Podcasts about Cronenberg

Joe Begos is a renegade indie filmmaker and a household name in horror. His body of work includes Bliss, VFW, The Mind's Eye, Christmas Bloody Christmas, and his latest splatterfest Jimmy and Stiggs—which is easily one of my favorite horror films of the year. I love this movie, I love that it exists, and I love what it represents.Joe is one of the most adaptive and irrepressible filmmakers I've ever met—he's worked across multiple budget tiers and has delivered a consistent stream of bold and unique horror films throughout his career.What Joe has proven to me—film after film—is that there's no excuse not to make movies, and no excuse for them not to be good. Jimmy & Stiggs was shot entirely in his apartment, on a shoestring budget, and stars Joe himself. But despite its humble production origins, the film is propulsive, fun, fully unique, looks fantastic and was edited beautifully by former guest Josh Ethier. The film holds its own next to splatter classics like Evil Dead, Dead Alive, and Bad Taste, all while staying true to Joe's gonzo, neon-soaked style. In this conversation, Joe walks us through the insane 4 year journey of making Jimmy & Stiggs, his process, influences, alien creature design and the chain of events that led to Eli Roth picking up the film. He also offers his blunt, no-BS advice to emerging filmmakers.Key TakeawaysImitate before you InnovateJoe describes his early films, like Almost Human and The Mind's Eye, as exercises in emulating his inspirations like John Carpenter and Cronenberg. It wasn't until Bliss that he felt like he'd really found his voice, but to get there, he had to imitate the masters that came before him. Once he found his voice, he fully committed to making movies only he could make.Make movies only you can makeJoe has one of the most defined directorial signatures in horror today—every one of his films is instantly recognizable as his. This commitment to personal vision has allowed him to carve out a cinematic identity that stands apart from the increasingly homogenized landscape of genre filmmaking. Developing a body of work that is unmistakably your own is a high watermark for any filmmaker and a path to building a sustainable, meaningful career.Make your fucking movieIf you look at Joe's career, one thing is clear—he does not stop making movies. Jimmy & Stiggs was born during COVID, between greenlit projects, when the industry was on pause. Instead of waiting around, Joe did the classic indie move: he took inventory of what he had access to—his apartment, a camera, a few close collaborators—and made a movie, casting himself in the lead.Joe's irrepressibility is something to study. He seems physically incapable of not making movies—and he'll sacrifice his apartment, personal finances, and whatever else it takes to get the job done. This is the kind of relentless drive that indie filmmaking demands. Joe is also well aware of how the system works. Agents often discourage small projects because there's no commission in it for them. But Bliss and Jimmy & Stiggs—two of his lowest-budget films—were made outside of that system, on his own terms, and ended up being some his most talked-about work. For filmmakers being told to wait their turn, Joe's message is simple: don't. Make your fucking movie. Even if it sucks, it's better than having no movie at all.Jimmy & Stiggs is now streaming on VOD. Show NotesMovies:BlissVFWChristmas Bloody ChristmasThe Mind's EyeAlmost HumanJimmy & StiggsEvil...

We are kicking off our Halloween-month celebration of David Cronenberg (some are calling it Cronenbergtoberg, some are calling it Cronentober, some are even saying Octonenberg) with SHIVERS! This week's staff picks is James Gunn's SLITHER, a horror comedy that definitely takes some inspiration from Cronenberg's 1975 slug-filled extravaganza.

Byah! This month is a little light since we've been prepping for upcoming Cronenberg and Hooptober episodes (!!), but we still managed to catch a couple of brand new movies and some classics! Then we talk about some of our favorite and least favorite horror franchises as we move into spooky season!Our Letterboxd: https://boxd.it/P6lcYIntro Music Composed by Hsiang-Ming Wen: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://hmwen.com

What if Cronenberg, but hilariously batshit?Seriously, watch the movie before listening. It's worth it. Link here:https://archive.org/details/how-to-get-ahead-in-advertisingOther links:https://www.neondystopia.com/https://www.patreon.com/neondystopia/

Estamos a assistir nos nossos dias ao advento das primeiras gerações sintéticas. Seres que se pretendem ver desencarnados, a alcançar um plano de elevação que se prende com a hipótese de flutuar num plano etéreo no qual tudo será disponível, ilimitado. Mas como a internet já o demonstrou, esses oestes sem lei digitais são zonas onde há muito tudo foi já predeterminado. E se, como nos diz Bachelard, “querer, é querer o que não se pode”, esse é um campo de anulação dos próprios sonhos e das formas de resistência a partir do imaginário. Poderíamos mesmo sonhar desligados dos impulsos que o corpo nos oferece? Numa das melhores profecias sobre o inferno que nos aguarda, Borges lançou esta hipótese: “Sonhará um mundo sem a máquina e sem essa máquina, o corpo. A vida não é um sonho, mas pode chegar a ser um sonho.” Este sonho começa a configurar-se nos nossos dias, mas, longe de ser uma libertação, parece um projecto de anulação da experiência. O Talmude diz que mais vale um dia nesta vida que uma eternidade no mundo que se segue. Mas o facto é que a própria realidade começa a ser pensada cada vez mais como doença ou, pelo menos, como ameaça. Ora, para compreendermos esse além que hoje nos é prometido, devemos prestar atenção às fantasias mórbidas que por todo o lado saturam o nosso campo visual, deter um olhar cheio de suspeita diante desta sobre-imposição do design a todas as esferas da vida, num momento em que a aceleração dos efeitos de troca leva a que a desorientação geral sirva para reforçar os impulsos programadas. Assim, toda a incerteza, todos os elementos de fragilidade e auto-recriminação, bem como a sensação da falta de propósito das nossas existências, levam a que a interioridade e a própria consciência se tornem zonas demasiado dolorosas. Provocam uma vertigem com a qual estamos a deixar de saber lidar, restando este virar do avesso, esta tentação de buscar uma ordem de beatitude ao nível das superfícies. Num momento em que nos sentimos fulminados por esta devastação colectiva a que chamamos realidade, tudo nos empurra para dentro, para formas de isolamento, e o corpo torna-se o destino e parece consumir todo o quadro das nossas ansiedades. Dos cuidados constantes com a imagem às dietas e suplementos, ao esforço para atingir medidas ideais, o culto passou a ser exercido nos ginásios, nas mesas de operações, com as cirurgias e toda a panóplia de intervenções a assumirem o peso de uma nova liturgia. Bernard Andrieu escreveu que “o corpo é a nova religião do século XXI”: híbrido, desnaturalizado, sujeito a metamorfoses sem fim, tornou-se objecto de uma promessa de salvação. Em “Crimes do Futuro”, Cronenberg encena precisamente este culto: a carne aberta é o sacrário, os bisturis são as mãos sacerdotais, a beatitude já não se procura no invisível mas na pura visibilidade — no espectáculo do corte, na exibição da incisão, no êxtase do que a imagem retém e multiplica. A religião desloca-se do mundo espiritual para o terreno da estética, e esta é quase invariavelmente de ordem narcísica. O corpo submete-se inteiramente ao design, surge como interface. Baudrillard parece ter profetizado a forma como a simulação absorve o real até que o corpo não é senão um ecrã onde se projecta a ilusão da vitalidade. Em breve, e face a um horizonte definido pela carência, pela decadência, pela violência, pelo entretenimento extremo e por catástrofes ambientais desencadeadas por nós, já não haverá margem para nos reconciliarmos com a natureza, restando apenas a reprogramação infinita, a carne como software. As vísceras tornam-se design de interiores, um mobiliário íntimo a ser remodelado. Nega-se a transcendência, restando-nos a imanência absoluta da imagem, a vertigem de um narcisismo que se alimenta do vazio. Este culto do corpo pós-natural é a contrapartida simbólica da devastação planetária. Com o adensar da catástrofe, em vez de enfrentá-la, a energia é deslocada para a construção narcísica de uma pele artificial, de um rosto filtrado, de um corpo reprogramado. Multiplicam-se as próteses, desenhamos novos contornos, fazemos dele um laboratório de constantes mutações, um objecto de culto devotado à ilusão de permanência no regime das imagens. A operação cirúrgica devém assim sacramento, inscrição visível da fé na técnica, tatuagem de um mundo que só se reconhece no brilho do artifício. O paradoxo é que esta fuga não conduz a um renascimento, mas a uma duplicação infinita: o corpo já não é carne, é simulacro, vitrina, holograma de si mesmo. O humano apaixona-se apenas pela imagem que reflecte, já não pelo sopro da vida que a atravessa. Com tudo isto, a natureza perde consistência, é um ruído distante, um pano de fundo em dissolução. Ao mesmo tempo, toda a degradação planetária se traduz em espectáculo, e cada catástrofe ambiental encontra o seu correlato narcísico no desejo de remodelação. Quanto mais o mundo apodrece, mais se purifica o corpo-imagem. O delírio é este: acreditar que se sobrevive ao colapso não protegendo a terra, mas cultivando a aparência. É um culto sem transcendência, e a cada incisão, a cada retoque, acredita-se que se derrota a morte. Na verdade, apenas se escava mais fundo a distância em relação ao real, essa devastação que continua a corroer o planeta. A religião do corpo é, afinal, a máscara última de uma civilização que escolheu amar a sua própria simulação e abandonar a terra que a sustenta. Mas tudo são reflexos condicionados, e a impotência, a sensação de separação, de diminuição do alcance, de incapacidade de ter uma acção decisiva, tudo isso é programado. O vazio no que toca à esperança, como nos diz David Graeber, não é natural. “Precisa de ser produzido. Se quisermos realmente compreender esta situação, temos de começar por entender que os últimos trinta anos assistiram à construção de um vasto aparelho burocrático para a criação e manutenção do desespero, uma espécie de máquina gigantesca concebida, antes de mais, para destruir qualquer sentido de futuros alternativos possíveis.” Esta frase surge em epígrafe ao livro de Paula Godinho, “O Impossível Demora Mais”, e às tantas a autora estende esta reflexão: “Numa ordem do mundo actual marcada pela teologia da neoliberalização, o futuro parece uma condenação, enquanto as práticas de resgate de outras possibilidades são encaradas como desordem, numa caminhada para o abismo. Agita-se a bandeira do final de todos os processos que pretenderam construir novos projectos de sociedade que terminaram em distopias, vistos como sinais de ingenuidade de alguns.” Antropóloga com vários anos de experiência em campo, Godinho tem-se aplicado em recolher testemunhos e experiências daqueles povos que não se renderam nem ao fim da história nem às coacções do ideário apocalíptico que trabalha para nos convencer da nossa impotência, e veio trazer-nos o seu catálogo com ramos de oliveira e outras espécies, avistamentos de terras futuras.

David Cronenberg több mint fél évszázada Kanada legmegosztóbb filmrendezője, aki olyan vehemensen fordítja ki a műfaji kliséket, mint az emberi belső szerveket. A „testhorror” műfajának feltalálója a bizarr testi átalakulásokat tragikus melodrámával keveri, hogy a test és a lélek szenvedései kiegészítsék egymást.Nem teljesen légből kapott az egyszeri néző meggyőződése, hogy engedély nélküli eltávon van a vigyorgóból és az ápolók figyelmetlenségét kihasználva forgat. Szerinte a technikai fejlődés kihat az elménkre és szívünkre is, de nem tudjuk, hogyan. A legzsigeribb ösztönöket, a szex és erőszak határterületeit intellektuális kíváncsisággal szemléli. A gondolkodó emberhez szól és nem fél megmutatni a test és a lélek hordalékait. Lelki retinánkon mindig megmarad egy-egy képe vagy karaktere, mégha a teljes film nem is.A korai filmjei zaklatott energiái Hollywoodban is hatásosak maradtak, és hetven éven túl is megtartotta hipnotikus és provokatív látásmódját. Saját magánéletét beledolgozta filmjeibe, legyen szó egy fájdalmas gyermekelhelyezési perről, a celebek világának kérlelhetetlen utálatáról vagy második felesége haláláról. Az első sikeres filmek („Paraziták”, „Veszett”, „Porontyok”) nyers izgalma után az érett jövőbelátás filmjei („Videodrome”, „A légy”) a klasszikus sci-fi horror irányából indultak, a „Karambol” botrányos művészpornója megerősítette fenegyerek-státuszát, a „Viggo”-korszak elismert presztízse („Erőszakos múlt, „Gyilkos ígéretek”) hagyományosabb mesélőt mutattak. Ha Cronenberg nem saját forgatókönyvéből dolgozik, a megfilmesíthetetlen regények megfilmesítőjeként ér el sikereket: William S. Burroughs („Meztelen ebéd”), J. G. Ballard („Karambol”), Don DeLillo („Cosmopolis”) ihletett tolmácsolójaként talál új kifejezésformákat a belső utazást megjelenítő, elvont szövegekhez.A gondolatébresztő perverzitás bemutatásában nem akar kompromisszumot kötni a nézővel, történetmesélésre, popkultúrára gyakorolt hatása vitathatatlan. Cronenberg egységgé tudja olvasztani a forradalmi gondolatokat, a pusztítást, a zsigeri vágyat és néha a gyengédséget és a humort is. Hányingerünket visszanyelve emlékezünk meg legismertebb filmjeiről. A beszélgetés résztvevői:Balázsy IstvánCsunderlik PéterLaska PálA Régen minden jobb volt a Tilos Rádió hátrafelé nyilazó történelmi műsora:https://www.facebook.com/regen.minden.jobb.volt/

Is The Fly better than The Thing? Both are classic 80s horror remakes and both are almost universally loved. We revisited this Cronenberg classic and talk about how fantastic it is. From the insane special effect to the brilliant acting by Jeff Goldblum and Geena Davis! Logan from  @videovillaentertainment  joins me for this episode.https://youtu.be/R2gJR1S74GYhttps://rumble.com/v6zcdfk-is-the-fly-better-than-the-thing-hack-the-movies.html

On the 81st episode of Bomb Squad Matinee, Tanner, Austin, and Tim discuss David Cronenberg's 2005 thriller A History of Violence. Is this Cronenberg's greatest film? What makes the violence in this film stand out? How does the film compare to the original graphic novel? Tune in to find out!

Ez az adás hat napnyi moziélményt mesél el a Budapesti Klasszikus Film Maratonról: vetítésről vetítésre rohantam, a szünetekben pedig dumáltam Baski Sándorral, Czirfusz Vikivel, Gyárfás Dorkával, Gyenge Zsolttal, Gyöngyösi Lillával, Incze Katával, Madarász Istivel, Moskát Anitával és Pozsonyi Jankával.Közben háromszor futottam össze David Cronenberggel, kétszer Atom Egoyannal, végighallgattam három zseniális Varró Attila-felvezetőt, és ismét bebizonyosodott számomra, hogy a mozizás az egyik legnagyobb öröm az életben.00:00 - Bevezető01:49 - Külön banda után (Gyöngyösi Lilla)07:50 - Showgirls előtt (Baski Sándor)10:13 - Showgirls után (Czirfusz Viki)13:39 - Showgirls után (Baski Sándor)18:27 - Kelenföld21:55 - Pozsonyi Janka nagy bejelentése24:48 - Johnny Mnemonic előtt (Moskát Anita, Madarász Isti)29:17 - Johnny Mnemonic után (Moskát Anita, Madarász Isti)31:39 - Rohanás a Lánchídon32:30 - Szamuráj, Két angol lány és a kontinens (Gyöngyösi Lilla)37:28 - Cronenberg-mesterkurzus után (Gyöngyösi Lilla)43:14 - Eljövendő szép napok után (Gyárfás Dorka)50:20 - Elemi ösztön előtt (Gyenge Zsolt)52:15 - Elemi ösztön után (Gyenge Zsolt)56:28 - Felvonó a vérpadra előtt58:20 - Felvonó a vérpadra után (Moskát Anita, Madarász Isti)1:00:23 - eXistenZ előtt (Baski Sándor)1:02:01 - eXistenZ után (Moskát Anita, Madarász Isti)1:05:50 - Fény és árnyék (Gyöngyösi Lilla)1:09:49 - Eastern Promises után, búcsú1:13:07 - Karambol (Incze Kata)Készítette: Varga FerencZene: Hegyi Olivér, Kristóf NorbertEz az adás a Budapesti Klasszikus Film Maraton támogatásával jött létre.

Héctor se ha puesto la bata (que no sudario) de andar por casa, ha puesto #Filmin y ha visto #LosSudarios (#TheShrouds), el nuevo film del mítico David Cronenberg. ¿Ha recuperado la forma Cronenberg o sigue la estela de sus anteriores trabajos? Ya sabéis, ¡Escuchad y opinad! También nos podéis encontrar aquí: Spotify: https://open.spotify.com/show/52i1iqZ56ACal18GPkCxiW Apple Podcasts: https://podcasts.apple.com/es/podcast/los-tres-amigos/id1198252523 Youtube: https://www.youtube.com/channel/UC3zK2XsnpHDGRujSTWHpL8Q Amazon Music: https://music.amazon.com/podcasts/e0b56d4f-4537-47e0-a252-9dfe56b5a490/los-tres-amigos Grupo de Telegram: https://t.me/LosTresAmigos https://www.facebook.com/LosTresAmigosPodcast/ Instagram: lostresamigospodcast Bluesky: @los3amigospodcast.bsky.social X / Twitter: @tresamigospod Threads: lostresamigospodcast Letterbox: https://letterboxd.com/LosTresAmigos/ #Terror #Horror #BodyHorror #ThrillerCorporativo #Gemelas

We are practically bursting at the cranium to bring this week's episode!Is Scanners (1981) about the collusion of the corporate and military sectors? The mainstreaming of MK-ULTRA? The success of counterinsurgent efforts within Western empire after the uprisings of the 60's & 70's? Cronenberg's complicated relationship to the Canadian Film Development Corporation? If so, it's probably by accident since he had to write it as they were shooting.Lefties and Hippies and Yuppies, Oh My! David Cronenberg's Scanners revisitedDON'T FORGET GAZAhttps://lifeline4gaza.com/gazafunds.comhttps://linktr.ee/thesameerproject+++++Outro: Beograd performing Kontrolori

Sergio Pérez y Alma Espinosa repasan los estrenos en plataformas como Disney+, SkyShowtime, Netflix, Movistar Plus+ y Filmin.

Today on the 5: While I was sick with COVID I decided to watch David Cronenberg's latest film, 2024's The Shrouds. The movie has seen a very mixed response, which is typical for Cronenberg. What sets this movie apart is how clear a way of working through his wife's death this film is, and that gives it a weight far different than any of his other work.

Categorized - 00:31Jay & Ivana tackle movies from 1995-1999 that best reflect the time period!The Break - 33:54The pair talk a little bit about the books they're reading! Film Freaks - 38:59Jay & Ivana watch 1983's Toronto based “Videodrome” from “The Watchlist” starring James Woods and directed by David Cronenberg! Outro -  01:03:12Join us next time when Ivana & Jay go back to the watchlist to see Michael Mann's The Insider from 1999! Here's what remains on The Watchlist:Absence of Malice (1981)Animal Farm (Book - George Orwell)The Insider (1999)Josie & The Pussycats (2000)A Man From Earth (2007)Rashomon (1950)Email us about anything at all, anytime at our new email address morethanmoviespod@yahoo.com --- Thank You! The talented voice, SFX and music artists have made our show possible and we owe them a HUUUUGE thank you. Darren Osborne, Announcer & Voice Artist Leslie Seiler, Comedian & Actor -  @Leslie_SeilerPaul “PK” Kingston, Comedian & Actor - @PaulPKKingstonChris Shapcotte, Voice Actor - @shapshots Laura Carney, News Anchor - @LauraMCarney SFX are courtesy of:Mike Koenig from SoundBible.com Explosion & Debris & Mike Koenig (SoundBible.com)Phantom from Space by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 LicenseIntro / Outro Music"Itty Bitty 8 Bit" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ 

It's been a year since his last episode, so what's artist Dmitry Samarov been up to? Plenty! We talk about his new project of redesigning and illustrating public domain books, why he started off with the White Whale itself, and why Babbitt! was next in line, what the common themes are among the six books he's illustrated since this project began, and how it all ties into his reaction to the 2024 election. We get into what it's like working with publishers after controlling his own books for years, how he discovered James Hogg's The Suicide's Grave on SOME OTHER PODCAST (okay, it was Beyond The Zero), how he's exploring visual interpretation and different tools with each book, and how this project has him reading and rereading differently than he used to. We also talk about how he looks back at his art in the wake of his self-monograph, how he got into a relationship with someone after a long time solo (after a showing of why Cronenberg's not-good The Shrouds), what other books he's considering illustrating, his new series of 'zines about bookselling, the joy of Moby Dick's tangents, and more. Follow Dmitry at his site and through his weekly newsletter, and buy some books from his Ebay shop • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

David Cronenberg's 'Videodrome' remains a shockingly prescient vision of the world we're living in now: technology overlords using computerized developments for their own nefarious means...except in the case of 1983 Toronto, personal enrichment isn't the end game: elimination of the freaks and geeks is. Featuring a tour-de-force performance from James Woods and an impressive commitment to allowing viewers to experience the unfolding story as it happens to Woods' Max Renn, the film also has a hauntingly simple and utterly perfect score by frequent Cronenberg collaborator  Howard Shore. Videodrome Trailer            

Claire and Gavia delve into David Cronenberg's fascinating erotic thriller Crash, starring James Spader as a man who develops a fetish for car crashes. Divisive and controversial when it first came out in 1996, it's now regarded as one of Cronenberg's greatest films, celebrated for its peculiar characters and unique brand of sexuality.

[REBROADCAST FROM April 16, 2025] Writer and director David Cronenberg's new film "The Shrouds" is partly inspired from the grief of losing his wife in recent years. The film follows a grieving businessman named Karsh who invents a way to connect with the dead. Cronenberg discusses, alongside actor Diane Kruger, who stars in the film. "The Shrouds" is now streaming on the Criterion Channel.

Welcome to the season finale of our Influential Horror Director Series! In this episode, we're diving deep into the strange, squishy, and utterly unforgettable world of David Cronenberg — one of the most influential horror film directors of all time.From Videodrome to The Fly, Scanners to Crash, Cronenberg carved out an entirely new subgenre: body horror. We'll talk about the way his films explore transformation, disease, technology, sexuality, and the terrifying ways our own bodies can betray us. Expect discussions of gooey practical effects, his signature psychological underpinnings, and the themes that continue to inspire generations of filmmakers.But it's not all academic! We also bring our usual blend of humor and horror-geek enthusiasm. Along the way, you'll get:Our favorite David Cronenberg movies and why they still hold upInsights into how his themes reshaped horror and sci-fiMemorable Cronenberg quotes and WTF momentsReflections on the entire Influential Director Series (and a tease of what's next!)Whether you're a longtime Cronenberg fan or just body-horror-curious, this is the perfect episode to wrap up the season.Listen now and join the conversation!

We revisited the erotic thriller with a Cronenberg twist, Crash, today on Between the Sheets!

The new horror film, "Together," starring real-life couple Alison Brie and Dave Franco, focuses on a struggling relationship and features Cronenberg-levels of body horror ...but it has also been marketed as a date movie. This year has featured lots of films that eschew the typical formula of a date movie. Guest host Scott Pukos and his panel of movie lovers will explore this trend — is it just marketing or are audiences craving something beyond the standard rom-com?Our guests: Sarah Antao, rom-com expert and teaching staff member at the Focus Theater Roemer Johansson, copywriter and member of the Little Theatre Roberto Lagares, multimedia reporter for CITY Magazine Adam Lubitow, projectionist and programmer at the Little Theatre and programming director for Anomaly: The Rochester Genre Film Festival Dave Palmer, film critic for the Greater Western New York Film Critics Association (GWNYFCA)

In this week's mind-melting episode of BFGE, Emma treks over to Sarah's apartment in the blistering city heat to watch Cronenberg's 1983 sci-fi thriller "Videodrome."  In this episode:Sarah does her best to give Emma a primer on all things Cronenberg.The ladies chat about the film's phrophetic qualities, artificial intelligence, and dead internet theory.Canadian public access TV seems cool as hell.Emma hates the "stomach pussy."Come and ditch the old flesh with us!Like our stupid lil movie parties? Please drop us a rating on spotify/apple and follow us on instagram at: https://www.instagram.com/brutalfilmgirlpod/

Children Shouldn't Play with Dead Things (1972), Deathdream (1974), Black Christmas (1974) Director Bob Clark will probably always be remembered for his now classic holiday film, A Christmas Story (1983), released the same year as his previous film, Porky's, which is one of the raunchiest sex comedies of that era! But he started off making horror films, 3 of them in particular, before he moved on to making films in just about every other sub-genre. As you can imagine, it is these 3 horror films that we are going to discuss on this episode. One of them set many of the standards of what would be known as a slasher film, while the others have two very different take on zombies. All made on low to moderate budgets, but still are still so well made, it's a shame that Clark didn't continue on in the horror genre. Maybe that's why he's not remembered as much as names like Carpenter, Cronenberg, or Craven. And that's why we're discussing it now! Films mentioned in this episode: Baby Geniuses (1999), Black Christmas (1974), Black Christmas (2006), Black Christmas (2019), Blood Orgy of the She-Devils (1973), Born on the 4th of July (1989), The Brood (1979), Cat People (1982), Children Shouldn't Play with Dead Things (1972), A Christmas Story (1983), Deathdream (1974), Deranged (1974), Duel (1971), Halloween (1978), Hereditary (2018), Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964), Jaws (1975), Last House on the Left (1972), Murder by Decree (1979), Popcorn (1991), Porky's (1981), Porky's II: The Next Day (1983), Prom Night (1980), Return of the Living Dead (1985)

Wait...is that the guy from "Girls"? Regardless, the boys are gonna thirst after him. Listen as they discuss a heartbreaking but also gruesome creation born from the mind of the other Cronenberg! Coming Soon: Pumpkinhead (1988)---Don't forget to rate us / leave a review!Follow us!Instagram: @scaredgaypodcastTikTok @scaredgaypodcastEmail: scaredgaypodcast@gmail.comPablo: @theexercistsfPaul: @paulyoueverwantedMusic by Ronnie Carrierronniecarrier.comArtwork by Patrick AllisonInstagram: @waywardwink

En este episodio exploramos el cuerpo como campo de batalla simbólico, desde los grabados oscuros y viscerales de Francisco de Goya hasta la carne mutante de David Cronenberg. ¿Qué nos dice el arte sobre el dolor, la identidad y la violencia cuando el cuerpo deja de ser un mero soporte físico y se convierte en un territorio político, psicológico y metafísico? A través de una lectura crítica que conecta historia del arte, filosofía y cine, nos adentramos en un viaje donde la carne habla, grita, se transforma y se rebela. De Foucault a Abramović, de lo grotesco a lo sublime.

Just so ya know, our Pick the Flick tier is back on so you can give us some scratch to choose our Frame Rate topics. We'd like to thank Doctor Slaphammer for suggesting Videodrome for our epic return. Also, Tom Reimann joins the pod to discuss all things Cronenberg and to remind us all to long live the new flesh. Features: Tom Reimann: https://bsky.app/profile/startthemachine.bsky.social Michael Swaim: https://bsky.app/profile/michaelswaim.bsky.social Abe Epperson: https://bsky.app/profile/abeepp.bsky.social Support Small Beans and access Additional Content: https://www.patreon.com/SmallBeans Check our store to buy Small Beans merch! https://www.teepublic.com/stores/the-small-beans-store?ref_id=22691

In this episode, we dive into three of 2025's most provocative and stylistically distinct films—Friendship, The Phoenician Scheme, and David Cronenberg's The Shrouds. While wildly different in tone and genre, these films share an undercurrent of paranoia, grief, and fractured connection in the modern age.We begin with Friendship, a quiet yet emotionally raw exploration of human bonds strained by time, trauma, and unspoken truths. Then we unpack the labyrinthine mystery of The Phoenician Scheme, a neo-noir political thriller that channels Cold War conspiracies into a stylish, cerebral puzzle about control and deception. Finally, we close with The Shrouds, Cronenberg's return to techno-horror, where mourning and surveillance intertwine in disturbing ways.From character breakdowns and thematic analysis to directorial styles and visual storytelling, we explore how these films challenge our ideas of intimacy, mortality, and trust in an increasingly disconnected world.Tune in for a deep dive into cinema's darker corners—and the ghosts we carry with us.Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid.

Long live the new flesh! Wythe and Chris are back with Evan on Left of the Projector for another film discussion. This time we dissect David Cronenberg's 1983 body horror / tech and sex anxiety classic, VIDEODROME! From Left of the Projector – In this episode, I join Chris and Wythe from the Why We Roll Podcast to analyze David Cronenberg's cult classic Videodrome. We explore its themes of technology, media, and the human condition, discussing the film's initial reception and rise to cult status. We examine the character of Max Ren, played by James Woods, and the male gaze's implications on sexuality and power dynamics, as well as the film's philosophical layers surrounding identity. We also consider Cronenberg's body horror elements as metaphors for existential dilemmas, particularly as Max navigates the influence of Videodrome. The conversation draws parallels between the film and contemporary media technologies, questioning whether they enhance or diminish our humanity. We conclude by reflecting on the lasting impact of Videodrome and its relevance in today's media landscape. If you, too, love body horror and wish to honor the new flesh... make sure to check out Danse Macabre: Medieval Horror Roleplaying, coming to Kickstarter in October! stillfleet.com/danseks Learn more about your ad choices. Visit megaphone.fm/adchoices

David Cronenberg is one of those great directors that started with B-Movie horror only to become a highly regarded, award winning director. Now at 82, his latest film, THE SHROUDS, was nominated for the Palme d'Or at Cannes. After playing one other festival, it was released at theaters in April 2025. Now it is available on VOD and streaming for all to see.From IMDB: “Karsh, an innovative businessman and grieving widower, builds a device to connect with the dead inside a burial shroud.”THE SHROUDS was written and directed by David Cronenberg and has a fabulous international cast including lead Vincent Cassell, Diane Kruger, and Guy Pierce. Receiving good reviews in what critics are calling his most intimate and biographical film, your co-hosts take a look at Cronenberg's latest.

In this episode, I join Chris and Wythe from the Why We Roll Podcast to analyze David Cronenberg's cult classic Videodrome. We explore its themes of technology, media, and the human condition, discussing the film's initial reception and rise to cult status. We examine the character of Max Ren, played by James Woods, and the male gaze's implications on sexuality and power dynamics, as well as the film's philosophical layers surrounding identity.We also consider Cronenberg's body horror elements as metaphors for existential dilemmas, particularly as Max navigates the influence of Videodrome. The conversation draws parallels between the film and contemporary media technologies, questioning whether they enhance or diminish our humanity. We conclude by reflecting on the lasting impact of Videodrome and its relevance in today's media landscape.KickStarter for Dance MacabreWhy We Rollhttps://stillfleet.comhttp://stillfleet.com/danse https://bsky.app/profile/stillfleet.bsky.socialhttps://www.instagram.com/timespace.placeLeft of the Projector Linkshttps://www.patreon.com/LeftoftheProjectorPodhttps://boxd.it/5T9O1https://leftoftheprojectorpod.threadless.com/https://leftoftheprojector.comhttps://instagram.com/leftoftheprojectorhttp://tiktok.com/@leftoftheprojectorpodhttps://www.threads.net/@leftoftheprojector

This week we're joined by Halle Kiefer, comedy writer and co-host of the podcast Ruined for another trip north to Canada for a look at the formative years of David Cronenberg. We're watching Rabid, starring Marilyn Chambers, famous for her appearance in the 70's adult film hit, Behind The Green Door. Here Cronenberg runs up against a minor moral panic when a film critic questions the government's willingness to fund his films. Marilyn Chambers pushes back against a studio system that can't find the courage to cast an actress from adult films in a major studio release. A woman receives an emergency skin graft that somehow transforms into a phallic proboscis in her armpit that feeds her like a vampire and spreads a new form of rabies which turns its victims into enraged zombies that will stop at nothing to kill everything that moves.Cronenberg is still figuring it out in this movie which despite its outrageous premise and lurid stunt-casting, could be seen as a meditation on the rise of second-wave feminism, his place in that world, and his impact on that movement as a man trying to navigate the changing world. Join the Bring Me The Axe Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/snkxuxzJ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Bring Me The Axe! on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/bringmetheaxepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Bring Me The Axe merch here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bonfire.com/store/bring-me-the-axe-podcast/⁠⁠

LexG reviews some of the summer's biggest movies, including F1: The Movie, Jurassic World Rebirth, 28 Years Later, and Megan 2.0, as well as Charlize Theron in The Old Guard 2 for streaming, and a couple of smaller picks in Cronenberg's The Shrouds and Celine Song's Materialists.

Imagine it's 1993, and Hollywood is dominated by iconic TV shows and movies like Beavis and Butthead, Power Rangers, and Jurassic Park. Amid this, there's a fascinating story about a film that was never made—David Cronenberg's adaptation of Mary Shelley's Frankenstein. In this episode of 'That Was Pretty Scary,' Jon Lee Brody delves into Cronenberg's unique vision, which aimed to honor Shelley's legacy by focusing on real human emotions like grief and shame. Despite his compelling approach, Cronenberg's Frankenstein never came to fruition due to a lack of studio backing. Join us as we explore what could have been, compare it to existing adaptations, and even speculate on casting choices. This thought-provoking episode reimagines a lost cinematic masterpiece while paying homage to one of horror's most influential stories. Tune in and discover the untold story of David Cronenberg's Frankenstein.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Brood - The Shape of RageWe celebrate our 8 Year Anniversary here at HMSG with a Cronenberg classic - THE BROOD (1979). A film that neither Julia or Teri had seen - and by some miracle saw completely spoiler free! This one digs deep into the psychology of rage and loss and how it manifests in extreme ways in our lives. We hope you enjoy this wild ride!Thank you to all our fans and especially our Patreon for your support over the years - we are so proud to have reached this huge milestone! Support the show

Beach House Breakdown, Vagina Dentata, & Cronenberg's Sex Parasites – Horror Hangout from HellWhat do a Cthulhu beach vacation, vagina dentata, and horny parasitic zombies have in common? We have no idea. But it's Josh's birthday, so come with us as we shuffle through all this goo and try to find out. The dudes dive headfirst into The Beach House (dir. Jeffrey A. Brown), a Lovecraft-lite flick that tries to spook you with fog, foot worms, and... astrobiology? James has ocean-walking dreams, Justin forgets the movie he's supposed to talk about, Derick gets mad that nobody in horror knows how to wear pants during a crisis, and Josh may in fact be Tubi's shadow CEO. We also take a deep bite into Teeth (dir. Mitchell Lichtenstein), where John Hensley from Nip/Tuck plays the most cartoonishly incestuous dirtbag this side of Cinemax. There are dog attacks, dick rings, and a whole lot of trauma wrapped up in a “quirky” indie revenge horror. A24 remake incoming? Probably. Then it's over to David Cronenberg's Shivers aka They Came from Within aka Orgy of the Blood Parasites, where 70s Canadian sex monsters spread the infection one creepy assault at a time. Oh, and apparently Cronenberg thought those guys were the heroes of the story. Yeah. Sketch. Along the way, the crew debates whether stoned vision grants access to cosmic jellyfish goo, how many dicks need to be bitten off before justice is served, and how Lovecraftian horror and edible gummies mix like oil and haunted ocean water.Movies discussed:The Beach House (2020) – Directed by Jeffrey A. Brown, starring Liana Liberato and Jake Weber (aka “Dawn of the Dead Ocean Dad”)  Teeth (2007) – Directed by Mitchell Lichtenstein, starring Jess Weixler and John Hensley as Human Incest DumpsterShivers (1975) – Directed by David Cronenberg, starring Paul Hampton, Barbara Steele, and everything wrong with humanityTopics include:Why walking into the ocean is the ultimate Irish goodbye“Astrobiology” – science or weed hallucination?Cronenberg's wild take on sex parasitesThe proper ratio of tentacles to budgetSpider TikToks and Australia's war on sanityLovecraft meets weed: the crossover event nobodyasked forDon't forget to subscribe for more low-budget horror, high-budget opinions, and four grown men yelling about sea goo, toxic boyfriends, and the importance of pants during supernatural emergencies. CREEP-O-RAMA is:Store:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CREEP-O-RAMA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@creep-o-rama⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Josh:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@joshblevesque⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Artwork: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@bargainbinblasphemy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@imfigure⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Audio:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@stranjlove

Jean Smullen joins Moncrieff with two wines for the weekend. Chris Wasser reviews Jurassic World and Cronenberg's The Shrouds, while Fionnuala Jones has the latest showbiz stories.After the sad passing of Michael Madsen and the creative change-up for the next season of The Last Of Us, there's plenty in the news to discuss (and plenty of wine to taste.)Listen here.

This week on Forgotten Cinema, the Mikes step into the quiet, brutal world of "A History of Violence" (2005), directed by David Cronenberg and starring Viggo Mortensen.Mike Field brings the praise; this is his favorite Cronenberg film. Mike Butler? Not so much. While the film's tight runtime and strong performances are appreciated on both sides, the impact of the violence doesn't quite land for Butler the way it does Field and apparently everyone else. Is that a product of time and increased violence in cinema? The Mikes dig into Cronenberg's themes, the stripped-down approach to storytelling, and it's themes about the pervasive nature of violence still resonate 20 years later.What's your favorite Cronenberg film? Let us know in the comments below!

This is an obscure one, but you true film geeks know it well.  For the uninitiated, it's the movie where the guy makes out with his television set and sticks a VHS tape in his stomach.  Given that this guy is played by a typically wired James Woods, not too unusual.  Throw in Debbie Harry and some S&M, and we've got ourselves a true masterwork here.  We even get to see Blondie "in the flesh".  Or is it "the new flesh"?  Plenty of trippy, mind-bending special effects, trademark Cronenberg "body horror" and a timely theme of people getting obsessed and losing their minds staring at videos.  Even if you've already lost yours, feel free to listen to this cool podcast.  But, careful...it bites. 

On this episode of Remainders we watch the 2005 film A History of Violence. David Cronenberg adapts the graphic novel by John Wagner about a small town family man who becomes a local hero after killing two men during an armed robbery. This gets the attention of a mob boss who believes Tom is a man with a violent past. Beast mode performances by Viggo Mortenson, Ed Harris, and William Hurt elevate A History of Violence into epic territory.Other topics include Viggo's career post-Lord of the Rings, Cronenberg's filmography, best Ed Harris and William Hurt performances, Brad Pitt and sports movies, plus Ripley and the history of the character from Patricia Highsmith's novel.Songs of the WeekVoicemail by Meat WaveSave Me by Aimee MannDear John by Aimee MannRemainders Podcast Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

This episode wraps up a trifecta of Stephen King adaptations, as we review 1983's THE DEAD ZONE, which has quite the pedigree, Cronenberg! Walken! King! The movie also features Martin Sheen as a corrupt, dangerously opportunistic politician who exploits populism to gain authoritarian power and could hold the fate of the world in his hands if he isn't stopped. Chilling stuff, thankfully we don't have anything like that going on. "THE ICE, IS GONNA BREAK!" It's the Who Goes There Podcast Episode 435! Join our Patreon to support the show! As a patreon member you get the episodes early, bonus content, and access to our Discord. It also helps us keep doing it. We recently sent out a bunch of exclusive merch too.  Thanks for listening and a huge thanks as always to @calgee for his original art. Go check out his work and give him a follow on Instagram. The Who Goes There Podcast is available to subscribe to on iTunes and Spotify. You can also find us on Instagram. 

Videodrome (1983; Dir.: David Cronenberg) Canon Fodder Episode 39 Daniel and Corky put on their finest Canadian tuxedos to review James Woods in the body horror classic Videodrome. But did your hosts “open up to” Cronenberg's vision, or were their torso tape players incompatible with the film's McLuhan-inspired medium-is-the-message? […] The post Videodrome – Canon Fodder Episode 39 appeared first on Dare Daniel & Canon Fodder Podcasts.

-Phone that emulates PC games: https://www.notebookcheck.net/RedMagic-10S-Pro-series-launches-with-built-in-Windows-PC-game-emulator.1024533.0.html -Steam OS on ROG Ally: https://rogallylife.com/2025/05/23/how-to-install-steamos-on-the-rog-ally/ -We did Bazzite on our Ally Xs -Apple making a gaming app: Apple is ready to replace Game Center with a more Xbox-like gaming app -AMD is finally trying to achieve feature parity with DLSS https://videocardz.com/newz/amd-announces-fsr-redstone-for-rdna4-neural-radiance-caching-ml-ray-regeneration-and-frame-generation -Winnie's hole: https://store.steampowered.com/app/2319730/Winnies_Hole/ -Can I like this if it supports GRRM?!?! https://www.hollywoodreporter.com/movies/movie-news/elden-ring-civil-war-alex-garland-a24-1236228002/

Shawn's birthday episode is here! Yeah, yeah, so it's 3 weeks and some change late, but what even is time? This year he selected the iconic 1986 Cronenberg classic The Fly!!! We are joined by Arthur Howell, 2 Cents Critic himself, to break down this disgusting and heartbreaking love story. We get into everything -- the goop, the tragedy, the poor choices made by one and all!!! Check out our Patreon, where we've been very busy I might add, for EXCLUSIVE episodes you will never find here! There's theatrical movie reviews, movie commentaries, and minisodes on a variety of fun movie related things every month!!! See what you're missing (and help us keep the lights on!) over at Patreon.com/triplemmmpodFollow us on the socials @triplemmmpodClayton - @justhappy2cuShawn - @murphthesmurphArthur - @two_centscriticEmail - menwholikemenwholikemoviespod@gmail.comIf you're enjoying the pod, give us a rate/review - it helps out SO much!!!Don't forget to be kind out there!

Episode 422: The Crew's getting some ink while watching David Cronenberg's Eastern Promises. This Russian mob film set in London, despite dealing with people and locations we usually don't see in mob films, feels surprisingly familiar. Cronenberg's horror body is limited to onscreen violence and tattoos. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

We're back and bloodier than ever! The Dark Trio 2.0 returns with a killer new episode, joined by special guest Tony Wash, channel manager of SCREAMBOX! Tony gives us the inside scoop on the latest horror titles dropping on SCREAMBOX this month.  Then, the crew dives deep into essential Cronenberg films, shares their favorite horror comics, ranks the FINAL DESTINATION franchise, and dishes out plenty more horror goodness. Plus, Keenan shares his experience hosting panels with horror legends at Nightmare Weekend. Tune in for your weekly fix of horror news, must-watch recommendations, and unfiltered genre talk you won't want to miss! Do you have a question you'd like the Bloody Disgusting Podcast to answer on air? You can call and leave a message at (224) 475-1040 or text us! Or shoot us an email @ bdisgustingpodcast@gmail.com.  Don't forget to rate, review, and subscribe on your favorite apps. ***Follow Bloody Disgusting on TikTok: @bdisgusting *** // Follow Tony Wash  Instagram: @scotchworthy Bloody Bites Instagram: @/bloodybitestv Better Luck Than Chuck Instagram: @betterluckthanchuck // Follow Keenan McClelland   Twitter/X: @horror_guy | IG: @horror_guy | Bluesky: horrorguy.bsky.social YouTube: https://www.youtube.com/channel/UCiDnFIBSNxo-cPzSE0nDF4w TikTok: @horrorguy_ Facebook: https://www.facebook.com/hallowseve365/ The Every Day is Halloween Podcast: https://creators.spotify.com/pod/show/hallowseve365 // Follow Shelby Novak Twitter/X: @shelbybnovak | IG: @shelbybnovak/ | Bluesky: shelbybnovak.bsky.social // Follow Scare You To Sleep Podcast Twitter/X: @scareyoutosleep   IG: @scareyoutosleep/ Bluesky: scareyoutosleep.bsky.social // Follow Zena Dixon   Twitter/X: @LovelyZena | IG: @realqueenofhorror/ | Bluesky: lovelyzena.bsky.social YouTube: https://www.youtube.com/@RealQueenofHorror/videos  TikTok: https://www.tiktok.com/@realqueenofhorror  Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:07:26 - "Les Linceuls" de David Cronenberg

We're diving into the resurgence of the pronatalism movement, the belief that having more babies will save a failing civilization. With new Trump-backed policies promising "baby bonuses" and even a "National Medal of Motherhood," pronatalists are warning that falling U.S. birth rates could mean economic collapse, or even extinction. Sociologist Dr. Karen Guzzo and NPR reporter Lisa Hagen join us to unpack the motivations behind this growing movement.Also, we'll talk with author Daria Burke. She spent several years digging into the science of how our brains and bodies carry the imprint of early experiences. She wanted to understand the trauma of her childhood. Plus, Justin Chang reviews the new Cronenberg thriller The Shrouds.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Sean and Amanda briefly react to some Oscars news, including a rule requiring Academy members to watch the movies and the details surrounding the new Casting and Achievement in Stunt Design award (1:34). Then, for the first time, they play the Summer Movie Preview Game, in which they predict the box office and Metacritic score for every major summer movie release in 2025 (16:27). Later, Sean is joined by Adam Nayman to give a brief “state of the movies” before discussing David Cronenberg's newest body horror film, ‘The Shrouds.' They talk about its complicated and moving portrayal of grief, praise Vincent Cassel for his excellent performance, and create a “Cronenberg starter pack” for those who aren't very familiar with the director's filmography (1:25:06). Finally, Sean is joined by the great David Cronenberg to discuss ‘The Shrouds.' They talk about his decision to cast Cassel in an unusual and challenging role, why he hates shooting on film and would never return, and his long-term creative collaboration with composer Howard Shore (2:06:43). Hosts: Sean Fennessey and Amanda Dobbins Guests: David Cronenberg and Adam Nayman Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices

Over the decades, David Cronenberg has carved a distinctive and provocative filmography out of his interest in human decay and death, up to and including his new THE SHROUDS, a late-career entry in the writer-director's body-horror canon. It's a film that left some of us confounded in a way that our returning guest, critic Charles Bramesco, might argue is part of its Cronenbergian appeal; but placing it next to THE FLY in Connections clarifies how much it's simply an evolution of the same pet themes Cronenberg has been circling since 1986 (and earlier), from overlapping obsessions with the mutability of bodies and technology, to the horror and guilt of watching a loved one deteriorate before our very eyes. And in Your Next Picture Show, we're inspired to talk over another recent, highly personal project from an elder-statesman auteur that received a mixed reception, and which we never got to cover on the show: Francis Ford Coppola's MEGALOPOLIS. Please share your thoughts about THE FLY, THE SHROUDS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Ryan Coogler's SINNERS and Robert Rodriguez's FROM DUSK TIL DAWN Intro: 00:00:00-00:02:00 The Shrouds discussion: 00:02:04-00:26:23 The Shrouds/The Fly Connections: 00:26:24-00:59:16 Your Next Picture Show: 00:59:17-01:03:15 Next episode preview and goodbyes: 1:03:16-end Learn more about your ad choices. Visit megaphone.fm/adchoices

The way David Cronenberg's new THE SHROUDS splices together unsettling ideas about technology and bodily transformation made us think of… well, a lot of his filmography, but the film's visceral interest in how the human body decays feels directly connected to the director's unlikeliest hit, his remake of THE FLY. We're joined this week by critic and our nascent “gross and scary” correspondent Charles Bramesco to teleport back to 1986 and examine what lies beneath the rotting flesh of THE FLY, from its tender central relationship to its oozing physical effects to its Howard Shore score, that makes it a distinctly Cronenbergian grossout. Then in Feedback, a listener uses our recent discussion of THE THIN MAN to broach a bigger question about what we value most in our mystery stories.  Please share your thoughts about THE FLY, THE SHROUDS, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Intro: 00:00:00-00:03:38 The Fly Keynote: 00:03:39-00:08:18 The Fly Discussion: 00:08:19-00:44:11 Feedback/outro: 00:44:12-end Learn more about your ad choices. Visit megaphone.fm/adchoices