Podcasts about chayefsky

Aprovechar el triunfo en los Oscar para hacer un llamado o manifestar una opinión personal es algo común. Lo que no es tan habitual es que ese discurso divida de inmediato a las y los invitados a la ceremonia, y provoque la casi inmediata e improvisada respuesta de alguien molesto por lo que se acaba de decir. Ocurrió hace casi medio siglo, pero esta historia tiene detalles que la mantienen muy actual.

Have you ever plunged into the depths of your own consciousness? Screams and Streams takes you on an electrifying ride through Ken Russell's "Altered States," a film that not only tells a story but also promises to shift your perception of reality. Mike and I dissect the protagonist's harrowing journey fueled by substance use and a relentless drive to uncover truths within a sensory deprivation tank. As we navigate through the blend of philosophical thrills and the budding intrigue in psychedelics, we unearth the film's nuanced messaging on mental health, self-experimentation, and the quest for enlightenment.It's no secret that narratives often paint academics as teetering on the brink of madness, and "Altered States" is no exception. But here's the twist: we scrutinize how the movie plays with this trope, unveiling the underlying stigmatization of mental health in the scientific community. We peel away at the film's use of hallucinations and fugue states as more than mere plot devices, and I'll admit, the conversation got me seriously considering the real-life merits of sensory deprivation tanks. And let's not forget the body horror element; we grapple with the unsettling transformation sequences and their implications, highlighting the genius blend of visual effects and sound design that serves as a testament to Russell's vision.Wrapping up the episode, we delve into the heart of "Altered States" with a lively discussion on character dynamics and the film's sonic landscape. We're left pondering the complexities of relationships amidst personal transformation, the surreal juxtaposition of a rhino in the city, and the riveting, if sometimes chaotic, behind-the-scenes anecdotes involving Chayefsky and Russell. Join us as we navigate through these altered realms, challenging our own states of mind, and sharing a few lesser-known recommendations for fellow horror aficionados. It's not just a conversation; it's an experience that promises to leave you thinking long after it ends. Head to www.screamsandstreams.com for more information related to our episode.

Yes, it's Network. Could you expect anything else after Medium Cool? Maybe. But you'd be wrong. It's Network. Let's look at this documentary... errr fictional satire from the mind of Paddy Chayefsky and executed with the deft touch of Sidney Lumet. I realize there's an entire laundry list of things that could have been touched upon which I did not. Again, an injury is limiting my computer time. Computer time includes recording and editing so I need to be economical with both. The character of Diana Christensen is probably one of the most interesting because of how she's written but, also, because the romance plot is actually a larger part of the movie than I sometimes realize. So she's got screen time and there's plenty of time to examine her. And I think that, choosing her, to represent what she represents is maybe a bit... biased. Hackett could have easily been that, too, or there could have just been a dude. I know that they, for economy, combined Max's love interest with Max's rival and it works but she's one of the very precious few women in this movie--which is also probably documentarian as well. Maybe bringing this lens to bear on this specific point is fruitless. But it wasn't brought in the podcast. I think I did completely forget to mention the other two academy awards. Faye Dunaway takes it and there's a really good photo of her the next day looking real blase. It's called "The Morning After" and it's the kinda photo that would make me want to be a magazine photographer. Getting to wake up in the morning and do shoots like that is the dream. The other Academy Award was given to Chayefsky for the screenplay which, if you've seen the movie, is no great surprise.

The Democrats, the media, and the blue-checks on Twitter have no idea how many people have been red-pilled over the past three years. No one who watches Joe and Mika or Rachel Maddow or reads the New York Times will ever be red-pilled. They simply believe that is the only reality. How could it not be if every high-status person in America is going along with it? If your friends and family go along with it, if your social media feed confirms it every day with links. If it's in the media, it must be true, right? How do you not trust it if it's on NBC News or the Washington Post?Waking up to the media's near-total collapse during the Trump years is a big part of being red-pilled. Once you see it, you can't unsee it. The only way to escape the media's hold on the narrative is to cut it out completely, at least until you can see that there is another reality, and very often, the actual truth.If they hadn't already given up on the “establishment” watching them crush Bernie Sanders like a bug in 2016, 2020 would do it. The response to COVID was a big one. Dividing the country the way it did into the compliant and the non-compliant. What it did to businesses, to the minds of children, to everyone who was locked down and locked in - unable to attend funerals, weddings, and death beds. But the raid on Mar-a-Lago very likely has red-pilled Americans even more, especially when you put it together with the authoritarianism during COVID, the suppression of speech, the silencing of dissent, and the dehumanization we all live with every day. To watch our Department of Justice raid a former president's home months before the midterms, where the Democrats were expected to do very badly, looks suspect to anyone. If they were trying to create distrust in our institutions, they succeeded. Most Americans have seen, maybe for the first time, that our government has become too powerful, too punitive, and too authoritarian in crushing dissenting voices and outsiders who challenge that authority. We call that being red-pilled.More worrisome is the ongoing mass hysteria that started on Twitter, spread into our institutions of power, and now has spread to our government. To have such a complicit and compliant media is even more terrifying. What wouldn't they go along with by now? Gulags? We all thought “cancel culture” would be confined to social media but clearly it has become the modus operandi for our establishment government. It's hard not see this as yet another extension of the insanity and hysteria over Trump. As the Wall Street Journal's Kimberly Strassel writes:Trump derangement syndrome has a curious way of scrambling coherent thought. Witness the Democratic-media complex's blind insistence the Justice Department raid on Donald Trump's home is just and necessary—rather than a dangerous move for their party and the republic.In descending on Mar-a-Lago, the department and the Federal Bureau of Investigation shifted the U.S. into the category of countries whose ruling parties use government power to investigate political rivals. No attorney general has ever signed off on a raid on a former president's home, in what could be the groundwork for criminal charges.The Mar-a-Lago raid on its own would have one thing. But it comes right after Merrick Garland announced the “largest investigation in American history” against a former president. That came on the heels of prime-time hearings that aired on every news network except Fox, led by Liz Cheney, where they compared January 6th to the end of slavery and the Jim Crow South. This, after Kamala Harris, compared January 6th to Pearl Harbor and 9/11. A red-pilled America is probably starting to think the reaction to Trump, rather than Trump himself, might be the even bigger threat. They were already losing voters by the millions. Hispanic voters, Asian voters, even Black voters were being red-pilled and drifting rightward. That meant there was likely a red wave in the November midterms. Biden's catastrophic poll numbers meant Democrats could lose and lose big. That was unacceptable. It shouldn't be too surprising that they used that moment to hold their primetime extravaganza of Janaury 6th. If they can't win over voters with better candidates or policies, they will scare the living daylights out of them. Donald Trump hadn't even announced he was running for office, but the failure of Biden and the Democrats alone was enough to launch an all-out war on Trump, his henchmen, and his supporters.Instead of bringing more voters in, the administrative state has now red-pilled even more Americans. That's certainly true of Hispanic voters, as a recent Spectator article outlines: It's likely that many of these voters agree with Rep. Mayra Flores (R-Texas) who responded to the Mar-a-Lago search thus: “The FBI raid on the residence of the former POTUS is unprecedented. We do not live in a third world country.” This point will certainly resonate with many first and second generation Hispanic immigrants, many of whom came to the United States to escape countries where such secret police raids are all too common. It's doubtful that Flores or her constituents were satisfied by Attorney General Garland's dilatory and defensive acknowledgment that he approved the decision to seek the search warrant.Whether the newly red-pilled Americans will become GOP voters or whether they will support Trump at all remains an open question. But many of them will be coming out of August 8th with a high distrust for a government that would use the Department of Justice to sabotage its political enemies. The Spectator's Gary Anderson wonders if Biden has crossed the point of no return:Rome's republic collapsed when its politicians started using the law to eliminate opponents, a custom that began with the Marius–Sulla civil war. The guy in power used the judiciary authority of the Roman Senate to eliminate his adversaries. The intended victim would raise legions and fleets in self-defense; this took money. The contender who could raise the most troops or who was the better tactician got to be in charge. Julius Caesar crossed the Rubicon because he knew that his opponents in the Senate had decided to have him executed if he returned to Rome without the protection of his legions. He had violated several Roman Republic laws during his invasion of Gaul, but there would be no fair public trial. The concept of Roman justice was dead. From that point on, might made right.Is this the beginning of the great war that will define the Fourth Turning? Writes Neil Howe and William Strauss:“Decisive events will occur—events so vast, powerful, and unique that they lie beyond today's wildest hypotheses. These events will inspire great documents and speeches, visions of a new political order being framed. People will discover a hitherto unimagined capacity to fight and die, and to let their children fight and die, for a communal cause. The Spirit of America will return, because there will be no other choice.Thus will Americans reenact the great ancient myth of the ekpyrosis. Thus will we achieve our next rendezvous with destiny.”Here we are, almost two years into the Biden presidency, and Biden has proven himself to be beyond incompetent, despite being continually propped up by the media. It isn't a coincidence that they are coming for Trump the same week they are desperately trying to boost Biden's poll numbers. They might be able to keep the people afraid enough to be distracted. Still, there is no getting around what happened a year ago when Biden's sloppy exit from Afghanistan led to the deaths of a dozen American soldiers and sent his poll numbers crashing down:A 20-year-old man who was the brother of one of the dead soldiers recently killed himself near the memorial for his brother. Except for the Daily Beast, only Conservative sites covered the story. It would be shocking at any other time except the one we live in now. The media and our government willfully ignore the carnage left in the wake of Biden's bad policies, whether it's Afghanistan which likely caused Putin to invade Ukraine, China to flirt with invading Taiwan, the rising murder rate in cities with “defund the police,” or the two January 6th rioters who have committed suicide, or Ashli Babbitt shot point blank by a member of the Capitol Police - these Americans just don't matter because they don't serve the narrative.What is most frightening about watching the media spin on a story like the unprecedented raid on a former president's home, or any story on any day, is how they always offload the bad stuff onto Trump and MAGA. Now, they've pivoted away from the naked abuse of power displayed by a politicized DOJ and towards the reaction by the GOP against the FBI. While it's true that a man showed up at FBI headquarters with a nail gun, it's not like that's the only act of political violence we've seen lately. They control the media, however, and can drive fear and hysteria however they want. That's just pure gaslighting. Why shouldn't there be a volcanic response? Do they want everyone to lie down and pretend to like it? They can protest as loudly, and as violently as they want over every single thing Trump said or did for the four years he was in power, but the GOP is not allowed to be angry about this?The media has long since lost touch with reality. They listen to Twitter, not the American public. For too long now, the Biden administration has been taking its cues from the wrong people. They think if it makes Joy Behar happy, it's worth doing. They think it's the right move if Rob Reiner approves on Twitter. Twitter is a small pond with way too many big fish driving ongoing hysteria and preventing the Democrats from focusing on the problems of average Americans. Chasing Trump for six years based on one mass hysteria event after another has destroyed the Democratic Party and possibly our Department of Justice. Just because they can indict Trump on some procedural error doesn't mean they should. The problem with mass hysteria is that it often leads to the dehumanization of whole groups of people. While most see it as more of a physical affliction, like coughing fits or laughing disease, it can also work when a threat spreads quickly in a tight-knit community. Think about a snake slithering into a tent. The more who are connected, the faster the hysteria spreads. That can be helpful in life or death situations, but when it comes to what is mostly an existential threat, like witches or Communists, or even Jews, or newly freed Black Americans after the Civil War, that fear eventually morphs into dehumanization. That often leads to the worst crimes against humanity. Once people are dehumanized, as Trump and his supporters have been, there are no limits to what can be done to them. That's not to compare Trump supporters with Jews during the Holocaust or the Jim Crow South; it's just to say that the mechanisms are the same. The “good Germans” had been conditioned to dehumanize Jews, which meant they could be carted off to concentration camps long before anyone knew anything about gas chambers. The Germans believed Hitler was making Germany safer and more prosperous now that the “parasites” had been purged.The hysteria only ends when they've gotten rid of the bad thing. That is why we watched person after person purged and persecuted from their jobs, Hollywood, and social media all through the Trump years, a practice that continues to this day. In 2016 there are more people online and connected than ever before. In 2020, even more people were online and connected. Dehumanization is the red line we should never cross, not necessarily because of what it does to other people, but because of what it does to ourselves, nothing less than the total destruction of the human soul.In Salem, over 200 people were accused of witchcraft, all because a few adolescent girls began faking symptoms. With limited education - they only had the Bible, and only men were allowed to study it - and an isolated new utopia, the Puritans were constantly under siege by direct threats. It was freezing cold. Native Americans were attacking them without warning. And then came the Devil Himself, their greatest fear.Witches had no way out of the accusation, just as someone today is always guilty once accused. They could confess as a witch and live or refuse to confess and be hanged among members of their community who cheered on their deaths. But not everyone was compliant, just like now. Giles Corey was a terrible person by all accounts. He beat his wife regularly. But he refused to confess to being a witch. They tortured him with heavy stones placed on his chest until his tongue fell out of his mouth, and he died. Then there was Thomas Maule, a Quaker, who spent a year in jail to make sure the story of Salem was told and remembered. Maule understood persecution because in Salem, they didn't only jail accused witches. They didn't much like anyone who wasn't a Puritan. They jailed Quakers all of the time and treated them like outsiders, much like our Left now does to non-compliant Trump supporters. Maule is credited with leading the way toward the First Amendment and as the founder of objective journalism that held the powerful to account. There were no real witches in Salem, America is not corrupt to its core with “white supremacy,” and Trump is not an omnipotent Super Villain. We're all just human beings, flaws and all. Trump is still the same gadfly from the 1980s whose fame revolved around his opulent lifestyle. He's the same guy who starred in Celebrity Apprentice. Trump is not secretive - if anything, he's an over-sharer. He doesn't hide things or tries to grab power behind the scenes. Everything is right on the page, warts and all. He perplexes the Left because he still believes in an America where everyone has a right to say what they want, lives how they want, thinks what they want regardless of the fast-changing rules of behavior mandated by the new Left. Trump's rise is no coincidence. He is overtly and deliberately offensive. He mocked a disabled reporter. He made fun of John McCain. He called Marco Rubio “Little Marco.” He often seems like a bully. But there is a side to Trump people don't know and don't see. The human side of Trump. When you take the time to see that, dehumanization evaporates. This doesn't mean I'm suggesting you “like” Trump, see him as a good person or even support him. It just means we should get a grip before things go too far to turn back around. We're already there. There is nothing left of the Trump hunters. They have been destroyed by their addiction. It defines who they are now and defines what they are. For people who have everything - money, culture, art museums, every major corporation in the country, all Big Tech platforms were undone by their need to destroy one man. Americans are looking at the January 6th committee hearings, and now, with the raid on Mar-a-Lago and thinking, do they not trust their own candidates or policies to win in November? Why are they so worried the people will vote for Trump instead? Shouldn't they be fixing themselves rather than trying to take out their opponent before he's even announced he's running?They can't quit Trump because he went at the Kings and the Queens - Obama, Bill Clinton, the Bush's, the Cheneys. The Squad. Nancy Pelosi. He mocked all of them. He got his MAGA fingerprints all over the furniture in the White House. Now, they're done dancing around it. With a fully compliant media and a rabid blue-check army on Twitter they are ready for their authoritarian closeup. To quote Paddy Chayefsky's brilliant screenplay for Network, Trump has meddled with the primal forces of nature, and for that, he must ATONE. While discussing Network, Chayefsky warned against what he called “the destructiveness of absolute beliefs.” He then added, “That the only total commitment any of us can have is to other human beings.”Our government leaders should spend less time with their ruthless, grotesque power grabs and more time trying to make us see each other as human beings again. Or as Jefferson Smith, an outsider who came to Washington only to see his character smeared, once said, “love thy neighbor.”Mr. Smith Goes to Washington is a film about government corruption and the one man who went into the machine thinking he could make a difference. I do not doubt that the intentions of Adam Schiff, Liz Cheney, Nancy Pelosi, Hillary Clinton, Barack Obama, and Joe Biden aren't good. But in their unending hunt to destroy Trump, they've destroyed themselves.I never thought anything could shake my faith and loyalty to the Democratic Party. I trusted them. I believed in them. That doesn't mean I think the Republican Party is any better, but they don't control everything as the Democrats do. They will probably indict Trump. That will mark the last gasp of their collapsing empire. The red pills will be eaten like candy. No American will ever see them the same way again. I am not MAGA. I am not a Conservative. My friends and family do not understand why I care about Trump and his supporters. They want me to join them in their hatred. They want me to be inside the same group hysteria as they are. I know where they're coming from. I used to be among them. I did everything they're doing now. But the red pill is a powerful one. Once you find your way out of the bubble of hysteria on the Left, it feels more like normal life. People are people again. And that, my friends, is worth waking up for. Get full access to Free Thinking Through the Fourth Turning with Sasha Stone at sashastone.substack.com/subscribe

Please support our patreon.  For early and ad-free episodes, members-only content, and more.This bonus episode is part of our Patreon podcast. C. Derick Varn, P.H. Higgins, and Shalon Van Tine--the crew of the last few episodes of Former People--come together to talk Sidney Lumet and "Paddy" Chayefsky's 1976 classic Network.   P.H. Higgins is a co-host of the Radical Thoughts Podcast and part of the Former People editorial crew.  He is also a regular partner in crime with Varn.    Shalon Van Tine is a Ph.D. candidate in American cultural and intellectual history at Ohio University, part of the Former People editorial crew, and a co-writer with Varn on a project about Christopher Lasch.  She is also one of Varn's closest friends.   You know who Varn is. Abandon all hope ye who subscribe here.   We are affiliated with the Emancipation Network.Crew:Host: C. Derick VarnAudio Producer: Paul Channel Strip  ( @aufhebenkultur )Intro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesLinks and Social Media:twitter: @skepoetFacebookYou can find the additional streams on Youtube Support the show (https://www.patreon.com/varnvlog)

Monologo Tratto dal film del 1976 NETWORK di Sidney Lumet

If you were a Jello Biafra lovin punk like me, then you may have also gotten roped into reading the book called (The media monopoly by Ben Bagdikian 1983. It's an important book about the fall of news media, great, but a lil dry. He should of also said, watch Network 1976! That's not the only story goin on here buts it's definitely in there. You love this movie, you know all about that's why your here. Probably know more than me, I may love this film and the genre but my butt spent the entire watch along commentary calling actor Peter Finch Albert flippin Finney! Funny but you put a head shot of both actors, one in each hand and dim the lights and let's see how you do. Lots of amazing film lines and trivia to remember and your decade under the influence crew does they're best, I could give you George C Scott's whole speech on modern medicine in the hospital, I can tell you the number of the pressure maintenance hatch in Star Wars heck I could sing all of Jesus Christ superstar but I couldn't tell Peter Finch from Albert Finney, I apologize dear listeners, I will do better in the future. Back to Network, written by Paddy Chayefsky (Marty, the hospital, altered states, and once again I suck because I did not know he was the uncredited writer of the way we were (I see why he took his name off that) review coming soon. Along with Chayefsky's amazeballs writing here we have director Sidney Lumets mad film skills as well (12 angry men,dog day afternoon, serpico,and fail safe Starring The fierce mommy dearest, the lawyer from The Godfather, the guy from deliverance, and William Holden. Thanks for listening.

If you were a Jello Biafra lovin punk like me, then you may have also gotten roped into reading the book called (The media monopoly by Ben Bagdikian 1983. It's an important book about the fall of news media, great, but a lil dry. He should of also said, watch Network 1976! That's not the only story goin on here buts it's definitely in there. You love this movie, you know all about that's why your here. Probably know more than me, I may love this film and the genre but my butt spent the entire watch along commentary calling actor Peter Finch Albert flippin Finney! Funny but you put a head shot of both actors, one in each hand and dim the lights and let's see how you do. Lots of amazing film lines and trivia to remember and your decade under the influence crew does they're best, I could give you George C Scott's whole speech on modern medicine in the hospital, I can tell you the number of the pressure maintenance hatch in Star Wars heck I could sing all of Jesus Christ superstar but I couldn't tell Peter Finch from Albert Finney, I apologize dear listeners, I will do better in the future. Back to Network, written by Paddy Chayefsky (Marty, the hospital, altered states, and once again I suck because I did not know he was the uncredited writer of the way we were (I see why he took his name off that) review coming soon. Along with Chayefsky's amazeballs writing here we have director Sidney Lumets mad film skills as well (12 angry men,dog day afternoon, serpico,and fail safe Starring The fierce mommy dearest, the lawyer from The Godfather, the guy from deliverance, and William Holden. Thanks for listening.

Network is a 1976 American satirical drama film written by Paddy Chayefsky and directed by Sidney Lumet, about a fictional television network, UBS, and its struggle with poor ratings. The film stars Faye Dunaway, William Holden, Peter Finch and Robert Duvall and features Wesley Addy, Ned Beatty and Beatrice Straight. The film won four Academy Awards, in the categories of Best Actor (Finch), Best Actress (Dunaway), Best Supporting Actress (Straight) and Best Original Screenplay (Chayefsky). In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 2002, it was inducted into the Producers Guild of America Hall of Fame as a film that has "set an enduring standard for American entertainment".[3] In 2005, the two Writers Guilds of America voted Chayefsky's script one of the 10 greatest screenplays in the history of cinema.[4][a] In 2007, the film was 64th among the 100 greatest American films as chosen by the American Film Institute, a ranking slightly higher than the one AFI had given it ten years earlier. Faye Dunaway as Diana Christensen William Holden as Max Schumacher Peter Finch as Howard Beale Robert Duvall as Frank Hackett Wesley Addy as Nelson Chaney Ned Beatty as Arthur Jensen Beatrice Straight as Louise Schumacher Jordan Charney as Harry Hunter William Prince as Edward Ruddy Lane Smith as Robert McDonough Marlene Warfield as Laureen Hobbs Conchata Ferrell as Barbara Schlesinger Carolyn Krigbaum as Max's secretary Arthur Burghardt as the Great Ahmet Khan Cindy Grover as Caroline Schumacher Darryl Hickman as Bill Herron Lee Richardson as the Narrator (voice) Lance Henriksen as Network lawyer (uncredited) Network came only two years after the first on-screen suicide in television history, of television news reporter Christine Chubbuck in Sarasota, Florida.[6][dead link] The anchorwoman was suffering from depression and loneliness, was often emotionally distant from her co-workers, and shot herself on camera as stunned viewers watched on July 15, 1974. Chayefsky used the idea of a live death as his film's focal point, saying later in an interview, "Television will do anything for a rating ... anything!" However, Dave Itzkoff's book Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies disputes that Chayefsky was inspired by the Chubbock case, asserting that Chayefsky actually began writing Network months before Chubbuck's death and already planned for Howard Beale to vow to kill himself on air, and that Chubbuck's suicide was simply an eerie parallel.[7] Sidney Lumet also confirmed that the character of Howard Beale was never based on any real life person.[8] Still, the Chubbuck case is mentioned in Chayefsky's screenplay.[citation needed] Before beginning his screenplay, Chayefsky visited network TV offices. Sitting in on meetings at CBS and NBC, he noted "the politics, the power struggles, the obsession with ratings."[9] He was also surprised to learn that television executives did not watch much television. "The programs they put on 'had to' be bad," he said, "had to be something they wouldn't watch. Imagine having to work like that all your life."[10] According to Dave Itzkoff, what Cheyefsky saw while writing the screenplay during the midst of Watergate and the Vietnam war was all the anger of America being broadcast in everything from sitcoms to news reports. He concluded that Americans "don't want jolly, happy family type shows like Eye Witness News" ... "the American people are angry and want angry shows."[11] When he began writing his script he had intended on a comedy, but instead poured his frustration at the broadcasts being shown on television, which he described as "an indestructible and terrifying giant that is stronger than the government" — into the screenplay. It became a "dark satire about an unstable news anchor and a broadcasting company and a viewing public all too happy to follow him over the brink of sanity."[11] The character of network executive Diana Christiansen was based on NBC daytime television programming executive Lin Bolen,[12] which Bolen disputed.[13] Chayefsky and producer Howard Gottfried had just come off a lawsuit against United Artists, challenging the studio's right to lease their previous film, The Hospital, to ABC in a package with a less successful film. Despite this recent lawsuit, Chayefsky and Gottfried signed a deal with UA to finance Network, until UA found the subject matter too controversial and backed out. Undeterred, Chayefsky and Gottfried shopped the script around to other studios, and eventually found an interested party in Metro-Goldwyn-Mayer. Soon afterward, United Artists reversed itself and looked to co-finance the film with MGM, since the latter had an ongoing distribution arrangement with UA in North America. Since MGM agreed to let UA back on board, the former (through United Artists as per the arrangement) controlled North American/Caribbean rights, with UA opting for overseas distribution.

In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch,  Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky’s script, Beatrice  Straights’ performance as an outraged wife, Faye Dunaway’s performance as a cynical programming executive and Peter Finch’s frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.”Thirty-five years later, Network remains an incendiary if an influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.’ ”Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried.

Comedian Tom Smith joins host Steve Mazan to dissect Paddy Chayefsky and Sidney Lumet's "Network" from 1976. Is UBS a joke? Was Dunaway's character pro or anti-feminist? What does "Sunset Blvd" have to do with all? Was Robert Duvall ever a teenager? Is Chayefsky a modern-day Nostradamus? All these questions and more get answered on this week's Mazan Movie Club podcast. "Network" on IMDb Tom Smith Podcast "Finleys on Film" Home of the Mazan Movie Club Steve Mazan on Facebook Host Steve Mazan on Instagram Corporate Comedian Steve Mazan's Website  

Episode: S4E1P* (Episode Page) (preview for forthcoming episode) “Altered States” (1978) by Paddy Chayefsky (book) “Altered States (1980)” by Ken Russell (William Hurt) (movie)   Hosted by: Ryan Sean O'Reilly Guests: David Wilkinson a/k/a "Wilk" Dustin Decline (I Decline)   Website: www.nodeodorant.com   * DISCLAIMER: Please be advised that the views and opinions of the hosts and guests of NDIOS are completely their own and do not necessarily reflect the views and beliefs of the other hosts and guests or that of NDIOS.

With an adaptation of Network on Broadway, here is this archival Fishko Files on its mad-as-hell screenwriter and creator, Paddy Chayefsky. (Produced in 2006) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

For the penultimate episode of season 9, your hosts alter their consciousness and explore ALTERED STATES, a 1980 sci-fi horror film written by Paddy Chayefsky, directed by Ken Russell, and today known as much for its far-out story as for its creators' infamous feud. William Hurt stars as Eddie Jessup, an academic whose experiments with sensory deprivation and hallucinogenic drugs lead him to "regress" to an earlier evolutionary state. (Literally!) Fully committed and totally bonkers, Altered States is something you have to experience for yourself, especially the wild, sexually charged religious visions; the preposterously verbose dialogue; not to mention that whole thing with the acrobatic caveman. Plus: did this movie make anyone else think of Ghostbusters?   Episode links: Altered States on IMDb Altered States on Wikipedia Altered States on TV Tropes Roger Ebert 1980 review NY Times 1981 story on Russell vs. Chayefsky 366 Weird Movies overview Dangerous Minds Altered States scrapbook Acidemic 2009 essay Den of Geek 2013 review Nerdist 2014 review Frieze essay on John Lilly John C. Lilly on Wikipedia SBS (Australia) 2017 essay Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm

For the penultimate episode of season 9, your hosts alter their consciousness and explore ALTERED STATES, a 1980 sci-fi horror film written by Paddy Chayefsky, directed by Ken Russell, and today known as much for its far-out story as for its creators' infamous feud. William Hurt stars as Eddie Jessup, an academic whose experiments with sensory deprivation and hallucinogenic drugs lead him to "regress" to an earlier evolutionary state. (Literally!) Fully committed and totally bonkers, Altered States is something you have to experience for yourself, especially the wild, sexually charged religious visions; the preposterously verbose dialogue; not to mention that whole thing with the acrobatic caveman. Plus: did this movie make anyone else think of Ghostbusters?   Episode links: Altered States on IMDb Altered States on Wikipedia Altered States on TV Tropes Roger Ebert 1980 review NY Times 1981 story on Russell vs. Chayefsky 366 Weird Movies overview Dangerous Minds Altered States scrapbook Acidemic 2009 essay Den of Geek 2013 review Nerdist 2014 review Frieze essay on John Lilly John C. Lilly on Wikipedia SBS (Australia) 2017 essay Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm

This movie had a tumultuous production, with constant fighting between writer Paddy Chayefsky and director Ken Russell. We discuss how their conflict influenced the end product... and the studios paying their bills. We also wonder if this movie unintentionally captures what we now refer to as toxic masculinity. Interested in the media we discussed this episode? Please support the show by purchasing it through our affiliate store: Altered States (film) Altered States (book) Additional Resources: Felperin, L. (2011). Russell pics marked by raw passion. Variety, 425(4), 7. Corliss, R. (1980). Invasion Of The Mind Snatcher. Time, 116(26), 58. Lanza, J. (2007). Phallic Frenzy : Ken Russell and His Films (Vol. 1st ed). Chicago, Ill: Independent Publishers Group. AT THE MOVIES; Ken Russell on 'Altered States' controversy. From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981) What We Mean When We Say, “Toxic Masculinity”  

Celebrated journalist for The New York Times, Dave Itzkoff joins Aaron to discuss the life and work of Screenwriter Paddy Chayefsky. Dave wrote an extraordinary book about Chayefsky, “Mad As Hell,” which goes in depth on the making of Chayefsky’s most celebrated film, “Network.” Aaron and Dave discuss Chayefsky’s impact on film, his naturalistic stories, … Continue reading Dave Itzkoff – Journalist, The New York Times. Author, “Mad As Hell” and “Robin.” →

An obsession to discover the history of man through our own genetic memory takes Dr. Eddie Jessup (William Hurt) through a psychological and physical transformation that may cost him his friends, family and possibly even his sanity. The sci-fi, cult, Ken Russell film Altered States (1980) is a strange trip through the mind and body that asks big, thought provoking questions with amazing special effects for the day and even a caveman of two. This one is going to be a wild ride and Invasion of the Remake digs deep to try and rethink, and remake this film for today's audiences. Don't miss remaking Altered States!   Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Google Play Music, Stitcher, PlayerFM, Tune In Radio, Audioboom, BluBrry, Libsyn, YouTube, Spreaker, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook & Instagram: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com

In 1976, legendary filmmaker Sidney Lumet, fresh off his highly acclaimed Dog Day Afternoon, took on one of the most audacious screenplays ever scripted by Oscar-winner Paddy Chayefsky called Network. The film, a sharp satire about a down-on-his-luck news anchor who sets off a chain of events that seemed far-fetched at the time yet seemingly prophetic as the film entered the new millennium. But does the film deserve the many Oscar nominations (and wins for acting and writing) or should it be given a public execution? MovieDude Eric, Kent and Chris tune in to find out.   "District Four" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ If you like this episode, you can find more of Arthouse Legends on GonnaGeek.com along with other similar geek podcasts. You can also leave comments at feedback@arthouselegends.com or on our Twitter feed @arthouselegends. Please make sure to leave feedback about the show on your podcast directory, especially on iTunes in order to help us gain more listeners. Thank you.  

FXFS02EP02_SIDNEY LUMET's NETWORK : Alan Heim, Mark Laub, Michael Jacobi and Jeffrey WolfPLAY PODCAST In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch, Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky's script, Beatrice Straights' performance as an outraged wife, Faye Dunaway's performance as a cynical programming executive and Peter Finch's frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.” Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.' ” Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we'll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we'll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

FXFS02EP02_SIDNEY LUMET's NETWORK : Alan Heim, Mark Laub, Michael Jacobi and Jeffrey WolfPLAY PODCAST In 1976, an American satirical film written by Paddy Chayefsky and directed by Sidney Lumet, called Network, about a fictional television network, UBS, and its struggle with poor ratings, starring Faye Dunaway, William Holden, Peter Finch, Robert Duvall and Beatrice Straight was nominated for 12 Academy Awards including best film, best director and best editor. Network, won four Academy Awards, including Oscars for Chayefsky's script, Beatrice Straights' performance as an outraged wife, Faye Dunaway's performance as a cynical programming executive and Peter Finch's frenetic portrayal of Howard Beale, the troubled “mad prophet of the airwaves.” Thirty-five years later, “Network” remains an incendiary if influential film, and its screenplay is still admired as much for its predictive accuracy as for its vehemence and a relentless sense of purpose. Screenwriter Aaron Sorkin, cited Chayefsky when he accepted his Oscar for the screenplay of “The Social Network,” and wrote later that “no predictor of the future — not even Orwell — has ever been as right as Chayefsky was when he wrote ‘Network.' ” Alan Heim, the picture editor of the film, Mark Laub, one from a team of sound editors, Michael Jacobi and Jeffrey Wolf, the first assistant editor and the apprentice editor on the film at the time, tell their stories of how the film came together and what it was like in various stages working with director Sidney Lumet, writer Paddy Chayefsky and Producer Howard Gottfried. Frame By Frame is a podcast series hosted by editor Isabel Sadurni, that introduces you to the most influential, respected and accomplished cinema post-production professionals working in New York today. Through intimate, informal discussions between collaborators about post-production craft, aesthetics, process and technique, we'll recognize and celebrate the iconic films and people that have made New York film history as well as those contemporaries who continue to make important contributions to the art of filmmaking. In conversations anchored by the film editor, we'll share the stories that define New York as an essential ongoing capital of the global film industry. Proudly presented by the Post New York Alliance and the New York Motion Picture Editors Guild. Produced by Isabel Sadurni and Ben Baker.

We're not angry prophets denouncing the hypocrisy of our times, well Trish might be, but we do know an amazing film when we see it. Network (1976) did however eerily predict what news media would eventually evolve into. Was it satire transcending into reality, or a very savvy futurist in writer Paddy Chayefsky? This film was a warning, well regarded in it's Oscar winning performances, but a warning that fell on deaf ears. Faye Dunaway, William Holden, Peter Finch, and Robert Duvall star in one of the most important films (directed by Sidney Lumet) of any generation. With certain politicians denouncing serious impartial news sites as "fake news" in favor of more sensational slanted news sources Invasion of the Remake feels this film is more relevant than ever before. Join us this week as we climb Mount Everest, attempt to do the impossible, and remake an almost perfect film with our own "award winning" fantasy casting. What better way to celebrate Oscar season than with Invasion of the Remake! Support independent podcasts like ours by telling your friends and family how to find us at places like iTunes, Google Play Music, Stitcher, PlayerFM, Tune In Radio, Audioboom, BluBrry, Libsyn, YouTube and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. There "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com

Edición número 76 de La Gran Evasión, 15/3/2016, Estoy más que harto y no quiero seguir soportándolo! Network se llevó cuatro Oscars, no el de mejor película que consiguió Rocky para sorpresa de muchos, el de mejor actor principal tampoco se lo llevó William Holden, sino Peter Finch a título póstumo tras morir de un infarto poco tiempo atrás en la habitación de un hotel. Magnífica sátira escrita por Paddy Chayefsky y dirigida por Sidney Lumet que pone en evidencia el mundo inhumano de la televisión, donde ante todo priman los índices de audiencia por encima de cualquier otra consideración. Dos visionarios, Chayefsky y Lumet avisaron en esta hipérbole de diálogos frenéticos de lo que se nos venía encima. La red de las grandes corporaciones multinacionales de la que habla el magnate Jensen (Ned Beatty), los grandes potentados mueven los hilos de todo lo que ocurre en el planeta Tierra, la televisión es el instrumento más eficaz de los poderes fácticos para aborregar al personal. Diana (Faye Dunaway), productora ejecutiva de la Cadena UBS, ha crecido con la televisión, ha aprendido a vivir con Bugs Bunny. Una mujer que llega al orgasmo hablando de sus nuevas ideas para batir récords de audiencia, y de la que Max, un soberbio y otoñal William Holden, se enamora a pesar de sus dudas primitivas, a pesar de saber que Diana no es capaz de sentir nada, sólo una ambición desalmada. Un jefe sin escrúpulos, una afroamericana comunista que también aprecia el aroma del dolar, una esposa abandonada, y un tipo despedido por la Cadena que se convertirá en un iluminado, en un mesías loco y empapado por la lluvia, un pobre diablo que se entromete con las fuerzas primarias de la naturaleza. Ya no existen las naciones ni los pueblos, Mr. Beale, el mundo es un negocio y usted la marioneta que aparece en la pantalla de 21 pulgadas para entretener a los televidentes. Esta noche de los Idus de marzo quitamos la tele un rato porque estamos realmente hartos de tanta vulgaridad y tanto ruido... José Miguel Moreno a la dirección, Gervi Navío, Raúl Gallego, Miguel Asuero, y nuestro crítico César Bardés desde Madrid.

Jordan McNaughton joins us to talk about Sidney Lumet's Oscar laden 1976 television maybe-satire, Network. We dig into Paddy Chayefsky's fiery, tv-demeaning screenplay, Faye Dunaway's savvy producer, and William Holden's would-be tragic hero. We also stump for why awards DO matter, which is a bit relevant in these winter months. Before that, though, we have to talk about some comic book media and Netflix's continued success. Most importantly, a guest finally lends Tyler a hand in the fight to loosen Chris Evans' iron grip on this podcast. Contact us at ltrfipod@gmail.com. But if it's about how Jordan meant Jeff Daniels, not Jeff Bridges, no worries. We got it. 0:29 Intro 2:53 10 Things I Hate About You 6:21 Gotham... and the OC? And Tron. 12:30 Side-stepping the Chris Evans corner 14:32 Dark City, and CGI taking us to Pirates of the Caribbean 20:10 Anime trash of the week: Psycho-pass 23:56 The Flash - he runs SO FAST 28:45 Master of None and Netflix success. 29:32 Batman vs. Superman trailer and another close Chris call 35:03 THE NEW CHRIS CORNER 37:31 Network discussion - trailer, ratings, box office, awards 44:10 Lumet and framing, Chayefsky and quoatability 47:08 Chayefsky's positions and Network's themes 50:41 Would you like some shark with your ending? 55:36 Diana Christensen 59:40 Network v. Rocky, the 49th Academy Awards, and why awards shows matter 1:10:40 Relevance to today 1:14:50 Capitalist hellscape 1:16:50 Max Schumaker: white knight or hypocrite? 1:21:19 Network - the actual prequel to Hunger Games and 500 Days of Summer 1:25:29 Recommendations, trivia, stat of the week, and outro

One of Ryan's favourite sayings: "There's nothing the media likes talking about more than the media." It's fitting that we got mad as hell in this future-seeing satire that rips television and corporate money-licking to shreds. Podcast #94 covers the brilliance of the Chayefsky screenplay, Lumet's direction and the actors (especially Dunaway & Holden). Hit that link to Sparkplug to get your coffee and then engage our ferocity!

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

Darin Morgan, scénariste disparu et virtuose de quatre épisodes de X-files et deux de Millenium, comédien récalcitrant et suicidaire, a laissé derrière lui les heures de télévisions les plus prenantes et stimulantes des années 90. Était-il le Chayefsky, le Sorkin de sa génération? Nous parlerons aujourd'hui de ce qu'a laissé cet illustre inconnu à la télé moderne.

Darin Morgan, scénariste disparu et virtuose de quatre épisodes de X-files et deux de Millenium, comédien récalcitrant et suicidaire, a laissé derrière lui les heures de télévisions les plus prenantes et stimulantes des années 90. Était-il le Chayefsky, le Sorkin de sa génération? Nous parlerons aujourd'hui de ce qu'a laissé cet illustre inconnu à la télé moderne.