Podcasts about Criterion

Hang onto your slipcases, because Blake Howard and critic and podcaster Drew Taylor discuss the provocation and conflict of David Cronenberg's A History of Violence. A History of ViolenceIn David Cronenberg's subtly provocative film, one of his most celebrated, all is not as it initially seems. In his first of many collaborations with the director, Viggo Mortensen delivers a highly nuanced performance as Tom Stall, a small-town husband and father who is hailed as a hero when he kills the would-be perpetrators of a violent robbery. But how did this ordinary family man dispatch them with such skill? Working with an exceptional cast that also includes Maria Bello, Ed Harris, and William Hurt, Cronenberg slyly deconstructs the mythos of the American action hero, posing elemental questions about identity, human nature, and the violence that we both abhor and can't look away from.DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURESNew 4K digital restoration of the international cut, supervised by director of photography Peter Suschitzky and approved by director David Cronenberg, with 5.1 surround DTS-HD Master Audio soundtrackOne 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special featuresAudio commentary featuring CronenbergNew interview with screenwriter Josh Olson, conducted by writer-producer Tom BernardoExcerpts of Cronenberg and actor Viggo Mortensen in conversation at the 2014 Toronto International Film FestivalActs of Violence, a documentary on the making of the film, featuring behind-the-scenes footageThree featurettesDeleted scene with commentary by CronenbergTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by critic Nathan LeeNew cover by Connor WillumsenDREW TAYLOR is a reporter for The Wrap. He has written for The New York Times, Vulture, Vanity Fair, The Playlist, and Collider. He also wrote The Art of Onward, which gives an inside look at the making of the 2020 Pixar film. The book is available to purchase here. He also co-hosts a weekly podcast about animation called Fine Tooning, which is available on all podcast platforms.Twitter: @drewtailoredInstagram: @drewtailoredPodcast: Light the FuseSupport:  JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A creative powerhouse enters the Tiger Den, as we welcome writer Dave Wielgosz!Like Blade, Dave is the industry's “day walker,” working as both known and beloved editor as well as fast rising comic writer. He breaks down how he jumped into the deep end of the bullpen with editing for the two American comic juggernauts, Marvel and DC. And how he soared into the creative ranks with breakout writing performances including one of the best Man-Bat stories you'll ever see. (Note: buy the Man-Bat, it's so good.) Fueled by the filmography of Criterion, Wielgosz now does it all, freelance editing and creative writer. Collabing with publishing pillars of the comic industry. He brings stories crafted with precision, power, and the heart.Tune in, read it up, the revenge crew is back with the insider interviews we know you're here for. Dave's a busy guy these days and has quite a few books currently rocking the shelves at your local shop; DC's Kal-El-Fornia Love #1 (writer), Oni Press's EC: Cruel Universe 2 #2 (writer), and IDW's Casey Jones mini-series (editor) dropping through winter.Follow Dave here and checkout his newsletter:Newsletter: https://weeklyupdave.beehiiv.com/BlueSky: https://bsky.app/profile/davewielgosz.bsky.socialInstagram: https://www.instagram.com/davewielgosz/All the while Tadd tries to figure out a Super Girl piece. Will he ever finish it? Only the gods know…. The guy has got to start doing solo characters, he's killing me (and I'm him writing this). Want the original for your home collection?DM the Tiger or the Tadd-man on the Gram or message here.Have you experienced the elusive and majestic energy of the Blue Tiger? Had a sighting in the wilderness of the eternal forest? Drank the blue milk of it's revenge? Then let the people know it exists!Oh look, We've still got a shop and there's new designs and art prints! Bare the blue and seek your revenge: BTR shop! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bluetigerrevenge.substack.com

Articles & features from the Buffalo Criterion weekly newspaper

Part 1 of this week's episode! John 'Tiberius' Kirk - the Blu-ray Bloodhound - and Shameful Steve survey the new releases in physical media. Release dates, Limited Editions - we gottem! Detailed reviews of Curse of Frankenstein in 4K, and Twin Peaks: Fire Walk With Me from Criterion! Plus upcoming announcements from Arrow, Hammer and the BFI! Hosted on Acast. See acast.com/privacy for more information.

Movie of the Year: 1971The ConformistRevisiting The Conformist (1971) – Power and Identity in Italian CinemaIn this episode of Movie of the Year, Ryan, Greg, and Nate take on Bernardo Bertolucci's The Conformist (1971), a visual and psychological masterpiece that defined the aesthetics of 1970s cinema. Through its haunting beauty and moral ambiguity, The Conformist examines how a man's need to belong leads him down a path of destruction.As the Taste Buds explore, Bertolucci's film is more than a political allegory—it's an intimate portrait of repression, desire, and the fragile nature of identity.Bertolucci's The Conformist and the Politics of StyleFew filmmakers balance ideology and artistry as masterfully as Bernardo Bertolucci. The Taste Buds discuss how his direction turns politics into visual poetry, using color, shadow, and architecture to mirror the internal lives of his characters.Cinematographer Vittorio Storaro creates a world of geometric perfection and emotional chaos, where fascist Italy becomes both stage and metaphor. Every shot in The Conformist (1971) is deliberate—an expression of control, guilt, and the terror of individual thought in a conformist world.(Learn more about Bertolucci's visual approach on Criterion's Bertolucci essay.)Marcello Clerici: The Psychology of FascismAt the center of The Conformist is Marcello Clerici, portrayed by Jean-Louis Trintignant with quiet dread. Marcello longs to fit in, to appear normal, to bury the parts of himself that don't conform. His fear of difference drives him toward fascism—not out of conviction, but out of insecurity.Ryan, Greg, and Nate explore how Marcello's repression and guilt become political acts. His story reveals how ordinary people become instruments of ideology—not through belief, but through cowardice and the seductive comfort of belonging.Anna and Giulia: Women, Desire, and RebellionThe women of The Conformist (1971)—Anna (Dominique Sanda) and Giulia (Stefania Sandrelli)—represent opposing forces in Marcello's life and Italy's cultural psyche. Anna is sharp, enigmatic, and politically aware—a woman whose defiance threatens to unravel Marcello's carefully constructed identity. Giulia is complacent, beautiful, and submissive, embodying the illusion of safety and control.The Taste Buds analyze how Bertolucci frames both women as agents of desire and symbols of rebellion, showing that even within oppressive systems, resistance can take many forms—some loud, others quietly devastating.Guest Spotlight: Nate Ragolia from Debut BuddiesThis episode features special guest Nate Ragolia, co-host of the hit podcast Debut Buddies. Known for celebrating pop-culture firsts—from debut albums to first films—Nate brings his trademark blend of insight and humor to The Conformist (1971). His deep appreciation for cinema's evolution adds a new dimension to the discussion, connecting Bertolucci's exploration of identity and conformity to the creative risks artists still face today.

HAPPY HALLOWEEN! Though Death By DVD is taking a break to relocate and build a bigger and better Death By DVD studio we thought it would just be down right insane to not have at least SOMETHING to offer our fine dead studio audience for Halloween. Halloween is our favorite holiday, our favorite time of year and I'll boldly say it's down right the best time of year, so we wanted to celebrate with you and boy howdy, though short in run time we have a whole lot for you to hear on this episode.An all new movie from your host Harry-Scott Sullivan is available now to stream, we have an exclusive new song from SATANIC HEARSE RECORDS called NO LIFE IN THEIR EYES from their forthcoming record DEATH SEX GORE HORROR and of course an update on when Death By DVD will return full time. Celebrate the season of the witch and hit play and hear this episode today! SATANIC HEARSE on Bandcamp : tap here or copy and paste the link belowhttps://satanichearserecords.bandcamp.com/WATCH YOUR HOSTS DOCUMENTARY AND DARK TALES FROM CHANNEL X NOW ON BLOODSTREAM TV: tap here or copy and paste the link belowhttps://bloodstreamtv.com/show-details/dark-tales-from-channel-xLearn more about Bloodstream TV : Tap here or copy and paste the link belowhttps://bloodstreamtv.com/homeIf you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

Articles & features from the Buffalo Criterion weekly newspaper

We absolutely fell in love with the films of Satyajit Ray when we first watched The Music Room a few years ago, and we are so happy that Criterion is finally showing us more of his work. The Big City (1963) is an Ozu-like take of the effect progress has on the "traditional" family, an ode to female emancipation, and a condemnation of social, racial, and gender-based discrimination in Ray's homeland. And it's also a gorgeous movie. Ray is a filmmaker who knows that film is its own language, a language of the eye, of light, of frame, and The Big City has some of the most beautiful scenes we've ever seen.

In this episode, Marta and Willem discuss the hot topic of the ongoing Irado case and the impacts it is set to have on the world of European Public Procurement Law. How to calculate the activities criterion in article 12 Directive 2014/24/EU? They begin the episode with a short chat about their recent conferences, before moving to a brief introduction to the case and the related unclarities in the Article 12 Directive 2014/24/EU on how the activities criterion is to be calculated. Namely, Willem explains how, from the text alone, it is unclear whether the activities criterion should be based on the entity you contract with, or the holding structure in which it provides its services and how this could have significant ramifications on the applicability of the exemption. They then proceed to talk about the opinion of Advocate General Rantos and express their own perspectives on the matter. They discuss whether the procurement practices in certain countries were legitimate interpretations or circumventions of the directive. Lastly, in the dessert, they switch gears and reflect on strategies that help them foster a good and productive community in the classroom.

On this episode, Brian talks about the new Criterion 4K of Ken Russell's psychedlic cult classic ALTERED STATES and then offers 10 other film recommendations to go with it. Check out the ALTERED STATES 4K here: https://www.criterion.com/films/29506-altered-states This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! https://bsky.app/profile/justthediscs.bsky.social Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts We're also on Instagram! instagram.com/justthediscspod/

On this week's show, Mikey and Bob discuss their September pick-ups including several new Arrow Video releases, steelbooks, box sets and more.   Connect with us: Website Instagram Twitter

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

To celebrate the 14th birthday of the hippest movie diary platform - and cohost Sammy finally joining earlier this year - we dive into how to best enjoy Letterboxd, the best accounts, challenges and lists to follow and how to write/rate what you watch + we host a Bracket featuring listener's contrarian movies. Join certified Hater (Sammy), Critic (Allix) and Enthusiast, our guest Zach Brooks, cohost of The Movier Ladder Podcast.Some Letterboxd recs in the episode:(1) Zach (brooksza + Movie Ladder), Allix (all_ix) and Sammy (gosnowso). (2) Accounts: TimBrayton, NotPaulineKael, DemiAdejuyigbe, AndyHerren, MrDrenzaria (Dr Morbius), Shut Up Tim.(3) Lists: add to your profile a masterlist like this. Check out: Anxiety Inducing Cinema, Movies Under 90mn, and Movies on Youtube. (4) Challenges: Zach recs Criterion, Library Ladder, and Watchlist.(5) Here and Here for free websites with extra recs and fun stats based on your Letterboxd history.Outre is The Letterboxd Song by Luna Xoa, 2024 - EXCERPT only, shared in the context of cultural commentary so there is NO licensing or rights violation.

Articles & features from the Buffalo Criterion weekly newspaper

This week, my guest is the legendary FRANK CONNIFF (of Mystery Science Theater 3000 fame!!!), who picked the equally legendary Jacques Demy film, The Young Girls Of Rochefort!, to discuss as his music film!!We discuss Frank's introduction into the MST3K world, how their show grew through grass roots and tape trading, the process of how MST3K would put together a show every week, the lack of cable tv in the US when their show first came on, how MST3K felt like being in a band for Frank, how he picked the films for their show and what the failsafes for jokes were, Ed Wood, can a movie like The Young Girls Of Rochefort get riffed on, actor Jack Webb's anti-hippie stance, The Umbrellas Of Cherbourg, Criterion laser discs, Frank accidentally coming across Rochefort on tv, how Demy's films could transport you emotionally with just a color, the incredible Michele Legrand score that is relentlessly non-stop fantastic, how the film casually drops in a serial killer storyline, Catherine Deneuve and her real-life sister Françoise Dorléac's performances in the film together, West Side Story and actor George Chakiris, how they shot two different versions of Rochefort at the same time (one in French and one in English), how sexy everyone looks in the film, the surprise of Gene Kelly showing up in this film and his later fllm roles including Viva Knievel & Xandau and more!So let's turn around on a moment's notice and suddenly leap into the air as soon as someone beautiful has just passed us on the street on this week's Revolutions Per Movie!!!FRANK CONNIFF: https://frankconniff.com/https://dumb-industries.com/themadsarebackhttps://dumb-industries.com/store/books/frank-conniffYOUNG GIRLS OF ROCHEFORT: French Language Version: https://archive.org/details/the-young-girls-of-rochefortEnglish Language Version (rare workprint found of part of the film): https://archive.org/details/the-young-girls-of-rochefort-english-reelREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Send us a Question!MOVIE DISCUSSION: Shirleon and Kathryn join Melvin to discuss George Romero's groundbreaking, culture-making horror feature Night of the Living Dead (1968)! From its rich characters to the longstanding influence of horror in US culture and abroad, the gang explores the ins-and-outs of this undeniable classic! Topics:(PATREON EXCLUSIVE) 36-minutes discussing the concept of "Cursed Actors", actors like Jared Leto who had a meteoric rise but then started to be in bad movies, showcase bad performances, or simply give the general populace "the ick", and our thoughts on a few of these figures. (PATREON EXCLUSIVE) George Romero's impact on the horror genre cannot be understated. The film has a lot in common with natural-disaster movies where-in its characters are stuck trying to figure out how best to survive.Shirleon previously disliked the character of Barbra. Now? She stan Barbra!Melvin feels horror movies are quintessential to the America experience.How the film is like a social microcosm.Talking about Harry Cooper, a character who may be more complex than people initially believe.Chattin' the nightmarish "zombie feast" and how the entire third-act is a crazy escalation.Talking the incredibly evocative ending.Recommendations:You're Not Supposed to Die Tonight by Kalynn Bayron (2023) (Novel)Squirrels at the window (YouTube)Tales from the Hood (1995) (Movie)Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review One-time reward of two Cinematic Doctrine Stickers & Pins Social Links: Threads Website Instagram Facebook Group

SuiteWorld 2025 was at the top of the headlines this week with a number of major announcements being made around AI. In industry-related news, Infor announced it is launching an expansion of its suite of AI-driven solutions for micro-verticals. In other news, Sage announced the acquisition of Criterion, a unified human capital management (HCM) platform. Related, Aptean announced the acquisition of JMA A/S, a provider of dealer management system solutions for the heavy equipment, agricultural, and construction machinery vertical in the Nordic market. Then, IFS Copperleaf, an IFS company and AI-powered Asset Investment Planning (AIP) software provider, announced the launch of IFS Copperleaf Integrated Planning (IP). Finally, Planful announced the general availability of Planful AI Analyst Assistant, an agentic AI assistant purpose-built for finance.Connect with us!https://www.erpadvisorsgroup.com866-499-8550LinkedIn:https://www.linkedin.com/company/erp-advisors-groupTwitter:https://twitter.com/erpadvisorsgrpFacebook:https://www.facebook.com/erpadvisorsInstagram:https://www.instagram.com/erpadvisorsgroupPinterest:https://www.pinterest.com/erpadvisorsgroupMedium:https://medium.com/@erpadvisorsgroup

Send us a textWelcome to episode 54 of 'The Dawah Clinic' where we will be addressing your dawah dilemma's. If you have difficulty in answering certain questions or need help in responding to polemics towards Islam and Muslims, fear no more the dawah clinic is here to help empower you. So keep a note of your dawah dilemma's and call into the show or post your questions in the live chat.  Please note : waiting lists are very high and clinic places are limited to a maximum of 10 placements at any given time so keep your questions concise, to the point and please be patient. Link to Join The Dawah Clinic: https://streamyard.com/ia64cbx6dr​https://www.buymeacoffee.com/ijazthetrini Please help Br Ijaz with his monthly medical fees, if you are able to. Jzk khairDownload your free PDF copy of Abraham Fulfilled here:https://sapienceinstitute.org/abraham-fulfilled/Purchase a paperback copy from Amazon here:https://tinyurl.com/2xkv4ynu© 2025 EFDawah All Rights ReservedVoice only nasheed licence provided by vocaltunez.com Title : It's closeWebsite : https://efdawah.com/EFDawah بالعربية (Arabic)https://www.youtube.com/channel/UCWDR...EFDawah Bosniahttps://www.youtube.com/channel/UCgcz...EFDawah Indonesiahttps://www.youtube.com/channel/UCSGJ...Podcast Website (New)https://efdawah.buzzsprout.com/RSS FeedTimestamps:00:00 - Intro 01:06 - EF Dawah Panel join: Format of the Stream02:03 - Evaluating the Islamic Dilemma argument 06:26 - Inviting Guests to join the stream07:43 - Using the statements of Allah ﷻ in Dawah09:13 - Advice about fundamentals of Dawah 10:16 - Islamic view of the Old & New Testament 17:00 - Christian pastor refutes the Islamic Dilemma 18:36 - Closing the Case on the Islamic Dilemma 21:13 - Jawaad joins: Authentic Torah in Medina22:54 - Discussion on the Preservation of the Torah25:58 - Torah & Injil vs The Old & New Testament27:26 - Br. John Fontain joins28:16 - Islamic opinions about the Bible in 7 CE31:16 - Discourse on Reliability of the Bible in 7 CE37:21 - Torah & Injil ≠ The Old & New Testament42:26 - Br. Sarmad joins43:06 - Exploring the reliability of Torah & Injil in 7 CE52:27 - Other Panel members join53:10 - Discussion on different opinions54:28 - Muslim Scholars' views about the Torah58:01 - Islamic views on preservation of Torah/Injil1:04:13 - Message to Muslims: Qur'an vs OT & NT1:06:49 - Unreliability of Modern Bible1:12:32 - Analysis of Torah & Injil in 7 CE Medina1:17:01 - Refuting christian claims about the bible1:19:34 - Br. Yemeni joins: Food Talk1:22:56 - Khan joins 1:23:20 - Facing Aqidah disparity in group dawah1:25:10 - Advice about aqidah in group dawah1:28:47 - Challenges in giving group dawah1:29:43 - Tips for giving dawah & learning in groups1:31:22 - Discourse on Inter-Muslim discussions 1:35:12 - Message to Christians about the Bible1:36:34 - The Qur'an being the Final Revelation1:40:19 - Br. Dawah Trucker joins1:40:58 - The Qur'an being the Criterion 1:43:38 - Message to Non-Muslim Viewers1:48:00 - Jimmy joins1:48:48 - Reflections on the Islamic Journey so far 1:49:37 - Truth about the Islamic dilemma argument 1:51:11 - Numerous Problems with Christianity1:57:51 - Advice to Muslims about learning the deen 1:59:53 - Islamic position on dua for non-muslims 2:06:07 - Awsaf joins 2:06:28 - Claims against modern muslims 2:07:38 - Debunking the claims against Muslims 2:09:09 - Reality of

Twenty years in the making, Marcell Jankovics' animated adaptation of Imre Madách's sort-of play is a terribly ambitious intellectual undertaking about the role of man's inherent nature in the onspooling of history. But is it any good? We discuss.  A useful article about Madach. Read the play here if you're inclined. The movie is available on iTunes. Matt's recc. Corbin's recc is not important but check out Perfect Blue, which we touch on a little here. Next episode is about 'Tokyo Drifter,' available on Criterion. 

Articles & features from the Buffalo Criterion weekly newspaper

The Shred is a weekly roundup of what's making headlines in the world of employment. The Shred is brought to you today by Jobcase.

This episode marks the beginning of a new educational series from Heal NPD, featuring Dr. Mark Ettensohn and his associates: Deanna Young, Psy.D. and Danté Spencer, MA. This series offers a rare window into clinical reasoning and supervision, bringing viewers inside real discussions about theory, diagnosis, and treatment of personality pathology. In this first seminar, the group examines an influential paper by Pincus & Lukowitsky (2010) and explores one of the central challenges in the field: how to define pathological narcissism. The conversation addresses the criterion problem surrounding narcissism. That is, the lack of a unified construct definition. It traces how this has led to conflicting models and measures of narcissism. Topics include the distinction between pathological narcissism and NPD, the interplay of grandiosity and vulnerability, the overlap with depression and trauma, and emerging dimensional approaches to understanding personality. This series is designed for clinicians, students, and anyone interested in a deeper and more integrative understanding of narcissism, personality, and self-regulation. To learn more about our work, visit www.HealNPD.org Citation for the article discussed: Pincus, A. L., & Lukowitsky, M. R. (2010). Pathological narcissism and narcissistic personality disorder. Annual Review of Clinical Psychology, 6, 421–446. https://doi.org/10.1146/annurev.clinpsy.121208.131215

Featuring Matt Anderson and Ben De Bono This time for The Criterion Challenge, we discuss the films “High and Low” by Akira Kurosawa. VOTE FOR AN UPCOMING EPISODE TOPIC HERE: www.patreon.com/thescifichristian To send in your...

Featuring Matt Anderson and Ben De Bono This time for The Criterion Challenge, we discuss the film “High and Low” by Akira Kurosawa. VOTE FOR AN UPCOMING EPISODE TOPIC HERE: www.patreon.com/thescifichristian To send in your...

For the month of October, the Criterion Channel will spotlight spooky films, including selections from the best horror of the 2000s to a collection of John Carpenter movies. Criterion curator Clyde Folley discusses scary movies, plus listeners share their favorite horror films of the 2000s.

This episode breaks down the hidden costs of closing a commercial real estate deal, showing investors exactly what to budget beyond the down payment to avoid surprises and protect their capital. TIme Stamps: 0:00 – Introduction 0:11 – Podcast energy & banter 0:21 – Sponsor pitch / OSU joke 1:06 – Criterion updates & distributions 1:51 – Closing sale & project recap 3:16 – IRR, returns, risk in development 4:01 – Newsletter & investor communications 5:15 – Gateway acquisition update 7:29 – Cost items: loan charges, appraisal 9:53 – Title & escrow charges 13:04 – Title endorsements, easements 15:19 – Survey, property condition, closing summary 16:33 – Second deal cost comparison 18:21 – Using “points” and closing cost buckets 20:54 – Operating capital, over‑raising 22:06 – Final advice & wrap Join our investor list today: https://www.thecriterionfund.com/join-our-investor-list CommercialRealEstate #CREInvesting #ClosingCosts #EquityRaise #RealEstateDevelopment #TitleInsurance #OperatingCapital #CREFinance #InvestorReturns #DealStructuring

It's October, so we've got a special spooky Criterion episode for you! Ryan joins us to discuss the 1932 German gothic film classic, Vampyr.

We review 12 Angry Men (1957) on movie podcast Collector's Cut: The Collection. 12 Angry Men is directed by Sidney Lumet and stars Henry Fonda, Lee J. Cobb, Ed Begley, E. G. Marshall, Jack Warden patreon: https://www.patreon.com/mildfuzztv

Collin and Kerry correct a mistake from last year by focusing on a movie that actually does take place during Halloween. Christine Sellin returns to talk about "Monster House," a subversive and hilarious animated from from 2006 that sneaks up on the viewer with a poignant story of love that durns dark and foreboding when you look back on it. Is this the best of the motion-capture animated films of this era? How does the animation hold up today? What was trick-or-treating like when you were a kid? Has it changed over the years?  All this, plus a Blu-ray Gift Exchange segment for both dog and cat lovers (and lion lovers, too). Blu-rays covered: Warner:  "Superman" 4K (2025) Criterion:  "Flow" 4K - (2024) Lionsgate: "Little House On the Prairie" - The Complete Series Warner Archive: "Get Carter" 4K (1971) The Judy Garland Collection Hollywood Legends of Horror Collection "Black Samson" (1974) "Huckleberry Hound Show" The Complete Series "Touche Turtle and Dum Dum - The Complete Series

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, subscribe to SECRET SHOW, join the group chat, and send me a poem for Listener Crit!Leave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!For a frank, anonymous critique on SLEERICKETS, subscribe to the SECRET SHOW and send a poem of no more 25 lines to sleerickets [at] gmail [dot] com Some of the topics mentioned in this episode:MeanjinWho Killed Meanjin? by Nick FeikOverlandCorditeThe Idea of a Literary Review by T. S. EliotLast Words by T. S. EliotLiterary MattersHEATClem ChristensenSpillwayThe Poetry Foundation's various podcastsChapo Trap HouseDavid CrossHail Satan? (2019)The Antichrist: A Four-Part Lecture Series by Peter ThielEp 208: Password to the Ghost WorldOn Heteropessimism by Asa SeresinFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna Pearson– Matt Wall– Steve Knepper – Helena FederOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: In Future PostsBrian: @BPlatzerCameron: Minor TiresiasMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Articles & features from the Buffalo Criterion weekly newspaper

Jackie and Greg shed a solitary tear for Federico Fellini's NIGHTS OF CABIRIA from 1957. Topics of discussion include the wide-eyed central performance from Giulietta Masina, the film as a transitional work for Fellini, its episodic structure, and how it continues to ripple through the ensuing decades of cinema as a defining work.The continuation of our "Personal Prints" series where Jackie and Greg venture off the Sight & Sound list to explore films that are special and/or formative to them.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Criterion breaks down how interest rate cuts, upcoming debt maturities, and real-time deal closings are shaping its commercial real estate investment strategy right now — and what that means for you as an investor. Time Stamps: 0:00 - Introduction 1:04 - Crypto Prediction & $100 Bet 2:19 - Real Estate Market Update: Rate Cuts & Treasuries 4:14 - H-1B Visa Fee Controversy & Economic Impacts 4:43 - Criterion Deal Update: Smith Farm One Closing 5:38 - Lessons Learned From a Challenging Deal 6:38 - Aspen Dental: Construction Wrap-Up & Buyer Interest 7:25 - Grand Prairie & Burleson TLEs on the Market 8:03 - New Development: Granbury & Hudson Oaks Retail Projects 9:31 - Improved Development Timeline & Cost Planning 10:29 - How Each Deal Sharpens Our Strategy 11:18 - Midwest City Shopping Center Opportunity 11:44 - Core Strategy: Community & Neighborhood Centers 12:30 - Why We Prefer Buying Over Developing Right Now 13:09 - Market Recap: COVID to Inflation to Today 13:46 - Q2 2025 CRE Stats: Retail Up 10% 14:28 - $1.8 Trillion in Debt Maturities Ahead 15:20 - Grocery-Anchored Retail Dominance 16:48 - Walgreens Decline & Risk in Pharmacy Retail 18:03 - Fast Food, Service, & Automotive Retail Resilience 19:17 - Power Centers With Strong Inlines Performing Well 20:13 - Office: Dead or Just Dormant? 20:37 - Top CRE Markets Right Now (TX, FL, NC) 21:15 - Why We Focus on Tax-Free States 21:59 - Sports Talk Closer & Final Thoughts 22:47 - Outro Visit thecriterionfund.com and get in on the action! CommercialRealEstate #CREDeals #RealEstateInvesting #InterestRates #RateCut #RetailRealEstate #DebtMaturity #PassiveIncome #InvestmentStrategy #RealEstatePodcast #CriterionCRE #CREDevelopment #RetailReturns #TenantLeasing #RealEstateLessons

Collections are the thing in this week's look at physical media with Erik Childress and Peter Sobczynski. Criterion has nearly the entire oeuvre of Wes Anderson. Vinegar Syndrome has a pair of Larry Fessenden works while Universal has packaged up a bunch of Draculas in 4K. Kino has a bunch of Dan Curtis and the Airport films while Warner Bros. has Freddy Krueger in a new 4K set. There is also the shorts of Creepshow, the beginning of American Pie and Yorgo Lanthimos plus one of the great action films of the new millennium that you may have missed.3:40 - Criterion (Isle of Dogs (4K), The French Dispatch of the Liberty, Kansas Evening Sun (4K) , The Wes Anderson Archive In 4K (Ten Films, Twenty-Five Years))15:02 - Warner Archive (Black Samson)20:29 - Arrow (The Good, the Bad, the Weird (4K), Creepshow 2 (4K))34:08 - Universal (American Pie (4K), Dracula: Complete Legacy Collection (4K))53:36 - WB (A Nightmare on Elm Street Collection (4K))1:10:01 - Shout Factory (Mama (4K))Kino (Dogtooth (4K), Dan Curtis' Late-Night Mysteries, Airport (4K), Airport 1975 (4K), Airport ‘77 (4K), Airport ‘79: The Concorde (4K))Vinegar Syndrome (Of Monsters and Madness: The Films of Larry Fessenden Vol. 2)TV (Touche Turtle and Dum Dum (The Complete Series))NEW (The Life of Chuck (4K), Becoming Led Zeppelin (4K), Just the Two of Us)CLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCASTBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

Articles & features from the Buffalo Criterion weekly newspaper

Chicken tenders, Covid, and Pizzzzzaa

Send us a textBreak out the Stonehenge miniatures and crank your resolution to eleven—Oh Brother dives deep into the newly released Criterion 4K edition of This Is Spinal Tap. We riff on the restoration's razor-sharp visuals, the bonus features that actually deserve a standing ovation, and whether Nigel's amp finally gets the UHD it deserves. From mockumentary mastery to metal mythology, this episode is a love letter to the loudest band that never was. Tap in. Support the showOh Brother Podcast: Support the Show! (Be The First to Listen with Early Access) Listen on all podcast platforms Subscribe on YouTube Follow us on Instagram

In this episode, Brian talks about the new Criterion 4Ks of FLOW (2024), Vitoria De Sica's SHOESHINE (1946) and MISERICORDIA (2024) on Blu-ray as well as some exciting new release announcements for December. Check out All things Criterion here: www.criterion.com This week's episode is also brought to you by the fine folks at DiabolikDVD - a great place to buy your discs from! https://www.diabolikdvd.com/ Just the Discs Now has a YouTube Channel! Check it out here and subscribe! https://www.youtube.com/channel/UCffVK8TcUyjCpr0F9SpV53g Follow the Show on Twitter here for Episode previews and new Blu-ray News! https://bsky.app/profile/justthediscs.bsky.social Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts We're also on Instagram! instagram.com/justthediscspod/

Double Tap Episode 428 This episode of Double Tap is brought to you by: Midwest Industries, Gideon Optics, RMA Defense, Medical Gear Outfitters, Rost Martin, Mitchell Defense, and Matador Arms   Welcome to Double Tap, episode 428! Your hosts tonight are Jeremy Pozderac, Aaron Krieger, Nick Lynch, and me Shawn Herrin, welcome to the show! pew.deals - Dear WLS Trucker Matt - Oh boy, this is gonna be a long one. Multiple questions. I'd apologize for it, but you guys are like the Dr. Ruth of the gun world, minus the sex advice, thank god.  It's my understanding from listening over the years that possession of both full auto M16/M4 lower parts kit with the auto sear and M16-cut lower receivers is fully legal as long as the dreaded third hole is not drilled in the lowers. Do you guys know which manufacturers sell lowers with the M16-cut instead of the high shelf? Just curious (not bi-curious, A-Aron) for reasons... Jeremy, do the RET4RD lowers have the M-16 cut, and if so, do you have any left available?  I have a 6.5 Creedmoor AR10 that I pieced together using Aero M5 lower, upper and handguard, Spikes BCG and Criterion 18inch barrel. I have a Vortex Diamondback Tactical 6-24x50 first focal plane scope that I want to mount on it. I know it's not an ideal scope, but I got it for free. Can you recommend a good 30mm tube mount or rings that won't break the bank, preferably 20 MOA for longer range.  Salma Hayek, Dame Helen Mirren, Jane Seymour (of Dr. Quinn, Medicine Woman and Wedding Crashers fame). Fuck one, marry one, kill one. Discuss. Keep up the great work guys. The WLS shows are the highlight of my week. Pecker McPeckerson - If you had to start your journey into the gun cumunity over, How, in 2025, would you get into the industry? a gun store, a range, a podcast, etc.You cannot use any contacts you already have from the gun community. You are starting from scratch with just the guns you have purchased and basic knowledge of firearms. Ny(e)gerski - You guys talk down alot about shadow systems, but I'd like to be a bit contrarian. When I bought mine, I was looking for something g19 sized, reliable, safe, and a bit upgraded. I considered building one on a p80 or a faxon frame...but then I saw the cr920 elite. Metal mags, upgraded trigger, grip texture, optic cut, etc. All for 750 bucks. I'll admit they have gone up in price more than they should (i.e. kanik) and their marketing department with the wording....really guys.... my question is, have you guys looked at their optic cut? It's pretty neat, fits most all of the different cuts without plates. It uses little spacers that you have to shoehorn the optic in where the screws have almost no pressure on them. Maybe it would be a good option to license to other manufacturers? Ps. as a fuel driver in the Midwest, there are pretty much 2 grades of fuel...subgrade which is around 84 octane, and premium which is 91. Those 2 fuels get either blended together, blended with ethanol, or both to create all the different fuels you get at the station. 84 with 10% ethanol gets you to 87octane. 84 with 15% ethanol gets you 88octane. 84 with a little 91 gets you 87 with 0 ethanol...etc. we were hoping to see you guys at goals, but had to change our vacation days from an adoption finally having an end date right after, hope you guys had a blast! Shaak&Awe - Curious! Can I use a crush washer on a direct tread suppressor? Mark B - Im looking to get a Ruger 10/22 and plan to put a scope on it, probably an old 2.5-10 Tasco I have laying around. I like the look of the heavy 16” barrel, like on model 31197. Is the bull barrel of any practical use on a 22? I do plan to do some off hand shooting, but most will be from a bipod or front bag. Ruger makes a lite model that gives the look of the heavy barrel but is much less weight, however it costs significantly more. I have no plans to compete with this, just a fun shooter.

Hello classmates!Chris Nolan is the king of all Directors, Matt Reeves calls it quits, and Joseph returns with a new gameVisit the YouTube channel Saturdays @ 12:30 PM Pacific to get in on the live stream, or just watch this episode rather than just listen!Channel:https://www.youtube.com/@middleclassfilmclassThis Episode:https://youtu.be/RgiKwNEEgv4http://www.MCFCpodcast.comhttps://www.twitch.tv/MCFCpodcasthttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclassEmail: MCFCpodcast@gmail.comLeave us a voicemail at (209) 283-1716Merch store - https://middle-class-film-class.creator-spring.com/Join the Patreon:www.patreon.con/middleclassfilmclassPatrons:JavierJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksChris GeigerDylanMitch Burns Robert Stewart JasonAndrew Martin Dallas Terry Jack Fitzpatrick Mackenzie MinerBinge Daddy DanAngry Otter (Michael)Trip AffleckJoseph Navarro     Pete Abeytaand Tyler NoeStreaming Picks: The Pledge - Hulu, Peacock, Roku, Kanopy, Hoopla, PlexKill - HuluJawbreaker - Shudder, PhiloMaria Antoinette - Brit BoxRashomon - HBO Max, Criterion, Plex, Kanopy Art School Confidential - Prime video, Fubo, Roku, MGM, Kanopy, HooplaCandyman (2021) - Fubo, PeacockRed Eye - Tubi, Fubo, Paramount, Starz 28 Years Later - NetflixThe Frighteners - Tubi

When Alice Wu directs a film, she really means it. Both SAVING FACE and THE HALF OF IT, released decades apart, made a big splash on the independent cinema scene. Now SAVING FACE has been added to the Criterion Collection. Alice tells Jordan about creating a patchwork of identity across various movie characters -- specifically the romantic searcher Frances from FRANCES HA and the too-smart-for-her-own-good Jane from BROADCAST NEWS.Then, Jordan has one quick thing about the legacy of Robert Redford. Feeling Seen is hosted by Jordan Crucchiola and is a production Maximum Fun.Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

Tune in for the Chicken Tendies competition results, and uh... listen to us talk about bad avant garde movies.

100 years ago this year, celebrated director Robert Altman was born. To celebrate his legacy and influence on film, the Criterion Channel has launched a new September series, Directed by Robert Altman. The series includes films like "The Player," "The Long Goodbye," and "MASH." Sean Fennessey, co-host of "The Big Picture" and curator of the Criterion series, joins to discuss. Plus, callers share their favorite Robert Altman movies.

This is our TIFF50 Wrap-Up episode! Join us as we reflect on our first year attending the Toronto International Film Festival as accredited press. We share our thoughts on the films we saw, what it was like navigating the festival from a press perspective, and how the energy of TIFF took over the city in the best way possible. We also talk about our visit to the legendary Criterion Closet—a dream come true for any movie lover—and why that moment became a true core memory. Plus, we look back on the conversations, connections, and cinematic surprises that made TIFF50 such a memorable experience, and tease what's coming next on the podcast.Friends making stuff at TIFF:Lifestyle and Movie Culture:Becca Rhodes @TheFilmtripper - Instagram, TikTokAlessandra  @aly_sf - Instagram, TikTokInterviews and Reviews:The Untitled Movie Podcast - YouTube, Instagram, TwitterMovies That Raised Us - Podcast, Instagram, TikTokThe Movie Podcast - bio.to/themoviepodcastOneTakeNews - https://onetakenews.com Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HERE

This week Tom and Julie finally take a look at Woody Allen's appearance on Club Random, watch Mickey Rooney's starring role as an old man baby in "The Milky Life," plus they put Carson up to "The Farrelly 45" challenge, and more!This episode is sponsored by BetterHelp. Give online therapy a try at ⁠betterhelp.com/tomandjulie⁠⁠⁠⁠ and get on your way to being your best self.Get more in depth Woody on Club Random analysis on How Was Your Week? at https://podcasts.apple.com/us/podcast/woody-allens-most-random-moments-on-club-random/id424991092?i=1000725087121CLIPS FROM THIS WEEK'S EPISODE: -Woody Allen on Club Randomhttps://www.youtube.com/watch?v=yaNryNkjPm0-Mickey Rooney's adult baby erahttps://www.instagram.com/p/DOYU4qZErx_/Patreon is the best way to support Double Threat! Your support keeps the show going and we appreciate it more than we can say. Plus you get weekly bonus episodes, access to monthly livestreams, and more!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WATCH VIDEO CLIPS OF DOUBLE THREAT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE DOUBLE THREAT FAN GROUPS*Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://discord.com/invite/PrcwsbuaJx⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Reddit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.reddit.com/r/doublethreatfriends/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/groups/doublethreatfriends⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SEND SUBMISSIONS TO⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DoubleThreatPod@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW DOUBLE THREAT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DOUBLE THREAT IS A FOREVER DOG PODCAST⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://foreverdogpodcasts.com/podcasts/double-threat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠00:00 Intro03:25 Something's not right about Carson's friend Jim...19:37 Woody Allen on Club Random46:54 The Farrelly 4501:01:27 Mickey Rooney's adult baby era01:16:04 OutroSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

You know why, as of this recording, CASABLANCA still doesn't have a Criterion edition? Probably because The Powers That Be know that 99% Tomatometer score is a hollow accolade. The Rick/Ilsa/Lazlo love triangle was captivating back when we were in the throes of WW2 but, watching it today, it's a silly distraction from serious international issues. Listen to Alex & Julio as they do their best not to sing La Marseillaise on this episode!TIMELINE00:01:24 Casablanca00:08:00 Contrarians Corner- Wanna know how we really feel about CASABLANCA? Check out the Real Talk (RT) episode, on your feed RIGHT NOW! (or pretty soon — Spotify can be a pain when it comes to refreshing the feed)- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemonios on Twitter or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!

Featuring Matt Anderson and Ben De Bono This time for The Criterion Challenge, we discuss the films “Throne of Blood,” “M,” “Safety Last,” “F For Fake,” and “Summertime.” VOTE FOR AN UPCOMING EPISODE TOPIC HERE:...

Back to life, back to reality. Labor Day has brought an abrupt end to Reid's vacation and Jeremy is watching Altman films on Criterion and reading Lipari Island. Other topics include the death of the president, NYCB's new season video and summer fritatta.NYC Ballet's 2025–26 Season: We Exist In Time◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.com⁠