Podcasts about Cinematography

Bill Gates thinks A.I. alarmism hasn't gone far enough. He believes the years ahead will be marred by catastrophic cyberattacks, bio-terrorism and mass job loss unless the government acts, because he thinks the idea that the A.I. industry can just self-regulate is “insane.” I was struck in the conversation by how genuinely afraid Gates seemed to be that we are not ready for the consequences of what we are building, and how emphatic he was that so many of the people in positions of authority are in complete denial about what he thinks is about to happen.Gates is a pioneering technologist, the co-founder of Microsoft and the chair of Gates Foundation, which is set to spend down around $200 billion over the next two decades. He recently announced that trying to make A.I. a force for equality in the world, as opposed to an impetus for inequality, is a new priority of his foundation's work.(The New York Times has sued OpenAI and Microsoft claiming copyright infringement. The companies have denied those claims.)Mentioned:“The turbulent AI era is here. The choices we make now are critical.” by Bill Gates“The Risks of A.I. Are Real but Manageable” by Bill Gates“Why the A.I. Job Apocalypse (Probably) Won't Happen” by Ezra KleinBook Recommendations:“The Correspondent” by Virginia Evans“Into the Wood Chipper” by Nicholas Enrich“The Infinity Machine” by Sebastian MallabyThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris, with Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota and Gautam Srikishan. Our recording engineer is Aman Sahota. Cinematography by Marina King, Kyle Kelley and Elliot deBruyn. Video editing by Julian Hackney, Brandon Belk-Yee, Arpita Aneja and Steph Khoury. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin, Emma Kehlbeck and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A new adventure begins.Sinclair is a simple farm boy, content to live his life peacefully with his family- until the gods set him on a new path.Welcome Blizzbear to his Session 0 for Forgotten Paths: Into The Wyrd!Produced by Artisan Creative Productions for the May Contain Action Media network.Want to sponsor a show? Email us at fpttrpg@gmail.com for all promotional inquiries.Support us and unlock rewards on Ko-Fi: ko-fi.com/forgottenpathspodcastJoin our Discord and follow us by visiting our Rolladex, or checking out all our links at linktr.ee/forgottenpaths.Production by Artisan Creative.Music by @ApproachingNirvana.Art by @EvanEckard.Animation by Sir Neistadt and Jaydn Nickie,3D Artist & Animator: Environment Design, Cinematography, Lighting, VFX & Compositing

It's Cregger time! Join BP, Coop and Justin as we dissect and analyse everything about the 2026 Resident Evil Reboot starring Austin Abrams.The reboot was written by Shay Hatten and Zach Cregger and directed by Cregger who of course rose to acclaim with Weapons and Barbarian and as you all know my cohosts absolutely loved Weapons and think it's the great horror movie of all time but all jokes aside, there's no doubt Weapons and Barbarian have propelled Zach Cregger to the top of the most in-demand directors in the horror space.If you're unfamiliar with the Resident Evil film series, this new instalment is technically the eighth feature in the series and to take it back to the beginning, it all started with the 2002 original starring Milla Jovavich which led to 5 sequels between 2004 - 2016 including Apocalypse, Extinction, Afterlife, Retribution and The Final Chapter better known as Saw 3D: The Traps Come Alive, just kidding, we all know ‘The Final Chapter' is never ever the final chapter, especially looking at Friday the 13th, SAW, Final Destination etc. but any way after 6 film instalments, the film series was rebooted on Netflix with a much hated 7th film titled Resident Evil: Welcome to Raccoon City and a TV Series which I forgot happened. Following the abysmal failure of Netflix's resident evil film TV series, the 2026 reboot is a stand-alone story that takes elements of the entire Resident Evil game series in an act of fan service that will delight many horror fans but may anger some of the hardcore resident evil fans.Chapters0:00 Cold Open: Journey to Raccoon City General 0:43 Resident Evil (2026) Review & Reboot Overview 1:27 Resident Evil Movies Explained: 2002–2026 2:43 Our History With the Resident Evil Franchise 3:21 Resident Evil Games, Movies & the 2002 Original 6:08 Watching Resident Evil for the First Time 8:13 Box Office Performance & Critical Reception 8:55 60-Second Resident Evil Review Challenge 10:30 Coop's Verdict as a Resident Evil Gamer 12:13 BP's Perspective as a Franchise Newcomer 14:13 Best Scenes, Scares & Austin Abrams' Performance 17:23 Video Game Easter Eggs, Monsters & Dark Comedy 19:18 Padlocks, Health Items & Classic Gameplay References 22:27 The Protagonist's Fate & Alternate Endings 25:15 Snow Horror, Cinematography & Zack Cregger's Direction 29:56 How the Practical Effects and Running Scene Were Filmed 30:55 What Didn't Work: CGI, Logic & the Abrupt Ending 34:49 First-Person Camera Shots and Scientist Plot Holes 38:30 Cringeworthy Dialogue, Padlocks & Video Game Storytelling 41:26 Why the Ending and Credits Music Fell Flat 44:48 Rapid-Fire Resident Evil Questions Inspired by Tyra Banks45:00 Milla Jovovich vs Austin Abrams as Protagonist 46:04 Should Resident Evil (2026) Get a Sequel? 48:15 Would a Resident Evil Prequel Work? 48:59 Is the Movie Only for Resident Evil Fans? 50:54 Should Milla Jovovich Have Made a Cameo? 52:11 Could a Medieval Resident Evil Movie Work? 52:46 The Movie's Biggest Weaknesses 54:21 Resident Evil vs Riverdale: The Conspiracy Begins 54:47 Every Resident Evil and Riverdale Connection 57:20 The Hosts React to the Riverdale Comparisons 58:55 How the Riverdale Segment Was Created 1:00:47 Final Ratings and Review Scores 1:04:10 Final Verdict and Outro #residentevil #zachcregger #austinabrams #horror #movie #horrorfilm #splatter #deathscene #scarymovie #completeguidetohorror #horrormovie #scary #creepy #graphic #deepdive #paranormal

Dr. Abdul El-Sayed, the Democratic nominee for Senate in Michigan, has been one of the most argued-over candidates this election cycle. If he wins, he'd be the first-ever Muslim senator, and he's faced a torrent of attacks about his faith. The race has also become a proving ground for a lot of questions about the Democratic Party and its future: What should U.S. policy toward Israel and the Palestinians be? Is the future of health care reform Medicare for all? Can a left-wing populist win in a state that twice voted for Donald Trump?There's been so much more heat than light in this race, so I wanted to invite El-Sayed on the show for a longer conversation. We talked about his upbringing, his views on U.S. foreign policy, his work on health care reform and what he would actually do if elected in November. Mentioned:“Medicare for All: A Citizen's Guide” by Abdul El-Sayed and Micah Johnson“A Radical Vision for Israelis and Palestinians,” with Rula Hardal and May Pundak on The Ezra Klein ShowBook Recommendations:“The Best and the Brightest” by David Halberstam“Amusing Ourselves to Death” by Neil Postman“The Sum of Us” by Heather McGhee“The Autobiography of Malcolm X” by Malcom X, as told to Alex HaleyThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris, Kate Sinclair and Kelsey Lannin. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota, Isaac Jones and Pat McCusker. Our recording engineer is Aman Sahota. Cinematography by Marina King and Kyle Kelley. Video editing by Dani Dillon. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin, Emma Kehlbeck and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jensen Huang might just be the single most influential person in artificial intelligence today.Huang is the chief executive of Nvidia, the company that designs nearly all the chips and infrastructure that the rest of the industry relies on. This has made Nvidia the most valuable company in the world and has made Huang incredibly influential in the Trump administration.And unlike many of the leaders of the frontier labs, Huang doesn't think A.I. could wipe out humanity. He thinks that the doomers are just scaring people, and that the industry doesn't need new regulation at all. I wanted to hear how he saw it, so I flew out to Nvidia's headquarters in Santa Clara, Calif., to talk to him. Mentioned:“Pacing the Frontier”“When A.I. Builds Itself”Book Recommendations:“Computer Architecture” by John L. Hennessy and David A. Patterson“The Innovator's Dilemma” by Clayton M. Christensen“Positioning” by Al Ries and Jack TroutThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Kate Sinclair, Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones, Aman Sahota and Gautam Srikishan. Our recording engineer is Aman Sahota, with audio by Logan Heftel. Cinematography by Marina King, Kyle Kelley and Raymond Yuen. Video editing by Arpita Aneja and Dani Dillon. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Louie, Al & Ryan discuss the kinks of the 1982 music video for "Come Dancing" by The Kinks. A bit of sadness, tragedy and comedy in this installment.Music Video in question.

Fears of out-of-control A.I. have reached a boil over the last few weeks, and several industry executives have called for a coordinated slowdown of A.I. development. But if our goal is to control A.I. — and that should be our goal — slowing down isn't enough. We need to stop the labs from doing something they're already on the cusp of doing: recursive self-improvement, or handing over the training of A.I. models to A.I.Mentioned:“We're Not Losing Control of A.I. We're Giving It Away.” by Ezra KleinYou can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Marie Cascione, Emma Kehlbeck, Rollin Hu and Claire Gordon. Fact-checking by Marie Cascione, Isaac Scher and Julie Beer. Mixing by Isaac Jones and Aman Sahota. Our recording engineer is Aman Sahota. Cinematography by Marina King and Kyle Kelley. Video editing by Steph Khoury, Julian Hackney and Arpita Aneja. Original music by Pat McCusker, Dan Powell, Carole Sabouraud, Aman Sahota, Diane Wong, Sonia Herrero and Isaac Jones. Special thanks to Rebecca Shaid.Our executive producer is Claire Gordon. Our senior engineer is Jeff Geld. The show's production team also includes Annie Galvin, Kristin Lin, Jack McCordick and Jan Kobal. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we return to the films of Steven Spielberg. We are skipping 1983's Twilight Zone: The Movie, which Spielberg only partially directed, although we do discuss it here. The main subject of this episode though, is Indiana Jones and the Temple of Doom. Spielberg's first sequel and a film that directly inspired the creation of the PG-13 rating.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Lucasfilm production, released by Paramount Pictures on May 23, 1984. Directed by Steven Spielberg. Screenplay by Willard Huyck and Gloria Katz, based on a story by George Lucas. Starring Harrison Ford, Kate Capshaw, Jonathan Ke Quan, Amrish Puri, and Roshan Seth. Cinematography by Douglas Slocombe. Edited by Michael Kahn. Music by John Williams.

Movie of the Year: 2006Children of MenThe Children of Men Podcast from Movie of the YearThe Children of Men podcast episode of Movie of the Year takes the Taste Buds to the end of the world. Ryan, Mike, and Greg dive into Alfonso Cuarón's 2006 dystopian thriller. The film imagines a Britain where no child has been born in eighteen years. Furthermore, it turns that bleak premise into one of the most gripping chase movies of the decade. This week, the panel breaks down Cuarón's camerawork and the uneasy bond between Theo and Nigel. Meanwhile, they ask how close the film's future really feels. Additionally, the episode brings two games to the table. Notably, this entry in the 2006 bracket packs plenty of argument into one grim, gorgeous movie.What's in This EpisodeAbout Children of Men (2006)Cuarón and CameraworkTheo and NigelThe Future Is NowI Never Metacritic I Didn't LikeDream Blunt RotationWhy Children of Men Still MattersRelated EpisodesFAQAbout Children of Men (2006)Children of Men is a 2006 dystopian thriller co-written and directed by Alfonso Cuarón. The screenplay adapts P. D. James's 1992 novel The Children of Men. The story unfolds in 2027, after nearly two decades of global infertility. Clive Owen stars as Theo Faron, a burned-out former activist who now works a government desk job. His ex-wife Julian, played by Julianne Moore, pulls him into a dangerous mission. Specifically, she needs transit papers for Kee, a young refugee with a secret. Kee is pregnant, and nobody has seen a pregnancy in years. Theo must escort her across a collapsing Britain to a mysterious group called the Human Project.The supporting cast includes Michael Caine, Chiwetel Ejiofor, Pam Ferris, Charlie Hunnam, Danny Huston, and Peter Mullan. Universal released the film in the UK in September 2006 and in the US on Christmas Day. However, it failed to earn back its reported $76 million budget at the box office. Critics responded far more warmly. Roger Ebert gave it a four-star review and praised its convincing performances. Moreover, the film earned three Academy Award nominations, for Adapted Screenplay, Cinematography, and Film Editing. You can explore the full cast and crew on IMDb.Cuarón and Camerawork: The Children of Men Podcast Goes LongFew films of 2006 look anything like Children of Men. Cuarón and cinematographer Emmanuel Lubezki built the movie around long, unbroken takes. As a result, the camera rarely lets the audience look away. The Taste Buds start with the famous car ambush. That sequence plays out almost entirely inside a moving vehicle as attackers swarm the road. Notably, the crew used a custom Doggicam rig built into a modified Fiat Multipla. The camera could glide between passengers while a stunt driver steered from a hidden position. In practice, visual effects artists stitched several takes into what looks like one seamless shot.Then comes the battle in the Bexhill refugee camp. Theo runs through gunfire, rubble, and tanks while the camera stays glued to him. At one point, fake blood splatters across the lens. Cuarón reportedly called cut, but the chaos drowned him out. Consequently, the take continued, and the accidental blood stayed in the film. In this Children of Men podcast conversation, the panel asks a key question. Do these long takes deepen the story, or do they show off? Furthermore, we discuss how this style carried into Lubezki's later work on Gravity and The Revenant. Ultimately, the camerawork makes 2027 feel like live news footage.Theo and Nigel: Two Cousins at the End of the WorldTheo and Nigel share one short scene, yet it lingers long after the credits. Desperate for transit papers, Theo visits his powerful cousin. Danny Huston plays Nigel, a government official who runs the Ark of the Arts. The program collects the world's masterpieces while the rest of civilization burns. For instance, Michelangelo's David stands inside, and Picasso's Guernica hangs beside the dining table. Meanwhile, an inflatable pig floats above Battersea Power Station outside, a nod to Pink Floyd's Animals.The Taste Buds dig into what separates these two men. Everyone in this world has reasons to give up. Theo lost his young son Dylan to a flu pandemic, and grief hollowed him out. By contrast, Nigel copes by hoarding beauty behind locked doors. His teenage son sits at the table, absorbed in a handheld device and barely present. Theo asks his cousin how he keeps going when no one will be left to see the art. Nigel's answer amounts to a shrug. Therefore, the scene frames a central debate. Is Nigel's shelter for culture an act of hope or pure denial? Additionally, we ask whether Theo's real journey starts at that table. Above all, this pairing shows two ways to face the end: comfort or courage.The Future Is Now: A Children of Men 2006 Podcast Look at 2027Here is a sobering detail. Children of Men takes place in November 2027, which now sits barely a year away. When the film premiered in 2006, that date felt comfortably distant. However, the film turned twenty this month, and its future has nearly arrived. The Taste Buds take stock of what Cuarón imagined and what the real world delivered.The film's Britain is a police state built on fear. Soldiers round up refugees and hold them in cages. Public screens urge citizens to report illegal immigrants. Additionally, a bomb tears through a London coffee shop in the opening scene. News reports claim that every other nation has collapsed. Cuarón deliberately avoided sleek, futuristic design. Instead, he filled 2027 with worn-out cars, aging billboards, and familiar technology. As a result, the world feels less like science fiction and more like next week.Critics have tied the film to real events for two decades. Specifically, writers have linked it to refugee crises, border debates, and falling birth rates. Meanwhile, the panel weighs which predictions landed and which missed the mark. We also compare it to earlier screen dystopias, including the one in our A Clockwork Orange episode from the 1971 season. Ultimately, this segment asks why a twenty-year-old movie still feels like a warning.I Never Metacritic I Didn't LikeOur recurring game returns for another round of arguing with the critics. In I Never Metacritic I Didn't Like, the Taste Buds pull up a film's critical profile on Metacritic. Then we put that consensus on trial against our own reactions. Children of Men arrived with strong reviews and plenty of year-end praise. Notably, a few critics still found its politics underdeveloped. So the panel tests whether those high marks hold up twenty years later. Listen to the episode to hear how the critical record fares under Taste Buds cross-examination.Dream Blunt Rotation: Who Would You Party With from Children of Men?Dream Blunt Rotation asks a simple question. Which...

America is waking up to the critical risks posed by artificial intelligence. But every conversation about possible regulation tends to hit the same wall: “Well, what about China?”Chinese A.I. models are just slightly behind American ones. If America slows down its A.I. development to make our models safer, the fear is that China will simply race ahead of us and own this critical technology of the future — with A.I. models that are less safe than our own. So how should the United States respond to this prisoner's dilemma? And is it possible that the two countries leading the A.I. race could actually strike a deal? Matt Sheehan is a senior fellow at the Carnegie Endowment for International Peace. He's been closely following the A.I. debate in China, and how China's been interpreting the A.I. debate here. And he's working to try to lay a foundation for future coordination between the two countries. He's the author of a newsletter under his name and the 2019 book “The Transpacific Experiment: How China and California Collaborate and Compete for Our Future.”This conversation was recorded on Sept. 10.Mentioned:“The Adolescence of Technology” by Dario AmodeiBook Recommendations:“Country Driving” by Peter Hessler“From the Soil” by Fei Xiaotong“On Beauty” by Zadie SmithThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones, Aman Sahota and Gautam Srikishan. Our recording engineer is Aman Sahota. Cinematography by Marina King and Kyle Kelley. Video editing by Steph Khoury, Brandon Belk-Yee and Julian Hackney. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Francis Fukuyama's “The End of History and the Last Man” is one of the most insightful books for understanding the strangeness and instability of this political moment.Fukuyama wrote his landmark book more than 30 years ago, and it's typically remembered as a triumphalist argument, heralding the permanent victory of liberal democracy at the end of the Cold War. But that's not quite right. Fukuyama also talked about the serious weaknesses he saw in liberal democracy — how it may not fully satisfy the human soul — and his warnings feel very prescient now. So I wanted to have Fukuyama on the show to talk through the ideas in his book and how he sees them today, at a time when liberal democracy seems increasingly imperiled around the world. Fukuyama is a political scientist at Stanford University and the author of a number of other great books of political theory, as well as a new memoir, “In the Realm of the Last Man.”Mentioned:“The End of History?” by Francis Fukuyama“The Righteous Mind” by Jonathan HaidtBook Recommendations:“Recoding America” by Jennifer Pahlka“Why Nothing Works” by Marc J. Dunkelman“The God Test” by Robert WrightThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris, with Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones, Aman Sahota and Gautam Sirkishan. Our recording engineer is Aman Sahota. Cinematography by Marina King. Video editing by Kristen Williamson, Dani Dillon and Brandon Belk-Yee. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin, Emma Kehlbeck and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts, Spotify and Amazon Music. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we return to the films of Billy Wilder with one of his most famous films, the 1959 farce Some Like It Hot, a lightning-fast, drag comedy that features an iconic performance by Marilyn Monroe and one of the most famous closing lines in cinema history.SPOILER ALERT We will be talking about this movie in its entirety,. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Mirisch Company production, released by United Artists on March 29, 1959. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and I.A.L. Diamond, based on a story by Robert Thoeren and Michael Logan. Starring Marilyn Monroe, Tony Curtis, Jack Lemmon, George Raft, Joe E. Brown, and Pat O'Brien. Cinematography by Charles Lang. Edited by Dan Mandell. Score by Adolph Deutsch.

Behind the intense political movements of the last decade, from Trumpism to wokeness and back again, there's a strange and erratic rhythm. Movements saturate the culture seemingly overnight, only to evaporate or spark backlash just as rapidly. We're extremely politically engaged, yet we've rarely felt so powerless to create lasting policy change.I haven't seen many very successful attempts to explain what is driving this volatility. But one concept that has taken off recently, and captures what so many of us are feeling, is “hyperpolitics.”The idea comes from Anton Jäger, a historian and contributing writer to New York Times Opinion. In his book “Hyperpolitics: Extreme Politicization Without Political Consequences,” Jäger theorizes what it means to live in a moment marked by hyper-engagement — high voter turnout, mass protests, trends that flare up and fade with extreme rapidity — yet where institutional trust is low, institutional relationships are decayed and people are disconnected from the structures that make political efforts stick.I think Jäger's theory cuts to the core of this political era. So I invited him on the show to break down what hyperpolitics is, how we got here and what it actually takes to build lasting change today.Mentioned:“Hyperpolitics: Extreme Politicization Without Political Consequences” by Anton Jäger“Hyperpolitics in Command?” by Anton Jäger“Trump's Revolutionary Sense of Time Is Changing Politics” by Ivan Krastev“Public Opinion” by Walter Lippmann Book Recommendations:“The Prophet” by Isaac Deutscher“Cheese” by Willem Elsschot“Quelques mois dans ma vie” by Michel Houellebecq“Extension of the Domain of Struggle (Whatever)” by Michel Houellebecq“Serotonin” by Michel HouellebecqThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.htmlThis episode of “The Ezra Klein Show” was produced by Marie Cascione. Fact-checking by Michelle Harris. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota and Gautam Srikishan. Our recording engineer is Aman Sahota. Cinematography by Marina King and Azamat Yakubov. Video editing by Dani Dillon and Arpita Aneja. Our executive producer is Claire Gordon. The show's production team also includes Annie Galvin, Rollin Hu, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What makes an image unforgettable? How can light, movement, and a single frame make us feel the heart of a story long after the screen goes dark? Tune in for an inspiring discussion with two-time Academy Award® winning cinematographer Sir Roger Deakins and creative partner James Ellis Deakins on their visual memoir, Reflections: On Cinematography. Moments with Marianne Radio Show airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio Affiliate!  https://www.kmet1490am.com Roger A Deakins CBE, ASC, BSC, is one of today's most honored cinematographers, renowned for his vast and varied body of work. He has been nominated for an Oscar 16 times and won the award twice for the films Blade Runner 2049 and 1917. He has also received 17 nominations for the top honor awarded by the American Society of Cinematographers and has been nominated 11 times for the BAFTA award, winning five of them. Some of his other Oscar nominations are for: Denis Villeneuve's Prisoners and Sicaro; The Coen Brothers' Fargo; Martin Scorsese's Kundun; The Reader; Sam Mendes' Skyfall; and Angelina Jolie's Unbroken, just to name a few. https://www.rogerdeakins.com James Ellis Deakins is the creative work partner of Roger Deakins. Born on the east coast of the United States, she double majored in college in Latin and Greek, doing a graduate course in Latin as an undergraduate. Once out of school, she began her film work in New York City as a film lab technician at DuArt Film Laboratories and then as a script supervisor in production. After moving to Los Angeles, she met Roger Deakins on a film set and their creative collaboration began. https://teamdeakins.libsyn.com To learn more about the show and interview opportunities contact us at: https://www.mariannepestana.com #cinematography #film #movies #academyawards #filmmaker #creative #filmlover #gotothemovies #movie 

Join BP, Coop and Justin as we discuss Leviticus, a 2026 Australian coming-of-age romantic supernatural horror film written and directed by Adrian Chiarella in his feature directorial debut. Starring Joe Bird, Stacy Clausen, Jeremy Blewitt, and Mia Wasikowska (who also serves as an executive producer), the film follows two teenagers who, after being forced to undergo a supernatural conversion therapy ritual, are tormented by a violent entity that shapeshifts into the person they desire most, each other.The film premiered in the Midnight section of the 2026 Sundance Film Festival on 23 January. It was theatrically released in Australia on 18 June to positive reviews from critics, who praised its premise and performances.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Shop our Store!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tip us $5⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠↪ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chapters00:00 Leviticus (2026) Review — Full Spoilers00:20 Plot, Cast & Australian Horror Premise00:57 Conversion Therapy Allegory Explained01:45 Great Concept, Uneven Execution03:58 Character Chemistry, Religious Cult & Entity Horror07:58 What Leviticus Gets Right11:17 Best Scenes, Cinematography & Lead Chemistry13:32 Entity Reveal, Horror Effects & Standout Performances17:05 What Leviticus Gets Wrong20:58 Entity Rules, Plot Holes & It Follows Comparison24:32 Leviticus Fan Theories: The Father & Conversion Healer25:55 Pacing Problems, Cult Backstory & Missed Opportunities29:19 How Leviticus Could Have Improved Its Story31:18 The Leviticus Rhyme Game32:59 Leviticus Ending Explained & Trauma Allegory34:13 The Bus Ending Plot Hole35:49 Who Is the Smartest Character in Leviticus?36:59 How Would You Defeat the Entity?38:11 Is Leviticus One of Australia's Best Horror Movies?41:09 Cringiest Scenes & Cinema Audience Reactions43:58 Final Ratings & Leviticus Review Verdict48:16 Another Viewer's Verdict on Leviticus49:10 A Personal Story About Conversion Therapy52:07 Where to Watch Leviticus on Streaming52:40 More Horror Reviews & Final Outro#leviticus #gay #lgbt #australia #causeway #joebird #horror #movie #horrorfilm #splatter #deathscene #scarymovie #completeguidetohorror #horrormovie #scary #creepy #graphic #deepdive #paranormal

Another awesome movie, part 6 of our Inarritu Rewatch Series studies The Revenant, a 3x Oscar Winner for Best Director, Cinematography and Lead Actor, Leonardo DiCaprio. NON-SPOILER REVIEW FOR THE REVENANT: The Development Backstory involving Park Chan-Wook - 2:01 Inarritu's Crazy Plans - 6:11 Critical, Audience & Box Office Reception Numbers - 8:55 Non-Spoiler Script Thoughts - 11:21 Performance Reviews including what Leo survived - 14:57 Production Values including what the crew survived - 24:16 An Oscar Lens and an Awards Season Revue - 32:55 Spoiler Warning - 36:59 SPOILER FILLED REVIEW OF THE REVENANT: Immediate Carryovers involving bears - 38:29 Man vs Nature - 42:05 The Revenge Narrative - 47:20 That Ending & The Real Story of Hugh Glass - 53:26 A Film Set From Hell - 1:02:10 Final Thoughts & Grades - 1:08:50 OUTRO: Coming up next is our coverage of the Fall Film Festivals and September movie slate. We're also planning some fun guests and film studies in September. So stay tuned to our feed for everything MMO. Plus, you should also subscribe to our YouTube Channel, Tiktok and Letterboxd for exclusive content. https://linktr.ee/mikemikeandoscar

Apologies for the poor audio quality. A microphone was not functioning properly and it was difficult to salvage.This week, we return to the American Film Institutes list of the 100 greatest American films with #95, Spike Lee's Do the Right Thing, a film that depicts racial tensions of a single hot summer day in Brooklyn SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A 40 Acres and a Mule Filmworks production, released by Universal Pictures on July 21, 1989. Directed, written, and produced by Spike Lee. Starring Danny Aiello, Spike Lee, Ossie Davis, Ruby Dee, Giancarlo Esposito, John Turturro, Samuel L. Jackson, and Rosie Perez. Cinematography by Ernest R. Dickerson. Edited by Barry Alexander Brown. Music by Bill Lee (with the iconic theme "Fight the Power" by Public Enemy).

Whatever type of music you love, Rick Rubin has probably left his mark on it. Rubin, a founder of Def Jam Recordings and a former co-chairman of Columbia Records, might be the most influential music producer alive. A very partial roll call of the artists he's worked with: Johnny Cash, Jay-Z, Run-DMC, Eminem, Beastie Boys, Slayer, The Red Hot Chili Peppers, Kanye West, Neil Diamond, Brandi Carlile and Adele. We recorded this in 2023, after Rubin released a fascinating, unusual book, “The Creative Act: A Way of Being.” I'd expected stories of late-night sessions with famous musicians, but instead it read like a spiritual tract. Rubin was offering a guide to how to cultivate the mind states that lead to real creativity. And that's what this conversation was about, too: how to open yourself up more to the world, and learn to trust your own taste. Rubin's advice feels more relevant with each passing year, as technology gets ever better at hacking our attention and the world fills with A.I. slop. So I wanted to share this episode again. Mentioned: The Tao Te-Ching by Lao Tzu, translated by Stephen Mitchell “American Recordings” by Johnny Cash “Pulses” by Steve Reich and Erik Hall “Music for Wobbling. Music Versus Gravity.” by F.S. Blumm and Nils Frahm Album recommendations: “Forever Changes” by Love “The Beatles” by The Beatles “Ramones” by Ramones Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on X @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” is produced by Annie Galvin. Fact-checking by Michelle Harris. Our senior engineer is Jeff Geld. Our recording engineer is Aman Sahota. Cinematography by Marina King. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Rollin Hu, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Special thanks to Jon Caramanica, Dan Charnas, Jack Hamilton, Felix Grimm, Carole Sabouraud and Kristina Samulewski. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A lot of things are on track to get more expensive. The U.S. Treasury market is the bedrock of the global economy. When yields on those Treasuries go up, mortgages, car loans and credit cards get more expensive, and it can hit the stock market, too. And yields have been going up – to levels we haven't seen consistently since before the Great Recession – inspiring some erratic and futile efforts from the Trump administration to push them back down. So why are yields creeping higher? What is the administration trying to do about it? And if this continues, what's in store for the economy? Robin Wigglesworth is the editor of the Financial Times blog Alphaville, a host of the podcast “The Story of Money” and the author of the forthcoming book “A Fabulous Debt: The Epic Story of How Bonds Built the Modern World.” This conversation was recorded on August 24, 2026. Mentioned: “An Economic D-Day Is Coming for Iran” by Scott Bessent Book Recommendations: Barbarians at the Gate by Bryan Burrough and John HelyarThe Prize by Daniel YerginLords of Finance by Liaquat Ahamed Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Kate Sinclair and Mary Marge Locker. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota. Our recording engineer is Aman Sahota. Cinematography by Marina King. Video editing by Kristen Williamson, Brandon Belk-Yee and Dani Dillon. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we discuss Billy Wilder's classic courtroom thriller, Witness for the Prosecution.SPOILER ALERT We will be talking about this movie in its entirety, including some major plot twists. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Edward Small Productions presentation, released by United Artists on December 17, 1957. Directed by Billy Wilder. Screenplay by Billy Wilder and Harry Kurnitz, based on the play and short story by Agatha Christie. Starring Tyrone Power, Marlene Dietrich, Charles Laughton, and Elsa Lanchester. Cinematography by Russell Metty. Edited by Daniel Mandell. Score by Matty Malneck.

In 2024, Americans spent an average of six full workdays a year filling out government forms, according to the government's own estimates. That's a total of 12 billion hours, or $430 billion of uncompensated labor a year. It's easy to read something like this and say: “Oh, well, government is inefficient. That's the price we pay for nice things.” But no, it's not. Social Security, Medicare and the Postal Service are incredibly complex programs that are easy to use. When government is hard to gain access to, it is often by design. Republicans want paying taxes to be a hellish hassle. Programs for the poor are often designed to humiliate, punish, control or scrutinize. How the government works is always a choice. When it works poorly, we should ask why — and we should demand better.   Annie Lowrey is a staff writer at The Atlantic and the author of the new book “The Time Tax: How the Government Wastes Our Time — and How to Fix It.” She is also, I should note, my wife, so this is a book whose ideas I have been living with for years. They have quietly infused more than a few episodes of this show. So it's a thrill to finally get to explore them directly.  This episode contains strong language. Mentioned: The Time Tax by Annie Lowrey Give People Money by Annie Lowrey Why Americans Hate Welfare by Martin Gilens Book Recommendations: My Silent War by Kim Philby To Hate Like This Is to Be Happy Forever by Will Blythe Gender Trouble by Judith Butler Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Annie Galvin. Fact-checking by Michelle Harris, with Kate Sinclair. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota, Johnny Simon and Isaac Jones. Our recording engineer is Aman Sahota. Cinematography by Marina King. Video editing by Brandon Belk-Yee, Dani Dillon and Julian Hackney. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Rollin Hu, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser.  Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Brad Setser follows Chinese trade closer than just about anyone else on earth, and he thinks we're in the early days of a China Shock 2.0. The first China Shock was when China came to dominate low-end manufacturing in the 2000s, filling American shelves with cheap clothes, toys and electronics, while devastating American factory towns. This new China Shock could be even more destabilizing. China now dominates advanced manufacturing: electric vehicles, batteries, solar panels. It's outcompeting nearly all high-end manufacturing around the world, and other countries are just starting to feel the pain. And China isn't slowing down. It's moving into software, too. Its frontier A.I. models are neck and neck with American ones. China's success poses a serious threat to the economies and domestic politics of countries around the world. So what should those countries do about it?  Setser is a senior fellow at the Council on Foreign Relations.He served in top trade and economic roles in the Biden and Obama administrations. And he is widely cited across the field as one of the top analysts of China's economy and trade practices. Book Recommendations: The Party by Richard McGregor The Volatility Machine by Michael Pettis How to Win a Trade War by Soumaya Keynes and Chad Bown Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Kate Sinclair, Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Aman Sahota. Cinematography by Marina King and Kyle Kelley. Video editing by Dani Dillon and Brandon Belk-Yee. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week's subject is the romantic comedy-drama, Love in the Afternoon, in which Billy Wilder reunites with Sabrina's Audrey Hepburn.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we suggest you watch it before listening to our takes.An Allied Artists production. Released on June 30, 1957. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and I.A.L. Diamond, based on the novel Ariane by Claude Anet. Starring Audrey Hepburn, Gary Cooper, and Maurice Chevalier. Cinematography by William C. Mellor. Edited by Leonid Azar. Score by Franz Waxman.

In this episode, we discuss MUELEN, a GTA V machinima written and directed by Troy Hamilton and created by Greenhouse Light Show. The film was runner-up in the Machinimay 2026 competition and stands out for its slow, atmospheric approach to horror.Rather than relying on action or spectacle, MUELEN tells a mysterious story about grief, trauma and a man struggling to understand what has happened around him. The film gradually blurs memory, reality and the supernatural, leaving the audience to decide how much of what they see can be trusted.We explore the film's striking cinematography, muted colour palette, use of fog, carefully designed interiors and slow pacing. Together, these elements transform the familiar GTA V world into an isolated rural setting that feels far removed from Los Santos.We also discuss the film's sound design, voice acting and music, including the way the soundtrack creates tension and draws the viewer into the story. Although there are some inconsistencies in the audio mix, the overall soundscape adds greatly to the film's unsettling atmosphere.The conversation includes comparisons with Supernatural, Lovecraftian horror, David Lynch and Stanley Kubrick. We also consider why MUELEN feels closer to independent cinema than conventional machinima, and what it suggests about the growing quality and ambition of films being made in GTA V.Key timestamps01:12 Introduction to MUELEN and Machinimay 202606:44 Cinematography, atmosphere and slow pacing11:43 Camera movement, tension and visual storytelling16:30 Comparisons with Supernatural and rural horror21:03 Sets, lighting, voice acting and music24:47 Sound design and the headphone experience27:46 Psychological interpretation and unreliable reality29:23 Fog, isolation and the transformation of GTA V31:07 Comparisons with David Lynch and Stanley Kubrick35:17 The quality of the Machinimay competition36:56 The rise of independent horror filmmaking37:57 The ambiguous ending and final reactionsCredits -Co-hosts: Phil Rice, Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Phil Rice & Suno AI

We are living in the world we were warned about. Frontier artificial intelligence models from OpenAI autonomously coordinated with one another, then broke out of their testing environment and hacked into another company, Hugging Face, to steal the answers to a test. A.I. companies don't want their technology to lie, cheat or steal. So why is this happening? Why are the creators of these models apparently unable to control their creations? If A.I. development isn't on a safe path — and it doesn't seem to be — what do we do about it? Toner has been thinking about A.I. safety for a long time, from both inside and outside A.I. companies. She was part of the effort to fire OpenAI's chief executive, Sam Altman, in 2023, which ultimately failed. Currently, she's the executive director of the Georgetown Center for Security and Emerging Technology. Mentioned: “Pacing the Frontier” open letter “The Future is for Everyone” by Mark Zuckerberg Recommendations: The Cuckoo's Egg by Cliff Stoll In the Cells of the Eggplant by David Chapman Romance of the Three Kingdoms Podcast by John Zhu This episode of “The Ezra Klein Show” was produced by Rollin Hu and Jack McCordick. Fact-checking by Michelle Harris, with Kate Sinclair and Mary Marge Locker. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota and Johnny Simon. Our recording engineer is Aman Sahota. Cinematography by Marina King and Jonas Zellner. Video editing by Brandon Belk-Yee. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Reposting an earlier episode of Cinema Recall that looks back at two classic musicals. Oscar Winner La La Land (Best Actress, Cinematography, Director, ect) & The Umbrellas of Cherbourg (Winner of Palm D'or at Cannes)Guests are Howard Casner of Pop Art&Sofia Teixeira ( former co host of Across The Universe The Chicks with Accents podcast) You ca read her reviews on her blog siteReturning VideotapesThank you for listening.

We're in a really strange moment in the foreign policy politics of the Democratic Party. People are looking for an alternative vision — an approach to American power in the world that would feel more moral and just, after the failures of President Biden, and the wrecking ball President Trump has taken to international rules and norms. The answer many on the left are coming to is powerfully simple: international law. America could just start following the rules that we helped write. Is that possible? Is that enough? What would that even look like? To talk through these questions, I invited Linda Kinstler on the show. She's a member of the Society of Fellows at Harvard, a contributing writer at The New York Times Magazine, and the author of “Come to This Court and Cry: How the Holocaust Ends.” She's done some incredible writing and reporting on whether what we're watching is the death of international law. In this conversation, we talk about the Biden administration's failures to live up to the principles it set for itself, the Trump administration's campaign to destroy the International Criminal Court and what it would take to reinvigorate international law. Mentioned: “Are we witnessing the death of international law?” by Linda Kinstler “Abdul El-Sayed, U.S. Senate candidate, on AIPAC and Israel” by Detroit Free Press Opinion Staff Book Recommendations: The Divided City by Nicole Loraux Crossing the Red Line by Akbar Shahid Ahmed Under Water by Tara Menon Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Kelsey Lannin, with Michelle Harris. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota and Johnny Simon. Our recording engineer is Aman Sahota. Cinematography by Marina King. Video editing by Steph Khoury and Arpita Aneja. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin, Emma Kehlbeck and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we discuss the 1957 biographical drama, The Spirit of St. Louis, which stands as a unique outlier in Billy Wilder's filmography—the only biopic he ever directed, and his only collaboration with Jimmy Stewart. SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we suggest you watch it before listening to our takes.A Warner Bros. production. Released on April 20, 1957. Directed by Billy Wilder. Screenplay by Billy Wilder and Wendell Mayes, based on the Pulitzer Prize-winning autobiography by Charles Lindbergh. Starring James Stewart, Murray Hamilton, and Patricia Smith. Cinematography by Robert Burks and J. Peverell Marley. Edited by Arthur P. Schmidt. Score by Franz Waxman.

My colleague Ross Douthat is leaving The Times after 17 years to become a correspondent on “60 Minutes.” Before he goes, I'm asking him a few questions. Douthat has had a unique vantage point on the news media and politics over the last few decades. He's typically held the role of explaining the right to more liberal audiences, starting as an undergrad, when he was a conservative columnist for The Harvard Crimson. Douthat has also lived through the seismic changes in the media from the both the inside and the outside: He's made his career at legacy media institutions, but I first got to know him – and spar with him – as an early-2000s blogger (and I have the 20-year-old Bloggingheads.tv clips to prove it). So what does Douthat make of the transformations he's lived through? How did blogging change journalism? How did a Republican Party powered by evangelical Christians become a political party dominated by Catholics and pagans? What has he learned about persuasion from writing for liberal audiences? And with the resources of “60 Minutes” behind him, will he finally crack the U.F.O. story once and for all? Mentioned: Magnifica Humanitas by Pope Leo XIV “Is It Time for a New Sexual Revolution?” with Louise Perry, Interesting Times with Ross Douthat “Christopher Nolan's Finest Trick” by Ezra Klein Grand New Party by Ross Douthat and Reihan Salam Book Recommendations: Speak, Memory by Vladimir Nabokov De Gaulle by Julian Jackson Treasure Island by Robert Louis Stevenson Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” was produced by Annie Galvin, Marie Cascione and Rollin Hu. Fact-checking by Kate Sinclair, Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King. Video editing by Arpita Aneja and Julian Hackney. Our executive producer is Claire Gordon. The show's production team also includes Jack McCordick, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Tom Duncan and Sara Shea finish their journey through Season 1 of The Good Wife, this time with episodes 22 and 23.Chapters:00:00 Introduction to the Podcast and Season Finale03:01 Episode 22: Hebristophilia Overview05:59 Character Dynamics and Impressions09:03 Thematic Elements and Plot Development12:07 Disappointment in Character Arcs14:58 Filler Episodes and Narrative Structure18:10 Character Relationships and Choices21:09 Final Thoughts on Season One29:15 Character Development and Spin-offs31:59 Character Relationships and Emotional Investment34:00 Ethics in Law and Perjury38:04 The Myth of Truth in Courtrooms41:54 Acting and Writing Quality Assessment54:04 Intangibles and Emotional Engagement57:03 Reflecting on The West Wing Rewatch01:00:23 Cinematography and Narrative Structure01:09:52 Character Development and Consistency01:12:53 Editing, Pacing, and Overall Ratings01:17:15 Future Show Options and Season Decisions01:19:08 Introduction to the Conversation01:21:45 Exploring British Comedy and Its Impact01:24:34 Diving into Crime and Investigation Shows01:27:45 The Puzzle Box Concept in Storytelling01:30:35 Anticipating Future Episodes and Spoilers01:32:52 Season Three Wrap-Up01:33:10 Looking Ahead to Dexter Episode OneKeywords:The Good Wife, podcast, season finale, character analysis, plot development, Hebristophilia, narrative structure, TV review, character dynamics, relationship drama The Good Wife, character development, legal ethics, courtroom drama, acting quality, emotional investment, spin-offs, perjury, writing quality, intangibles The West Wing, The Good Wife, TV show analysis, character development, narrative structure, cinematography, editing, pacing, season reviews, television series, British comedy, crime shows, puzzle box storytelling, Dexter, television series, Rowan Atkinson, Black Adder, character development, narrative structure, viewer engagement

The show's executive producer, Claire Gordon, joins me in the studio to ask me your questions. Topics include: whether my views on “woke” issues have changed; the feedback we got on our episode with Chris Rufo; the D.S.A. insurgency; my first singing lesson; and the story that I'm in a “secret society” with Peter Thiel. Thank you to everyone who sent in questions; we read them all and wish we'd been able to get to more of them! Mentioned: “What Has Chris Rufo Wrought?” The Ezra Klein Show “White threat in a browning America” by Ezra Klein Why We're Polarized by Ezra Klein ““Yes Means Yes” is a terrible law, and I completely support it” by Ezra Klein Music Recommendations: Four Tet “Wingdings” “Mas Amable” by DJ Python “Reckoning” by Jon Hopkins and Imogen Heap Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” was produced by Claire Gordon, Kristin Lin and Emma Kehlbeck. Fact-checking by Michelle Harris and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Dani Dillon and Steph Khoury. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Jack McCordick Rollin Hu and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What's big and ugly and has united Republicans and Democrats? A.I. data centers. An overwhelming majority of Americans say they'd oppose a data center being built near where they live. In New York, Gov. Kathy Hochul just imposed a one-year moratorium on data center construction, and there are over 100 other local or statewide moratorium proposals across the country. A.I.'s explosive momentum over the last few years seems to have finally run into a force that could slow it down: the messy politics of getting things done in the real world. So, is that a good thing, or a bad thing? And how much is the data center backlash about the actual construction of these buildings, and how much is it about A.I. itself? Jasmine Sun has an excellent newsletter covering both the culture inside the A.I. companies and the anger that's been building against them. And she just finished a reporting trip in the Midwest, where she interviewed people on all sides of the data center fight. So I wanted to talk to her about what she saw and what she thinks A.I. companies can learn from the growing movement against them. Mentioned: @jasmine's Substack Silicon Valley Is Bracing for a Permanent Underclass by Jasmine Sun Sam Bankman-Fried on Arbitrage and Altruism (Ep. 145) Is Your Social Life Missing Something? This Conversation Is for You. With Priya Parker, The Ezra Klein Show Book Recommendations: The Maniac by Benjamin Labatut The Technology Trap by Carl Benedikt Frey The Art of Gathering by Priya Parker Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Kelsey Lannin. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Brandon Belk-Yee, Steph Khoury and Arpita Aneja. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Jack McCordick, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

'The Odyssey' is the political movie of the decade. Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This column read was produced by Marie Cascione, Claire Gordon and Emma Kehlbeck. Fact-checking by Jack McCordick and Rollin Hu. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Our executive producer is Claire Gordon. Cinematography by Kyle Kelley. Video editing by Jan Kobal. The show's production team also includes Annie Galvin, Michelle Harris, and Marina King. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Audio is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The first year of President Trump's second term was a whirlwind of action: on immigration, on trade, on political retribution. But things seem to me to be slowing down quite a bit. Trump is incredibly unpopular, and he's now bogged down in a war with Iran that he doesn't seem capable of ending. He often appears more concerned with his many White House renovations than with whether the Republican Party can hold the House and the Senate in November. So what's going on in this administration? Where is this all going? It's hard to think of a journalist more qualified to answer those questions than Maggie Haberman. As a White House correspondent for The New York Times, she's published some of the hardest-hitting reporting about Trump's second act as president and the group of loyalists that now surrounds him. Haberman, alongside her New York Times colleague Jonathan Swan, just published an extraordinary chronicle of this extraordinary political moment, “Regime Change: Inside the Imperial Presidency of Donald Trump.” In this conversation, we discuss how decisions get made in this White House, what Trump has achieved so far and what's really motivating him as we head toward the midterms. This episode contains strong language. Mentioned: “Maggie Haberman on What an Unleashed Trump Might Do” by The Ezra Klein Show “Trump Says He Decides What ‘America First' Means” by Michael Scherer Book Recommendations: Takeover by Charlie Savage Strangers by Belle Burden I Regret Almost Everything by Keith McNally Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris, with Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King. Video editing by Dani Dillon, Steph Khoury and Jan Kobal. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Kate Wilkinson and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we turn our attention to Billy Wilder's first collaboration with Marilyn Monroe, The Seven Year Itch. It's most famous for the iconic subway-grate skirt blowing image, although, as we discuss, it's a rather small part of the movie.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Twentieth Century-Fox production. Released on June 3, 1955. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and George Axelrod, based on the play by George Axelrod. Starring Marilyn Monroe and Tom Ewell. Cinematography by Milton R. Krasner. Edited by Hugh S. Fowler. Score by Alfred Newman.

President Trump is very unpopular right now. But polls show the Democratic Party is just as unpopular – if not more so. So what can the party do about it?  But to answer that question, you first have to understand what the Democratic Party is. That is, mechanically, what is it? What powers does it have? When you call the Democratic Party, who picks up the phone? And how can that party, the official party, be reinvented for this era? Ben Wikler has a unique perspective on this question. He transformed the Democratic Party of Wisconsin into a fund-raising, door-knocking powerhouse when he served as chair from 2019 to 2025. And he's shared some of his insights from winning elections in a swing state in his new book, “This Is The Plan: How to End America's Meltdown and Save Democracy.” In this conversation, we discuss Wikler's vision for a reinvigorated party, as well as the kinds of changes he thinks Democrats need to embrace if they want to build a bigger tent and a national majority.  Mentioned: “This Is How Democrats Win in Wisconsin” with Ben Wikler on The Ezra Klein Show “GOP midterm strategy: Make it a ‘hate election'” by Marc Caputo Book Recommendations: Master of the Senate by Robert A. Caro Seeing Like a State by James C. Scott Sal & Gabi Break the Universe by Carlos Hernandez Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Steph Khoury and Arpita Aneja. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck, Jack McCordick, Marina King and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Sarah Murphy and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We call on Olivia Wilde’s “The Invite” and discuss: Cinematography, composing for energy; Story & Writing, structure, setups, clear characters; and other such stuff and things and stuff. “What is perfection, anyway? It’s the death of creativity, that’s what I think, while change on the other hand, is the cornerstone of new ideas. God knows […] The post Ep 375: “The Invite” appeared first on The Pestle.

Hello Hello Hello,It's that time of the year when QID does its mid-yearly Bollywood round-up (aka the time when Dhruv and Cris are at their bitchiest). Rather than following our regular format, we've split our episode into 2 parts: the first one, featuring first-time guest & regular writer for The Indian Express, Anas Arif, is (hopefully) the civil one. We discuss two of the more prominent titles of this year—Anubhav Sinha's controversial Assi and Imtiaz Ali's much-revered Main Vaapas Aaunga—extensively to try and understand their appeal (or lack thereof) for a broader audience.The second part of the episode, featuring only Cris and Dhruv, is chaos as usual because we revert to our format of picking notable honorable (or in this case, mostly dishonorable) mentions of the year (so far). We go through these categories by category - discussing performances, direction, writing, music & editing that missed (or, in the rare case, hit) the mark.MAJOR SPOILERS FOR ASSI & MAIN VAAPAS AAUNGAMINOR SPOILERS FOR COCKTAIL 2 & O'ROMEOTIMECODESPART 1 (w/ ANAS) - [00:00 - 01:39:01]Introduction - [00:00 - 03:42]Assi - [03:42 - 51:19]Main Vaapas Aaunga - [51:19 - 01:39:01]PART 2 (w/o ANAS) - [01:39:01 - 02:37:13]Introduction - [01:39:01 - 01:41:26]Honorable/Dishonorable MentionsPerformance - [01:41:26 - 01:47:46]Direction - [01:47:46 - 01:54:28]Writing - [01:54:28 - 02:00:51]Scene - [02:00:51 - 02:07:13]Cinematography - [02:07:13 - 02:14:52]Editing - [02:14:52 - 02:22:16]Music - [02:22:16 - 02:28:39]Film - [02:28:39 - 02:37:13]OUTRO - [02:37:13 - 02:39:07]Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people!YOU CAN (AND SHOULD!) FOLLOW ANAS ON HIS SOCIALS.TWITTERINSTAGRAMANAS' CRITICAL PIECE ON ASSI & MAIN VAAPAS AAUNGA1. "MVA chronicles a country in danger of forgetting itself."2. "The devastatingly affective tragedy of MVA's climax."3. "Assi vs. Mardaani 3: The grammar of rage in the era of hypermasculine cinema.Follow us on Instagram at:Dhruv: ⁠https://www.instagram.com/terminalcinema/⁠Cris: ⁠https://www.instagram.com/prdscris/⁠Follow us on Letterboxd at:Dhruv - ⁠https://letterboxd.com/aterminalcinema/⁠Cris: ⁠https://letterboxd.com/crislim/⁠

Morris Katz helped orchestrate Zohran Mamdani's historic victory and Graham Platner's ultimately disastrous run for Senate. It's quite a résumé  for a political consultant who is still in his 20s. Platner's implosion could prove particularly costly for Democrats. It may mean the difference between winning and losing a Senate majority. But before the rape accusation that ended his campaign, Platner had come out of nowhere to beat Janet Mills, the sitting governor of Maine, who was Chuck Schumer's hand-picked candidate. The lessons to take from that campaign remain angrily contested.  Katz, a senior adviser to Platner, has been central to many of the most attention-grabbing, populist campaigns in recent years: Besides Mamdani's New York mayoral upset, he worked on John Fetterman's 2022 Senate campaign and Dan Osborn's 2024 independent Senate run in Nebraska. He has figured something out about this political moment. Along the way, he has become a controversial figure himself. So what has he gotten right? And what has he learned from what he's gotten wrong?  This episode contains strong language. Ask Me Anything: We're going to be recording an “Ask Me Anything” episode soon. If you would like to submit a question, email ezrakleinshow@nytimes.com with the subject line “AMA.” Mentioned: “Several Women Who Dated Graham Platner Recall ‘Unsettling' Behavior” by Katie Glueck and Lisa Lerer “How Economic Anxiety Is Driving the Democratic Socialists' Surge” by Emma Goldberg “The search for Carter” by Norman Mailer “The warrior and the priest” by Ronald Brownstein Book Recommendations: Life and Fate by Vasily Grossman The Shame by Makenna Goodman The Fourth Branch by Daniel Squadron Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu, Annie Galvin and Marie Cascione. Fact-checking by Michelle Harris, with Kate Sinclair, Mary Marge Locker and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon and Isaac Jones. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley. Video editing by Dani Dillon, Julian Hackney and Jan Kobal. Our executive producer is Claire Gordon. The show's production team also includes Kristin Lin, Emma Kehlbeck, Jack McCordick and Marina King. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Special thanks to Rebecca Shaid. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we discuss the classic romantic Cinderella/Ugly Duckling story, Sabrina, a film that showcases Billy Wilder's ability to balance sophisticated, witty dialogue with genuine heart and a smidge of social commentary.SPOILER ALERT We will be talking about this movie in its entirety,. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on September 22, 1954. Directed and produced by Billy Wilder. Screenplay by Billy Wilder, Samuel A. Taylor, and Ernest Lehman, based on the play Sabrina Fair by Samuel A. Taylor. Starring Audrey Hepburn, Humphrey Bogart, and William Holden. Cinematography by Charles Lang. Edited by Doane Harrison. Score by Frederick Hollander.

The annual film series ANA Contemporary Arab Cinema is back in New York, with screenings at BAM and the Jacob Burns Film Center. Hear a preview of the event from programmer and curator Lina Matta discusses the events. Plus, Lebanese writer and director, Cyril Aris talks about his film “A Sad and Beautiful World,” and what the series means to filmmakers like him. "A Sad and Beautiful World," is showing at BAM on July 23rd.  Cinematography by Joe Saade, image courtesy of the production Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Non-Spoilers for nearly 75 Mins, we discussed Oscars potential in all categories for Christopher Nolan's The Odyssey, before we dive into about 20 minutes on the film's final act. This is Part I of our coverage of The Odyssey, followed by Part II with a very special guest in Variety's Jazz Tangcay. NON-SPOILER REVIEW OF THE ODYSSEY: Critical & Audience Reception Numbers & Box Office Projections - 2:40 Exceeded Expectations and the Plot Premise - 7:36 Best Picture & Discussing Producers Emma Thomas and Christopher Nolan - 8:12 Is Best Director over? - 11:44 Adapted Screenplay Thoughts & Should AlsoMom come see this - 17:14 Jennifer Lame's Film Editing - 24:31 Matt Damon's Lead Actor Candidacy - 28:34 Anne Hathaway, Casting, Other Supporting Possibilities & Ensemble Awards - 30:46 Sound Design - 42:55 Ludwig Goransson's Original Score - 44:49 Then Original Song: When I'm Home - 50:03 VFX - 51:52 Ellen Mirojnick's Costume Design & The MUAH - 54:20 Hoyt van Hoytema's Cinematography - 1:00:06 Production Design - 1:03:08 The Final Oscar Lens Assessments & Over / Under - 1:07:38 A SHORT SPOILER SECTION ON THE ENDING OF THE ODYSSEY - 1:16:42 OUTRO: Stay tuned for Part II of our coverage of The Odyssey next week when we are joined by a very special guest for a larger spoiler filled discussion. In the meantime, you can read Jazz Tangcay's coverage at Variety here: https://variety.com/author/jazz-tangcay/ We'll also be LIVE on Chaz and AJ in the Morning on Monday 7/20 around 8:20am EST to discuss our reactions to the film. Listen here: https://www.wplr.com/listen-live And finally, you can find links to all our other episodes and social media here: https://linktr.ee/mikemikeandoscar

This week, we discuss the tense but slyly comedic prisoner-of-war thriller, Stalag 17, a film that balances suspense with Billy Wilder's signature sharp, cynical wit.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this classic, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on July 1, 1953. Directed and produced by Billy Wilder. Screenplay by Billy Wilder and Edwin Blum, based on the play by Donald Bevan and Edmund Trzcinski. Starring William Holden, Don Taylor, Robert Strauss, Harvey Lembeck, and Otto Preminger. Cinematography by Ernest Laszlo. Edited by Doane Harrison. Score by Franz Waxman.

What It Takes to Lead Sports Host Broadcasting: Inside ISB with CEO Ursula Romero This week's podcast special guest is Ursula Romero, CEO and Managing Director of International Sports Broadcasting (ISB), a global leader in host broadcasting operations for the world's biggest sporting events. With over two decades of experience shaping modern broadcast standards, Ursula has worked on every Olympic and Paralympic Games since 1996, as well as major global events including the FIFA World Cup and the Invictus Games. An award-winning producer and director, she is also a passionate filmmaker with a Master's in Cinematography from the London Film Academy. Today, she leads ISB into a new era of technological innovation, diversifying global sports coverage and driving the future of live sports production. In this conversation, Ursula opens up about what it really takes to build a career in sports broadcasting from the ground up, how she navigated the transition from producer to CEO, and why storytelling still sits at the heart of great sports coverage—despite all the technological change. What You'll Discover: How Ursula built a 30-year career in global sports broadcasting From summer jobs as a liaison officer and driver at World Cups and World Championships to directing live sport and leading host broadcasting for Global Sporting Events What it actually takes to be a CEO in sports broadcasting Ursula unpacks the shift from head of production to running ISB, taking over during the pandemic, handling bids, clients, pressure, and the emotional reality of stepping into her late father's role. Why storytelling will always beat technology How Ursula thinks about live sport as storytelling, what's changed (and what hasn't) from the 1980s to the age of TikTok, and how to use new platforms without losing narrative quality. The future of live production, social media, and AI in sport Ursula shares how vertical video, second-screen experiences, fan engagement tools, and AI are reshaping coverage—and how to use these tools without diluting the human side of sport. Practical career advice for aspiring sports broadcasters Why work experience beats classroom theory, how to get your foot in the door, the importance of saying "yes" to unglamorous roles, and why exploring non-mainstream sports can be your edge—and much more. Connect with Ursula:  LinkedIn: https://www.linkedin.com/in/ursula-romero-1b938810/ Instagram: https://www.instagram.com/ualecrim/ SBI Website: https://isbtv.es/ SBI Instagram: https://www.instagram.com/isbc_live

You can't understand China today without understanding its president, Xi Jinping. Since coming to power in 2012, Xi has doubled down on communist ideology and significantly consolidated his own power while transforming China into an industrial juggernaut unrivaled in the world. And Xi's ambitions for China go far beyond that. So what does Xi want for China in the coming years? And how should the United States respond? Kevin Rudd has a unique perspective on these questions. He first met Xi in the 1980s, when Rudd was a China analyst in Australia's foreign service and Xi was a local party official. Decades later, when Rudd was the prime minister of Australia and Xi was China's vice president, the two men got to know each other better. And after leaving office, Rudd decided to really try to understand Xi; his latest book, “On Xi Jinping: How Xi's Marxist Nationalism Is Shaping China and the World,” is built off the doctorate he pursued at Oxford after his time as prime minister. Rudd recently finished a stint as Australia's ambassador to the United States and is now the global president and chief executive of the Asia Society. In this conversation, Rudd explains Xi's ideology and the forces that shaped it, his ambitions for China and strategy for achieving them, and what Xi thinks of the United States and Trump. Mentioned: On Xi Jinping by Kevin Rudd The Avoidable War by Kevin Rudd Book Recommendations The Party's Interests Come First by Joseph Torigian The Souls of China by Ian Johnson Magnifica Humanitas by Pope Leo XIV Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Rollin Hu. Fact-checking by Michelle Harris, with Kate Sinclair and Mary Marge Locker. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King. Video editing by Steph Khoury, Dani Dillon and Kristen Williamson. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Kristin Lin, Emma Kehlbeck and Jack McCordick. Original music by Pat McCusker and Diane Wong. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. And special thanks to Joseph Torigian and Eyck Freymann. Transcript editing by Sarah Murphy and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Already this summer, there have been huge wildfires in the Southwest and Great Plains and an extraordinary heat wave in Europe, as the world stares down the barrel of a powerful El Niño. Climate change is accelerating, and yet climate politics right now is in disarray. But something else is happening, too. Advances in clean energy technology mean it is now possible to build a world of energy abundance that was the stuff of dreams just a few years ago. That means a new kind of climate politics is possible — one that doesn't just talk about sacrifice and disaster prevention but also can present decarbonization as a path to somewhere better, where everyone has more, not less. Bill McKibben is one of the best people at articulating that vision. He's a founder of the climate action groups 350.org and Third Act, and he's been at the vanguard of the climate movement for decades. His 1989 book, “The End of Nature,” is considered the first book on global warming written for a general audience. His latest book, published last year, is “Here Comes the Sun: A Last Chance for the Climate and a Fresh Chance for Civilization.” Mentioned: “Global Electricity Review 2026” by Ember The End of Nature by Bill McKibben “The New Right's Very Old Vision of Men,” The Ezra Klein Show with Helen Lewis “We're All Living in the ‘Mirror World' Now,” The Ezra Klein Show with Naomi Klein Book Recommendations: The Glorians by Terry Tempest Williams The Beginning Comes After the End by Rebecca Solnit The Carbon Wave by Leah C. Stokes Brought to You By by Amy Westervelt End Times Fascism by Naomi Klein and Astra Taylor Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris and Julie Beer. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Kyle Kelley and Marina King. Video editing by Brandon Belk-Yee, Dani Dillon and Julian Hackney. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

6 Questions to Ask on a Discovery Call (FREE download)https://the505podcast.beehiiv.com/products/6questions ( https://the505podcast.beehiiv.com/products/6questions )What's up Rock Nation! Today we're joined by Dom, aka Dom The DP, a longtime freelance ...

This week, we discuss Billy Wilder's darkest and most cynical film, Ace in the Hole, a scathing indictment of tabloid journalism and public spectacle. It flopped on its original release but has seen its reputation improve as time catches up to it.SPOILER ALERT We will be talking about this movie in its entirety. If you haven't seen this film, we strongly suggest you watch it before listening to our takes.A Paramount Pictures production. Released on June 29, 1951. Directed and produced by Billy Wilder. Screenplay by Billy Wilder, Lesser Samuels, and Walter Newman. Starring Kirk Douglas, Jan Sterling, Robert Arthur, and Porter Hall. Cinematography by Charles Lang. Edited by Doane Harrison. Score by Hugo Friedhofer.

The old solutions to the Israeli-Palestinian conflict don't seem to fit the present reality. A two-state solution feels increasingly impossible, given the scale of Israeli settlements in the West Bank and the Palestinian determination for a right of return. And a one-state solution, in which Israelis and Palestinians would live as equal citizens in a single state, is hard to imagine, given how strongly both peoples seek political self-determination. But what if those aren't the only options? A Land for All is an Israeli-Palestinian initiative that is proposing a confederation model: two sovereign states, structured to allow freedom of movement between them. It's a theory of peace based on neither separation nor unification. It holds, first, that both peoples have a relationship to and claim on all the land and, second, that both peoples want to control their own political destinies. I have been — and am — skeptical of solutions to a conflict that is so devoid of the political conditions for a settlement. But even if you're far from your destination, it's worth knowing where it is you hope to go. So could this be an answer for both peoples? How would it handle the problems that have bedeviled previous solutions, from security and violence to religious extremism? Rula Hardal and May Pundak are the executive directors of A Land for All. Hardal is a Palestinian citizen of Israel who received her doctorate in political science from the University of Hannover in Germany, and Pundak is an Israeli lawyer, activist and social entrepreneur. They joined me to explain how A Land for All would work and why they think it might succeed where so much else has failed. Mentioned: A Land for All plan Rula Hardal's Book Recommendations: The Holocaust and the Nakba, edited by Bashir Bashir and Amos Goldberg States of Denial by Stanley Cohen Israel: What Went Wrong? by Omer Bartov May Pundak's Book Recommendations: Tomorrow Is Yesterday by Hussein Agha and Robert Malley A Psalm for the Wild-Built by Becky Chambers The Moomin series by Tove Jansson Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find the transcript and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.html This episode of “The Ezra Klein Show” was produced by Jack McCordick. Fact-checking by Michelle Harris and Kelsey Lannin. Our senior engineer is Jeff Geld, with additional mixing by Johnny Simon. Our recording engineer is Johnny Simon. Cinematography by Marina King and Eric Laplante. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Annie Galvin, Rollin Hu, Kristin Lin and Emma Kehlbeck. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Transcript editing by Filipa Pajevic and Marlaine Glicksman. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In part 3 of our MMO UFO miniseries, we review Steven Spielberg's Disclosure Day, starring Emily Blunt, Josh O'Connor, Coleman Domingo, Colin Firth and Eve Hewson (which we mispronounce as Hewitt for the entire film because ....Jennifer Love Hewitt?) NON-SPOILER REVIEW SECTION: Difference in Opinion? - 2:32 Production Profile - Inception - 3:49 Best Spielberg in the last 20 years? - 5:40 Critical Reception vs Audience Scores & Early Box Office - 6:55 Why Obsession is a Best Picture nominee side rant & Back to DD Reception - 12:51 Non-Spoiler Script Thoughts - 16:22 Does Emily Blunt Get Nominated? - 21:56 Glowing Reviews of the Score, Cinematography, Editing - 26:24 Oscar Lens: Our Over/Under to how many, if any noms it'll get - 33:06 SPOILER WARNING - 37:25 SPOILER REVIEW SECTION: Mike 1 on why politics have ruined the ending & message - 38:23 AlsoMike psychoanalyzes Mike 1's belief in aliens - 45:14 Updated Spielbergian Themes & Remaining Generic - 48:37 Abandoning Intriguing Possibilities & Emily Blunt's worst scene - 50:11 Issues with the Sci-Fi - 54:21 Issues with the bad guy - 59:45 Even the beginning didn't get a follow through - 1:02:11 Some Best Scenes & Strong Starts - 1:03:30 Final Grades - 1:06:19 OUTRO: Discussion on how we like to do film festivals after spending some time at Tribeca and hinting at what's next. https://linktr.ee/mikemikeandoscar