective like, particularly as it was coming out and as you were able to talk about the issues in 2023?ROBINSON: It was important for us, just on a basic journalistic level, to try to tell as much of the story as possible. We're fans of Marvel, of the movies, but as long as I've known Dave, both of us have been people who don't like to feel like we're not being told the whole story. We don't want the PR version of something — we want to know all the messy details as well. And it's not to knock Marvel or have any kind of “gotcha” moment. It's to say, “Okay, they had these various pitfalls, these various problematic people that they were working with, X, Y and Z. Look what they accomplished anyway.” That's the story in broad strokes. It was important for us to be able to acknowledge the stumbles along the way.When we found ourselves in a 2023 space where everyone was saying Marvel is cooked, or Marvel used to know exactly what it was doing from the beginning and now they're just making it up — no, they were always making it up. They just did it so well, you didn't notice. That gave us a better perspective to be able to say, let's just slow down. We were looking ahead to 2024, saying they're only putting out one movie and two shows next year. If those hit, then you'll start to hear that Marvel's back, baby. Then Deadpool & Wolverine makes a gajillion dollars and Agatha All Along is a pretty solid hit for them.So I think that “Marvel is over” narrative that was so prevalent a year ago is now the question, “Is Marvel back?” Looking even further forward at the next couple of big projects coming, I think Captain America: Brave New World is going to be a tough one for them. I don't know if that's going to hit the way a lot of people want it to. I think Thunderbolts is going to be hit for them, and I think The Fantastic Four: First Steps is going to be hit for them. They're still getting their bearings, but to your point, it was a bit naive to say they've been nothing but successful and now they've run off a cliff. Dave, what do you think?GONZALES: It was just a less interesting narrative, ultimately. I actually found myself getting less adversarial the more we learned, especially being a fan when all this started around 2008. There was this idea that Joanna was talking about, which is even a fan perspective today, that if something doesn't work out it's because we've been denied something at some creative step. Like, you know what, screw those guys; we want to do Harrison Ford as Red Hulk instead, or something like that.But it's not that at all. There are a whole bunch of different drama and production and business problems, and all these things come together to make these gigantic machines of a movie work. It was really important for us to drill down on Marvel Studios and get into those ups and downs, because a lot of times you can try to compare Marvel Studios to something through contrast, through Warner Brothers trying to do it with DC back in the early 2010s. Everybody started trying to launch an interconnected universe from the first movie, but all you could really say is that Marvel's worked and these others didn't. The details of the alchemy are in the tiny stories and little conflicts. That's why I think they were so important to track, be they how movie stars look or how we use CGI to make movie stars look. Tracking that over at Marvel Studios was just as important as how many movies Tony Stark was going to be in.Can you speak more to how much of this was on the fly? One of my big takeaways from your book was just how much things aren't necessarily set in stone during the production of a movie, and how sometimes one person's smart idea, regardless of where it comes from, can drastically alter what a lot of folks think was written in stone in 2007.ROBINSON: That idea of “best idea wins” — without ego; best idea from whomsoever — was a prevailing concept at Marvel. Kevin Feige was also this really interesting figure that has no comparison at any other studio. He's head of the studio, a creative producer, a storyteller in his own right and someone who wanted to make movies as a kid and thought he would be a director. He wound up an executive, but he has that storytelling sense. When Marvel was putting out fewer films and TV shows — or no TV shows at all and just a few films a year — the process was, “Go shoot your movie. Bring me, Kevin Feige, back the pieces and I'll tell you what you're missing.” They had this built-in reshoot window where you could go and add scenes where he felt like you hadn't really nailed this character, or cut this action out to bump up the action over here a bit more. They had this rough-drafting process with the master editor being Kevin Feige himself. There's no system like that at any other studio.That works so well for them, and in doing so, they're able to cement over the cracks and make it all feel like one smooth story that they're telling, because that refining process is built into their filmmaking process. Once the mandate comes from Disney, from Iger on his way out the door, from Chapek in his seat for a while, that they need to compete with Netflix and all these other streaming services, that they need more and more content — then the pace becomes untenable for that revision process that made them so solid in the first place.You talk about Feige not having an analog. I was really shocked reading the book because there's not even anything recent. You have to go back to Cecil B. DeMille for someone who has that producer, authorial presence. He's really a fascinating figure, and it's a key takeaway from the book that I loved. It really highlights the people who make these movies, not just the corporation. It's actual human beings who do this kind of stuff, often with long continuities. Do you want to speak about some of that?GONZALES: Definitely. Actually, while you were talking, I was wondering if part of the chip on Zack Snyder's shoulder was because someone at some point told him he was going to be a Kevin Feige and he's been chasing that ever since.A lot of the Marvel continuity that's been going on is still going on, even after our new chapter. It's been interesting to see how it's developed. It could be that the best idea wins, but then they also have that old school, in-house process where the starting team is very often the same people and has been since phase one. You put together a bullpen of concept artists, so you're constantly using concept art. Not only is that smart from a design standpoint for making a movie, but then you can have those things scanned and it goes directly into making toys. So at the beginning, there's no fight about bringing on these design creatives super early on.Where we start to see the wear and tear is, as Joanna was saying, with this output increase. All of the pressure starts being put on post-production, which is the place where you can't make more time. The solution is to hire more people, and because of that, the job of keeping things consistent falls to Victoria Alonso.She does a pretty good job considering that she's working a 24-hour, seven-days-a-week work schedule because the industry is so messed up. It was never built to do stuff like this. In a lot of ways, the way the VFX industry is structured is still from the '90s turn of the century, when you would bid on a number of shots to do and get money for that number of shots. You'd have to work those shots until they get approved by the director. There isn't an extra budget, and there isn't an overtime, which was a fine way to do it when there were three or four VFX shots in every movie. But now that we're in the 200s or some such, there's a natural strain put on that, and it's impossible to budget on the VFX side. They have to underbid because there's a limited amount of work. If Marvel decides they don't like you, as much as a third of your entire year's work can just not come to your company.As Marvel ages into it, we get a lot of people who are able to make their careers there, from Kevin Feige to Mary Livanos, who's doing great things on Agatha and seems really close to being ascendant. We have Brad Winderbaum, who's been made head of streaming now to take some of that pressure off Kevin. You have all these great continuities. You're less likely to see continuities in visual effects artists, just because of how they're going recently. When Joanna and I were interviewing people like ILM for Hulk, occasionally we'd do a person that was in three or four movies. Now, like for Guardians of the Galaxy Vol. 3, there was a team of about 12 people at Framestore who make animals look good. They just come in for that movie to make animals look incredibly good. They did it the whole time, but they're not as legacy as other parts of the Marvel development studios — which I hope will change, because there are some people who are really good at making Hulks. And if you've made Hulks for 20 years, shouldn't those be the people that are making Hulks in Brave New World? We'll have to see.ROBINSON: I love that you mentioned Cecil B. DeMille. As we were putting this whole story together and realizing that they bring all these teams in-house, Dave and our coauthor Gavin and I, we are to varying degrees students of old Hollywood history, and we had this realization that it's just the old Hollywood studio system. You're putting actors under contract for nine movies, all this other stuff, and we felt so smart. Then I was talking to someone who worked at Marvel and they were like, “Oh yeah, Kevin says that all the time.” I was like, oh, I thought we really put something together. But at least we were right! We were consciously doing this.I think that industrial element of it is really interesting. A key thing that changed the way I see the film industry was realizing that every movie is basically a corporation that briefly exists. Every movie is an entire apparatus, with a CEO operation and departments and all that. Then it folds and you move on to the next one.With Marvel, though, the circus never closes; it's just onto the next city. It was really interesting to see its place in the industry. Like Dave was saying, the limiting reactant for some of this is just the number of animators on the earth who are capable of making this kind of stuff. It's so cool to get a look inside this apparatus through the book.ROBINSON: Thank you.GONZALES: What an apparatus. It's really interesting to me, even now, as we are pending the return of the Russo brothers, who are just able to find this and also find the emotion in it.In Endgame, the Tony Stark “I am Iron Man” moment was the last insert. They had to go to dinner with Robert Downey Jr. and Joel Silver and have Silver be like, “You'd be dumb not to do it, Robert,” because Downey didn't want to go back there. He's a weird dude, but for him, it felt like in order to get to what he needed to do, he had to take off a scab that had formed and get back into the character. Whereas the Russo brothers are like, we built a workout system and we have our smoothies and every day is trying to make the machine work. Somehow, through the alchemy of those two things, the machine works, and occasionally we get these story moments that feel like they were created individually for that movie.That, I think, is the mystery that the book is trying to unravel. At the beginning, it's untapped storytelling potential. Everyone's like, if you don't have the X-Men, if you don't have Spider-Man, what do you have? There's so much in just proving that you have good stories. Now that you're the biggest game in town, that idea of, “Are you going to make me feel anything?” is so much different than what the initial promise was, that they're going to bring Thanos to the screen and you're going to understand who he is and what he wants. That was the big lift. Now there's a whole simultaneous saving of the industry, and bestowing status on different actors. There's just so much more mixed up in it now. It's amazing we got where we did.The book is also a really interesting look at the transition from being a super underdog. As you describe in the earliest chapters of the book, Marvel was bankrupt, and all the executives were folks who fell out of the toy industry or Revlon. The folks who were in charge came to it in the manner of somebody accidentally having to join a carnival, and then eventually it becomes the hegemonic juggernaut of everything, in many ways the thing that people stand against. In the book, watching the perception around it change and then internally having to adapt to that change in perception was a really cool tension.ROBINSON: My favorite indicator of that underdog status versus top-of-the-world status versus wherever we are now is the making of the first Iron Man movie. Marvel Entertainment in New York — who was, to your point, chiefly concerned with merchandising and toys — had the attitude, “Okay, go make your cute little movie. If it doesn't cost us any money, you can go do your little cinematic experiment in Hollywood and we don't really care that much. Just make sure you don't spend any of our money. Other than that, go have fun.”And they make Iron Man, and Iron Man is a massive, smash hit, and all of a sudden the people in New York are like, we're forming something called the Creative Committee. We would like a lot of intake. We want to be part of this. This is the big shiny thing, and everyone wants to weigh in on it. So it's really interesting to track this going from a weird little project they were doing out in Los Angeles to The Thing for Marvel. You can track it by who needs to have an opinion about what and when they start to care.GONZALES: One of my favorite moments — it's after the book chapter “Marvel vs. the Creative Committee” — is when Kevin Feige gets on stage himself to unveil the entirety of phase three, which includes Captain America: Civil War and Avengers: Infinity War and everything. That is such a telling moment for me. He had just won his battles with these behind the scenes. He's fully in full control. Black Panther is coming. Joss Whedon is in the edits for Avengers: Age of Ultron, in the audience, but they already know he's not coming back.There was a version of a chapter in the book that was just me going through that and being like, here's why each one of these announcements is like Kevin Feige spiking a football in the face of someone that told him he couldn't do it. That's still the purest creative energy I've seen. “We could finally do it!” burst out of Marvel. I think they've been more reserved since, even with some big announcements, but I like to go back and look at that just to see the pivot point when Marvel was the underdog. It was like, we want Black Panther, we want Captain Marvel, but the studio won't let us do it. Then Kevin Feige gets up and goes, “Here are the next 10 years of your life.” It's just such a joyous moment.ROBINSON: We love that moment. We talked to people behind the scenes who were working at Marvel at the time about it, and there's a reason that whole presentation wasn't at a Comic-Con. It wasn't at D23. It was its own thing at the El Capitan Theater in Los Angeles, and internally, they jokingly called it Kevin-Con. It was this whole thing, and part of it was that they weren't ready to announce certain things at Comic-Con.But part of it was this moment for Feige who fought various personalities across the various companies to get control of the narrative. And I agree, Endgame is of course in all of history going to be looked at as the pinnacle of achievement at Marvel. But I actually think it might be Kevin-Con at the El Capitan Theater, when Chadwick Boseman comes out and Robert Downey Jr. and Chris Evans are there to anoint him as the future of the franchise. That, of course, comes with its own terrible poignancy. We were really lucky to talk to Chadwick Boseman for the book before he passed away. These were things that happened while we were writing the book. History was constantly happening as we were trying to frame this entire narrative.If there's a protagonist in the book, it feels like it's Kevin, even in the earliest days when he was advising on the Fox products. Having read the book and then seen Deadpool & Wolverine — which, as you mentioned, went on to become a phenomenal financial success — it was really cool to come away with a little more admiration for the role that Kevin had in some of the Fox properties. Seeing that manifest in the MCU was just really nice.ROBINSON: I love that he got to have his Wolverine story, given that it all starts with him in a trailer with Hugh Jackman saying it needs to be bigger, it needs to be bigger, it needs to be bigger. I love that.GONZALES: I don't even know if it's still called that, but Joanna used to call that the “Feige fix-it.” Instead of developing these things by always going forward and introducing younger Avengers, he's actually much more interested in reaching back. There were good things there. Or, I guess the generous way to think about it is rewarding the fans that were around before it was the Marvel Cinematic Universe. Like, “You didn't waste your time with X-Men: The Last Stand. I know it might have felt like that occasionally, but here's this. Or Andrew Garfield. Yeah, maybe we treated him badly, but don't worry. You didn't waste your time with that because boom, here it is paying off in the Marvel Cinematic Universe.”Initially there was some hesitancy about Marvel homework. Do I need to have seen these things to do these things? But ultimately, if we're just talking dollars and cents, the nostalgia play has made them a billion dollars so many times that it doesn't surprise me that Deadpool & Wolverine is a huge hit just by being a swan song for the Fox movies.ROBINSON: I was personally incredibly gratified to finally get Channing Tatum as Gambit. That was a very important moment for me.My favorite version of the Feige fix-it was putting the storyline from Thor: The Dark World into Endgame and making Thor: The Dark World, the most universally mocked and reviled MCU film, an integral part of their biggest triumph. All of a sudden that's wrapped into the larger tapestry in a way so you can't just toss it in the garbage and say, oh, don't bother watching Thor: The Dark World — now you have to watch it to understand everything you're seeing in Endgame, which is certainly not a movie you're ever going to skip.It's a magic trick that really works and almost shouldn't work as well as it does. But even how they were able to get the Infinity Stones, almost taking elements of the first couple films that were dropped or introduced somewhat randomly and then doing that. It's a trick that they keep on pulling.GONZALES: Kevin Feige will say this, but we're coming up on 80 years of comic book history, and if there's one thing that comic books do more than any other medium, it's just use the same story. How could you have another angle on this story? They have so much A/B testing on what we like about this character, or what we'll buy about a certain character, it's interesting to see Marvel adapt that along with what sort of story you like on the Hollywood side of it.But yeah, we're going to see Captain America: Brave New World and finally see that Celestial that came out of the ocean in Eternals. Every Marvel property contributes something, we're told. Except the Inhumans; that never happens.The book is MCU: The Reign of Marvel Studios, and it's a fascinating look at the intersection of the humanity behind these movies and the technology of these movies. And if there's one figure that reminds me of that in particular, obviously, one of the most central people in the Marvel universe is Green Steve. Let's talk a little about him before we wrap this one up.ROBINSON: He's my favorite! Green Steve, a Chippendales dancer that was painted green in order to make sure they understood how the green light on skin would be captured accurately for the Hulk. Green Steve was one of my favorite anecdotes we got, and it was out of the book for a while before we worked it back in. Dave, what do you want to say about Green Steve?GONZALES: I love Green Steve. I love that this bodybuilder from Long Island can technically say he played the Hulk in a sort of way. In theory, because it's a whole CGI character, he might have played the Hulk close to how much Mark Ruffalo played the Hulk in that first movie. I love that story.Pretty early on, we brought in Gavin Edwards, our third author, to help us do a book, since Joanna and I had never done a book before. We were starting to put together the notes and I was like, can we please have a mid-credits scene? Can we just have a chapter in the middle of the notes?ROBINSON: That was Dave.GONZALES: I held onto that for as long as possible. I remember in one of the final meetings after we turned in the draft, we pitched it up to the editor and they were like, “That's really fun,” and I thought, oh thank god. That was a really early idea, and Green Steve fits that perfectly; it's a super interesting story that doesn't really belong anywhere else, but will stick in your mind as, Marvel literally tried everything to make the best Hulk. So I'm very happy that it's the mid-credits chapter — and remains the mid-credits chapter! Even when we added another chapter in, we were like, where does this go? Not before Green Steve.ROBINSON: He's got the final word for sure.Amazing. The book's out of paperback now. Where can folks find it? Where can they find you? And what's next?ROBINSON: “All good and evil news agents.” That's what the Empire Magazine folks say. All good and evil bookstores or any online book purveyor is where you can find our book. Dave does a tremendous podcast called Fighting in the War Room, which I love to listen to, so you should listen to that. And together we do a podcast called Trial by Content that y'all should listen to.GONZALES: Joanna's on a fantastic podcast called the House of R with Mallory Rubin over on The Ringer, where she covers lots of cool pop culture things. If you want to go to a bookstore and don't know exactly which one to go to, you could head to theMCUbook.com. That will forward you to our publisher's website, which has links to your Barnes and Nobles, your Amazons, your Bookshops.org, and will help you track down the book near you. And look for us in a couple more years with something similar.Thanks for coming on.ROBINSON: Thanks, Walt.GONZALES: Thank you.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

This Sunday on Vintage Classic Radio, tune into "Sunday Night Playhouse" for a special presentation of the "Lux Radio Theatre" episode, "Seven Years to Baldplate". Originally broadcasted on September 26th, 1938, this captivating radio play, based on the popular novel and play by Earl Derr Biggers, follows the intriguing adventure of a writer who seeks solitude at the remote Baldplate Inn to finish his novel only to find himself embroiled in a series of unexpected and mysterious events involving seven different keys to the inn, each held by peculiar characters with their own secrets. The episode features a stellar cast with Jack Benny leading as the bewildered writer, supported by Mary Livingstone, Cecil B. DeMille, and a host of other talented voices from the era, bringing to life the thrilling plot twists and humours undertones of this classic mystery-comedy. Make sure to catch this delightful mix of suspense and humour that continues to charm audiences even decades after its first airing.

Episode: 3230 How close-ups offer social and psychological benefits that selfies do not.  Today, psychology of the close-up.

In August 2023, we launched the Old Time Radio Snack Wagon, featuring a variety of short old time radio programs. In this episode, we offer five samples of the type of programs we feature on the Old Time Radio Snack Wagon.Family Doctor: False Witness"Hello there, this is the Family Doctor...."Join us as we travel back in time to a small town, where Doctor Grant Adams dispenses medicine for the body and common sense advice for the soul, in this little-known family drama series from the 1930s.In this first episode, a teenage girl becomes the subject of gossip after some church money turns up missing. Can Doc Adams prevent a tragedy?Potential series air dates for the series vary from 1932-38. The earliest I can find a record of the series being aired was in the fall of 1937. Unsolved Mysteries: The Borden MysteryOn this first syndicated episode of the 1930s series Unsolved Mysteries, we take a look at the mysterious slaying of Andrew Borden and his second wife Abby in 1892 and how suspicion fell on Andrew's daughter, Lizzie.Unsolved Mysteries not only explains the case in a nutshell but also offers a solution to the crime.While Unsolved Mysteries was a syndicated true crime series in the 1930s, it didn't start out that way.We take a look at the series's origin and the original program's sponsorship by Ken-Rad, a Kentucky-based firm selling radio tubes.The series originated from Station WLW in Cincinnati, and we talk about the station's forgotten role in the Golden Age of Radio as America's superstation, and why it was called that.Cecil B. DeMille interviews Walt Disney about Snow WhiteTwo Hollywood legends share a stage in this listener-inspired Snack Wagon.The year is 1937. A young filmmaker is about to release a groundbreaking new work, Snow White and the Seven Dwarfs. Walt Disney was invited on the Lux Radio Theater to be interviewed Hollywood director Cecil B. DeMille about the film and about what future projects he was working on.The interview took place on December 20, 1937 in Hollywood, the day before Snow White's premiere.The Adventures of Babe Ruth: Babe Takes the BlameWhile on the road in Chicago, Babe tries to help a young boy who was pressured to steal from him by an older boy, and finds himself in plenty of trouble.Originally Aired in 1949Sponsored by US Navy Recruiting; the announcer is Jackson BeckJack Benny and Fred Allen Patch Up the Feud for ChristmasFor the special Command Performance Christmas Eve show, a serviceman requested that Jack Benny and Fred Allen patch up their feud, and this is their answer.The segment is introduced by Bob Hope who hands the show to Fred Allen and Jack Benny in New York.Original Radio Broadcast Date: December 22, 1942Subscribe to the Old TIme Radio Snack Wagon at https://www.snackwagon.net

This Sunday on "Sunday Night Playhouse," Vintage Classic Radio presents an episode of Lux Radio Theatre featuring the 1940 romantic drama, Remember the Night. Starring Fred MacMurray and Barbara Stanwyck, this heartwarming tale revolves around a prosecuting attorney, Jack Sargent, who unexpectedly becomes involved in the life of a shoplifter, Lee Leander, just before Christmas. After deciding to take Lee to his family's home for the holidays rather than sending her to jail immediately, Jack begins to discover more about her troubled past, and a deep bond starts to form between them. As they spend time together, both characters are forced to confront their own inner struggles, leading to a story filled with warmth, redemption, and love. The episode, originally broadcast on March 25, 1940, brings together a talented supporting cast, including Beulah Bondi as Jack's mother and Elizabeth Patterson as Aunt Emma, alongside Sterling Holloway and Willard Robertson. Directed by Cecil B. DeMille, this episode of Lux Radio Theatre brings the charm of classic Hollywood storytelling to the airwaves, delivering an unforgettable evening of nostalgia and emotion. Vintage Classic Radio is proud to present this timeless story as part of our "Sunday Night Playhouse" series, bringing classic radio drama back to life for modern audiences.

This is the audio from our recent YouTube version of "TECHNICOLOR PART II: THE DRAMA." This version is slightly different than the original audio-only version.---In this episode of Perf Damage, we dive deeper into the fascinating world of Technicolor by focusing on the dynamic husband-and-wife team behind the company: Herbert and Natalie Kalmus. This companion piece to our episode, THE UNTOLD STORY OF TECHNICOLOR, explores the couple's innovative partnership, their influence on the film industry, and the complexities of their personal and professional relationship.Natalie Kalmus wasn't just Herbert's wife—she was a force to be reckoned with in Hollywood. Known for her strict artistic control over the Technicolor process, she famously clashed with legendary filmmakers like Cecil B. DeMille, Michael Curtiz, David O. Selznick, and Michael Powell. Behind the scenes, her influence was valued and dreaded as she fiercely defended Technicolor's vision. After her and Herbert's relationship soured, she spent years in court, making his life a living hell and adding drama to an already colorful legacy.Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Out of CA, Dimitri Moraitis is not only the Co-founder of Spiritual Arts Institute but also the Director. In this podcast, we talk about his awakening, his teacher ~ Barbara Martin, magical moments, auras, the sea of energy, protective light, parenting and the maturing of the aura, lies and how we are finding God/source/spirit again in this Great Awakening.Dimitri ends with the "Just Be Practice" by leading a glorious meditation on wisdom. Love it!Connect with Dimitri and the Spiritual Arts Institute:Website: https://spiritualarts.orgFB: https://www.facebook.com/SpiritualArtsInstituteYouTube: https://www.youtube.com/c/SpiritualartsOrg/featuredInstagram: https://www.instagram.com/spiritual_arts_instituteLinkedIn: https://www.linkedin.com/company/spiritual-arts-institute/posts/?feedView=all*Host Eden Koz is a soul realignment specialist utilizing such gifts as psychological empathy, intuition, psychic ability, mediumship, meditation, mindset shift, Reiki, dimensional and galactic healing, to name a few. She can also perform a spiritual Co#id Vac+ Healing as well as remote & face-to-face sessions with individuals and groups. Contact info for Eden Koz / Just Be®, LLC:My 3D to 5D Merch here. Insta, FB, FB (Just Be), LinkedIn, TruthSocial, (see the podcast also on) BitChute, Rumble, YouTube, Odysee, Grassroots Warrior Network The Just Be~Spiritual BOOM Podcast can be found on the audio directories: Apple Podcasts, Spotify, ...

The  Dark Corner This radio dramatization of the classic movie, featuring the original stars, aired on November 10, 1947. The Lux Radio Theatre was one of radio's most popular series, attracting Hollywood's top stars and boasting a lavish budget. It began in 1934 by featuring dramas from Broadway, but there was not enough material to support the show. In an attempt to reverse the slipping ratings, the show was moved to Hollywood in 1936, where there was plenty of material and talent. In fact, filmmaker Cecil B. DeMille often served as the host.

“For all of us, we are gaining our trust, our stability, our hope, our aspirations, our inspirations, all come to us through the medium of sound. Video is important, right? But FDR was able to keep a country from going mad on the brink of fear and concern and anxiety by fireside chats over the radio during the war. And we still look to our presidents today, President Bush during 9/11, was able to speak to the audience through that bullhorn with that famous clip there to be able to say what he had to say. President Lincoln with his 272-word Gettysburg address was able to come and heal the nation there on that battlefield.” -- Micah Thomas This episode is the second half of my conversation with audible storytelling expert and Storymore CEO Micah Thomas as we discuss the role of music in audio storytelling, how classic cinema inspired Micah's approach to sound, and the changes the pandemic brought to his company. As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available and what the newest audio chats will be about. If you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I'd love to feature your review on future podcasts. (0:00:00) - The Power of Audio BrandingOur discussion continues as Micah shares the process of scoring audible stories, and how it differs from traditional movies. “The music scoring is actually done,” he says, “as the very last step. We don't approach anything from a music-first standpoint.” He tells us how it has more in common with silent movies and their live piano players, not to mention the movie The Truman Show, and the advantages of such a story-first approach. “When we come back to it,” he tells us, “it's like playing the audio drama and the music under it as it's going, which allows a very organic sense of music creation.”(0:08:58) - Exploring Old-Time Radio and StorytellingMicah elaborates on Storymore's approach to narrative, and how he found inspiration from some of Hollywood's old masters, from Bing Crosby and Cecil B. DeMille to radio noir characters like Johnny Dollar and the Shadow. “It's all good dialogue on the page,” he explains, “and a good character that can bring it out. So I would say that got planted early and developed really well through the years.”(0:13:31) - Sound, Content, and BrandingThe conversation closes with a look back at the pandemic, and how it transformed both the sound industry as a whole and the careers of some of his voice talents. “The major change wasn't operational,” he says, “because people, or our cast anyway, are already working from home. But for those that still worked a day job and would come home and do this as a side gig or something like that, this was an opportunity for them now to have much more time to devote to it.” We discuss why sound matters more than ever in today's world, what he's working on next, and how listeners can check out Storymore. “The experience is free, no subscription fees or anything like that. We wanted everybody to have access to a good story, so you can check it out wherever you find your favorite podcast.” Episode SummaryMicah's insights on music scoring, from classic movies to church and wedding gigs.What vintage radio shows taught...

Send us a Text Message.In this episode I talk with the distinguished historian of the crusades Dr. Steven Tibble about the motivations of crusaders and of those Europeans who settled in the Crusader states of Outremer. Steve is the author of five books dealing with the crusades, the most recent of which is Crusader Criminals: The Knights Who Went Rogue in the Holy Land  (Yale University Press, 2024).  We examine the roles played by religious zeal, the promise of remission of sin, feudal obligation, the hope of material gain, and the benefit of temporal privileges in motivating those who took the cross. In considering the relationship between crusaders and settlers, Steve explains why the rulers and European residents of Outremer developed a culture of religious and ethnic toleration that surprised and appalled Crusaders just off the boat. And because I couldn't resist, I have Steve explain why the Crusader States became hotbeds of crime and violence. I hope you will join us.Audio clips in this episode:The movie trailer for the 1948 re-release of Cecil B. DeMille's 1935 epic, The Crusades.A snippet from "The Crusades" episode of the 1989 PBS series "Timeline."Listen on Podurama https://podurama.com Intro and exit music are by Alexander NakaradaIf you have questions, feel free to contact me at richard.abels54@gmail.com

Step back in time with Vintage Classic Radio's presentation of the "Lux Radio Theatre" episode, "Christmas in July," originally aired on June 26, 1944. This episode is a delightful radio adaptation of the 1940 film of the same name, infused with an added sprinkle of Christmas charm unique to Lux. On this special evening, Lionel Barrymore steps in for the usual host Cecil B. DeMille, bringing with him the spirit of Christmas, reminiscent of his roles as the mean-spirited Mr. Potter in "It's A Wonderful Life" and the annual Scrooge on radio versions of "A Christmas Carol." The plot centers around Jimmy MacDonald, portrayed by the charismatic Dick Powell, who believes he has struck it rich by winning a slogan-writing contest. Overjoyed, he proposes to his girlfriend, Betty Casey, played by the enchanting Linda Darnell, and begins to spend his supposed winnings. His boss, Mr. Shindel, acted by Charles Winninger, is so impressed by Jimmy's newfound confidence that he offers him a promotion. The story takes a comedic turn as the community rallies around Jimmy's good fortune, only to face the awkward revelation that his win was nothing but a practical joke. This episode also features performances from Raymond Walburn as the mischievous Dr. Maxford and William Demarest who delivers a touch of humor as Mr. Bildocker. Whether you're rediscovering this classic or tuning in for the first time, "Christmas in July" promises a mix of humor, heartache, and holiday spirit, offering a poignant exploration of dreams, love, and community spirit. Don't miss this captivating broadcast in our "Sunday Night Playhouse," and relive the enchanting world of yesteryear radio where miracles might just happen, even in the middle of the year.

Front Row Classics welcomes Ryan Bijan this week. Ryan is founder and host of Cowtown Movie Classics which curates classic films for movie goers in Fort Worth, TX. Brandon and Ryan are discussing Cecil B DeMille's 1932 pre-code epic film, The Sign of the Cross. The film, starring Fredric March, Claudette Colbert and Charles Laughton, perfectly illustrates DeMille's penchant for storytelling and grandeur. The film also features several scenes that wouldn't have gotten past the Hays Code only a couple years later.

Sign of the Cross Front Row Classics welcomes Ryan Bijan this week. Ryan is founder and host of Cowtown Movie Classics which curates classic films for movie goers in Fort Worth, TX. Brandon and Ryan are discussing Cecil B DeMille’s 1932 pre-code epic film, The Sign of the Cross. The film, starring Fredric March, Claudette … Continue reading Ep. 221-The Sign of the Cross →

In 1936, Pope Pius XI published his encyclical on the motion picture, Vigilanti cura. The encyclical deals with the grave moral concerns raised by the cinema, which had by then become a ubiquitous social influence (though it was also a still-evolving medium, as the transition from silent film to talkies had only recently been completed). Pius holds up for worldwide emulation the initiative that had recently taken by the American bishops to influence the motion picture industry in a moral direction, as well as to protect their own flocks from immoral movies. Vigilanti cura was ghostwritten by the American Jesuit Fr. Daniel Lord, a prolific pamphleteer involved with Catholic Action. Fr. Lord had written the original draft of the Motion Picture Production Code, and helped to found the Legion of Decency. He had also worked in Hollywood as a consultant on Cecil B. DeMille's silent Biblical picture, The King of Kings. This is the first of three episodes in which Thomas Mirus and Nathan Douglas survey the body of magisterial documents related to cinema, and discuss what we can take from these teachings today. Links Vigilanti cura https://www.vatican.va/content/pius-xi/en/encyclicals/documents/hf_p-xi_enc_29061936_vigilanti-cura.html SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

This Saturday's "Saturday Matinee" on Vintage Classic Radio kicks off with "The Great Gildersleeve" in the episode titled "The Cake," which first aired on September 7, 1941. In this humorous episode, Throckmorton P. Gildersleeve, played by Harold Peary, faces a culinary challenge when he attempts to bake a cake, leading to a series of comedic misadventures. Joining Peary in the cast are Lurene Tuttle as Marjorie, Walter Tetley as Leroy, and Lillian Randolph as Birdie. Following this, "The Jack Benny Show" presents "The Egg and I" from its May 23, 1948 broadcast. The episode features Jack Benny in his typical miserly character, navigating the quirks of rural life after deciding to become a chicken farmer, inspired by the popular novel "The Egg and I." The episode features Mary Livingstone, Eddie Anderson as Rochester, Phil Harris, and Dennis Day, all contributing to the hilarity with their unique charms. Finally, the evening rounds off with "Lux Radio Theatre" and the episode "Front Page Woman" starring Paulette Goddard, which originally aired on January 16, 1939. In this adaptation of the film, Goddard's character battles the challenges of being a female reporter seeking to prove herself in a male-dominated world. Alongside her, the cast includes Jeffrey Lynn as her competitive and romantic interest, with Cecil B. DeMille hosting the show, adding a touch of Hollywood grandeur to the radio stage. Each episode encapsulates the charm and wit of its era, bringing both laughter and a slice of history to the airwaves.

In this, the first episode of TPNWICMFP's first ever JESUS MONTH, Corbin and Matt discuss "KING OF KINGS," a silent picture (With color segments!) from the father of the film epic, CECIL B. DEMILLE. Topics include: why we aren't we doing one specific movie, DeMille's odd theater aesthetic, the scenes that work (The Ressurection!), the scenes that don't (The Crucifixion), and the question of sin-ema trying to navigate the world of values.  Watch King of Kings here. Corbin's reccomendation can be seen here. Matt's can be imbibed here. Next week's episode is about 'THE GREATEST STORY EVER TOLD,' a different, later take on the Gospels. Watch it here. Corbin is just at this moment learning it is more than three hours long, so, should be fun.   

On this episode of Our American Stories, when you think of the parting of the Red Sea, you probably think of movie director Cecil B. DeMille, who turned Bible stories he turned into epic films like "The Ten Commandments," starring Yul Brenner and Charlton Heston. But there is much more to the story of this man who helped turn Los Angeles into the film capital of the world. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

Picture in the Sand by Peter Blauner https://amzn.to/3JeZeLP "On rare occasions I read a book that reminds me of why I fell in love with storytelling in the first place. This is such a book." ―Stephen King Peter Blauner's epic Picture in the Sand is a sweeping intergenerational saga told through a grandfather's passionate letters to his grandson, passing on the story of his political rebellion in 1950s Egypt in order to save his grandson's life in a post-9/11 world. When Alex Hassan gets accepted to an Ivy League university, his middle-class Egyptian-American family is filled with pride and excitement. But that joy turns to shock when they discover that he's run off to the Middle East to join a holy war instead. When he refuses to communicate with everyone else, his loving grandfather Ali emails him one last plea. If Alex will stay in touch, his grandfather will share with Alex – and only Alex – a manuscript containing the secret story of his own life that he's kept hidden from his family, until now. It's the tale of his romantic and heartbreaking past rooted in Hollywood and the post-revolutionary Egypt of the 1950s, when young Ali was a movie fanatic who attained a dream job working for the legendary director Cecil B. DeMille on the set of his epic film, The Ten Commandments. But Ali's vision of a golden future as an American movie mogul gets upended when he is unwittingly caught up in a web of politics, espionage, and real-life events that change the course of history. It's a narrative he's told no one for more than a half-century. But now he's forced to unearth the past to save a young man who's about to make the same tragic mistakes he made so long ago.About the author Peter Blauner is the author of eight novels, including SLOW MOTION RIOT, winner of an Edgar Allan Poe award for best first novel from Mystery Writers of America, and THE INTRUDER, a New York Times bestseller. He began his career as a journalist for New York magazine in the 1980s - covering crime, politics, and other kinds of bad behavior - and segued into writing fiction in the 1990s. His short fiction has been anthologized in BEST AMERICAN MYSTERY STORIES and on NPR's SELECTED SHORTS FROM SYMPHONY SPACE. In recent years, he has also written for several television shows, including Law & Order: SVU and the CBS series, Blue Bloods. His newest novel is SUNRISE HIGHWAY, published in September 2018, by Minotaur/St. Martin's Press. He lives in Brooklyn, N.Y. with his wife, author Peg Tyre.

On this day in 1952, Cecil B. DeMille's "The Greatest Show on Earth" premiered at Radio City Music Hall in New York.See omnystudio.com/listener for privacy information.