Podcasts about hays code

The idea of making a movie that's both homoerotic and thrilling is hardly new, which is why we decided to throw it back to the ‘40s for our third installment of Homoerotic Thriller Pride. On the latest Spooky Tuesday, we're talking about Cat People (1942), a subtly sapphic creature feature about Irena, a recent immigrant who fears her passions may come with dangerous consequences. Given that this flick was made under the Hays Code, there's a lot it couldn't show or even really hint it, but it's been viewed through a queer lens for decades. This week, we're pointing out parallels and pondering the past as we dabble in cinematic history. References: https://www.horrorhomeroom.com/cat-people-1942-coding-lesbianism-via-otherness/https://wordpress.lehigh.edu/screams/2020/03/22/cat-people-1942/ https://screenqueens.wordpress.com/2019/06/27/cat-people-exploring-lesbianism-through-the-otherness/https://unimelbfilmsoc.org/2022/11/30/a-retrospective-review-cat-people-1942-and-1982/https://en.wikipedia.org/wiki/Hays_Code

Josh and Drusilla are OBSESSED with The Ugly Stepsister. From wiki: “The Ugly Stepsister (Norwegian: Den Stygge Stesøsteren) is a 2025 Norwegian-speaking satirical[3][4] dark comedy[5] body horror[6][7] film written and directed by Emilie Blichfeldt (in her directorial debut). The film, starring Lea Myren, Thea Sofie Loch Næss, Ane Dahl Torp, and Flo Fagerli, making use of the motif of the fairy tale "Cinderella", retells a twisted story of Elvira, who competes against her beautiful stepsister in a bloody battle for beauty. It premiered at the Sundance Film Festival on 23 January 2025, where it opened the Midnight Section.” Also discussed: Hitchcock's Rope, trauma dumping on friends, movies that feel like plays, classic queer cinema and the Hays Code, Alice Wu's Saving Face, 90s lesbian films, pretty privilege, and more.  NEXT WEEK: Dr. Caligari (1989) Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/‪@sisterhyde.bsky.social Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

1947's Crossfire, directed by Edward Dmytryk, is based on the novel The Brick Foxhole by Richard Brooks.  In Brooks' novel, a gay man is murdered by a soldier on leave but the film had to adhere to a Hays Code which didn't allow for depictions of homosexuality so anti-Jewish sentiment became the reason for the killing.  Ironically, it was the film's theme of anti-semitism that put it's makers in the crosshairs of Senator Joseph McCarthy's anti-communist HUAC hearings.  It's director and writer John Paxton ended in prison for their views.  The film stars the Robert dream team of Robert Ryan, Robert Young and Robert Mitchum. Dan and Vicky discuss the noir thriller and lots of recently seen including Babygirl, The Damned, Thunderbolts, Nonnas, Lilo and Stitch, horror classics (!) Nekromantick and Nekromantick 2 and comedian Mateo Lane. Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

A new book explores the perseverance of queer cinema between the 1930s and 1960s, when Hollywood was subject to the restrictive Motion Picture Production Code, otherwise known as the Hays Code. Michael Koresky, author and editorial director for the Museum of the Moving Image, joins us to discuss Sick and Dirty: Hollywood's Gay Golden Age and the Making of Modern Queerness.

Craig Dehut is a film school graduate and CEO of Appian Media. Appian Media has produced multiple documentary series filmed on location in Israel, Turkey, Egypt, and Jordan. All their content is available free to watch and serves as a valuable resource for families, teachers, and preachers seeking biblically accurate content with high production values.Craig and I talked about how Hollywood influences the culture, sometimes in subtle ways, and how families can fight back. Today, most people would agree when you say Hollywood is corrupting the culture. But this attitude is fairly recent. The mask has dropped. Hollywood's agenda has become obvious.But they have had an agenda for a long, long time. Far longer than most people would like to admit.Hollywood's InfluenceThe American movie industry operated under the Hays Code, a moral code that governed what could be shown in films. Portrayals of the family, profanity, sex, violence, and more were all regulated.Eventually, a theater agreed to show a movie with profanity. And nothing bad happened. No mechanism exists to actually enforce the code.Explicit portrayals of evil, sex, violence, and more aren't the only ways movies can negatively affect viewers. More skilled filmmakers know how to get people to feel a certain way. Audiences might reject something if stated outright, but gradually accept the same idea if it is skillfully embedded in a story.Some examples:* Creating morally gray protagonists so viewers justify questionable actions* Using visual techniques like color to evoke specific emotions without viewers realizing what's happening* Employing camera angles, music, and editing to manipulate audience feelingsHow Families Can Respond* Acknowledge the influence: Recognize that media does affect you and your children.* Research before watching: Use resources like Common Sense Media and Kids in Mind to evaluate content before viewing. Don't trust their overall judgement. Really dig into the details, because they're threshold of appropriateness is probably different than your own. Do not trust by default.* Consider filtering services: Platforms like VidAngel and Clearplay can help filter objectionable content from films. Take sovereignty over your entertainment choices.* Create better alternatives: Instead of just criticizing, learn the skills to create high-quality media that communicates biblical truth. Check out resources like Tomorrow's Filmmakers.* Engage critically: Have conversations with your children about the messages in media, asking what lessons they learned and discussing the worldview being presented.* Ask the right questions: Instead of just asking "Is there anything bad in this?", ask "Is there something good, noble, trustworthy and praiseworthy in this content?" (referencing Philippians 4:8)We also make some recommendations on what media to watch. Take this seriously. You wouldn't just grab random things from the grocery store to stuff into your mouth. Treat your media consumption with the same gravity. Stories feed your soul. Don't force-feed it poison or junk food.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.foundationfather.com/subscribe

For our half century, a film that is approaching its whole century. It Happened One Night Year: 1934 Screenplay by: Robert Riskin Based on the short story by: Samuel Hopkins Adams Directed by: Frank Capra Stars: Clark Gable, Claudette Colbert Show notes: With the exception of a couple of non-consensual slaps, the words “shut up” and the title (which we think is silly), there is really nothing we would change about this 92-year-old film. We hope you enjoy it as much as we did! If you would like to skip the plot summary for this month's film, it begins about 7 minutes into the episode and finishes about 18 minutes in. In this episode we mention the films: The Philadelphia Story (1940) (https://www.imdb.com/title/tt0032904/) Father of the Bride (1950) (https://www.imdb.com/title/tt0042451/) When Harry Met Sally* (1989) (https://www.imdb.com/title/tt0098635/) Overboard (1987) (https://www.imdb.com/title/tt0093693/) Runaway Bride (1999) (https://www.imdb.com/title/tt0163187/) Far and Away (1992) (https://www.imdb.com/title/tt0104231/) Gone with the Wind (1939) (https://www.imdb.com/title/tt0031381/) Fire Island* (2022) (https://www.imdb.com/title/tt15218000/) *These films have previously been featured on the podcast. You can read more about the Hays Code on Wikipedia here: https://en.wikipedia.org/wiki/Hays_Code And you can find the trapeze song on YouTube here: https://www.youtube.com/watch?v=7bWU1ezHLI0  Next month we are going to be talking about The Wedding Banquet (2025) (https://www.imdb.com/title/tt32214413/)  If you would like to suggest films for future episodes, you can tweet Lisa: @LisaStowaway. We record these episodes over the internet. Sometimes the audio is not perfect. We apologise for that.  Music in this episode is by Martin Zaltz Austwick (martinzalzaustwick.com). Artwork is by Lisa Findley. Thank you for listening! 

Read Her Career Outlasted the Hays Code: Kathryn Scola Read about more women from early Hollywood   Related posts: Writing Successful Films into her 60s? Zelda Sears Did It! – Dr. Rosanne Welch, Script Magazine, March 2024 So Much More than Merely Her Chocolate Cake Recipe – Dr. Rosanne Welch, Script Magazine, February 2024 From Silents to Talkies to TV Lenore J. Coffee Did It All – Dr. Rosanne Welch, Script Magazine, November 2023

Today we're reviewing two films from a brutal, primitive time in humanity's past, when both politics and romance were conducted through violence: the early 20th Century! His Prehistoric Past (1914) and Clubs are Trump (1917) follow suspiciously similar plots in which Silent Era stars Charlie Chaplin, Harold Lloyd, and Snub Pollard dream of a simpler time when they could commit violent assaults unimpeded and sexually harass women. Get in touch with us:Bluesky: @sotsapodcast.bsky.socialFacebook: @SotSAPodcastLetterboxd: https://letterboxd.com/sotsa/Email: screensofthestoneage@gmail.comIn this episode:Watch His Prehistoric Past (1914) on YouTube: https://www.youtube.com/watch?v=4iOVyT2rz6c Watch Clubs are Trump (1917) on YouTube: https://www.youtube.com/watch?v=-vJWimG0AOI Victorian Calling Cards: https://hobancards.com/blogs/thoughts-and-curiosities/calling-cards-and-visiting-cards-brief-history The Truth about “Caveman Courtship”: https://daily.jstor.org/the-truth-about-caveman-courtship/ Timeline of Human Fossil Discoveries: https://australian.museum/learn/science/human-evolution/a-timeline-of-fossil-discoveries/ Piltdown Man: https://www.sciencehistory.org/stories/magazine/the-problem-of-piltdown-man/ Archaeoraptor fossil hoax: https://www.cbc.ca/news/science/fake-dino-bird-explained-1.274812 Cheetah fossil hoax: https://evolutionnews.org/2023/06/fossil-friday-the-oldest-cheetah-was-yet-another-fraud/ The scientific hoax that rocked Japan: https://spyscape.com/article/the-man-who-forged-ancient-artifacts The Hays Code: https://www.npr.org/2008/08/08/93301189/remembering-hollywoods-hays-code-40-years-on Winnipeg 1920 exhibit at the Manitoba Museum: https://manitobamuseum.ca/step-into-the-past-winnipeg-1920/

In this week's episode, I take a look at the movies and streaming shows I watched in winter 2024/2025, and share my opinions on them. I also take a look at my ebook advertising results from January 2025. This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book #3 in the Half-Elven Thief series, (as excellently narrated by Leanne Woodward) at my Payhip store: PALADIN50 The coupon code is valid through February 28, 2025. So if you need a new audiobook for the bad February weather, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 238 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February 7, 2025 and today we are discussing the movies and streaming shows I watched in Winter 2024 and 2025. Before that, we will do Coupon of the Week, an update on my current writing projects, Question of the Week, and my ad results from January 2025.   First, let's start with Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Half-Orc Paladin, Book Three in the Half-Elven Thief Series (as excellently narrated by Leanne Woodward) at my Payhip store. That coupon code is PALADIN50. This coupon code will be valid through February the 28th, 2025, so if you need a new audiobook to get you through the bad February weather, we have got you covered.   Now for an update on my current writing and audiobook projects. As I mentioned last week, Shield of Deception is now out and you can get it at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords and my Payhip store. It is doing quite well. Thank you all for that. I hope you enjoy the book and I've been hearing good things about it from people who read it.   Now that Shield of Deception is done, my main project is now Ghost in the Assembly and I am 36,000 words into it as of this recording, which puts me almost on Chapter 8 of 21. So I'm about one third of the way through the rough draft, give or take. If all goes well. I'm hoping that book will be out in March. My secondary project is Shield of Battle, which is the sequel to Shield of Deception and I am about 2,000 words into that. I'm also 50,000 words into what will be the third and final Stealth and Spells book, Stealth and Spells Online: Final Quest. It was originally named Reactant, but I decided to change the name to Final Quest because that sounds better and if all goes well, that will probably be out in the middle of the year, give or take.   In audiobook news, Cloak of Masks (as excellently narrated by Hollis McCarthy) is now out at all audio stores, including Audible, so you can listen to that there. Work is almost done on Cloak of Dragonfire. It's being proof-listened to as I record this and hopefully that should be out before too much longer. So that is where I'm at with my current writing and audiobook projects.   00:02:19 Question of the Week   Next up is Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's topic, which ties into our main topic: what was the favorite movie you saw in 2024? No wrong answers, obviously (including “I hate everything I saw in 2024”). We have a few responses for this.   JD says: It was either Transformers One or Deadpool and Wolverine.   Mary says: I didn't see any movies in 2024.   Doug says: Dune was one of the books I read in the ‘70s. Like your books, I never got enough back then. I was buying Hardcovers. I still have six of them. I have seen the two versions of the books. Can't wait to see this version of the books. I have seen the first movies. Hope to see more.   David says: Godzilla versus Kong was pretty much the only one from last year I saw. I just bought Gladiator 2 but haven't watched it yet.   Davette says: I enjoyed both Dune 2 and The Fall Guy and Inside Out 2 and Deadpool and Wolverine. My favorite was Wicked, mainly because I've been waiting on that movie for years.   Bonnie says: I haven't seen any movies or watched TV in years.   For myself, I think it would be a tie for my favorite movie of 2024 for between Dune 2 and The Fall Guy. The two Dune movies, for all the stuff they changed from the book, are probably the most faithful adaptation it was possible to make with that very dense and very weird book. I thought The Fall Guy was just hilarious and I had no idea it was based on TV series from the ‘80s until I read up about it on the Internet after I saw the movie. It was interesting that we didn't have very many responses to this question the week and of those responses, one third of them was “I didn't see any movies in 2024.” So if the movie industry is wondering why it's in so much trouble, I think we might have just found the answer here in that nobody wants to go to see movies in the theater anymore.   00:04:09 Ad Results for January 2025 Now onto our next topic, how my ads performed in January 2025. Now as usual for my books in January, I used Facebook ads, Amazon ads, and BookBub ads, so let's break them down by category- first, by Facebook ads. As usual, I advertised The Ghosts and Cloak Games/Cloak Mage.   GHOSTS: $4.08 for every dollar, with 22% of the profit coming from the audiobooks.   CLOAK GAMES/MAGE: $3.38 for every dollar, with 6% of the profit coming from the audiobooks. So that went pretty well. I'm hoping that percentage will go up once Cloak of Dragonfire is done and we can put together Cloak Mage Omnibus Three.   I also did some Amazon ads – specifically for HALF-ELVEN THIEF, STEALTH & SPELLS ONLINE: CREATION, and THE LINUX COMMAND LINE BEGINNERS GUIDE.   Remember, for an Amazon ad to be effective, it usually needs to be generating at least one sale for every eight clicks on the ads.   HALF-ELVEN THIEF: $4.65 for every dollar spent, 1.85 sales for every click. It's just an amazing ratio-thank you for that.   STEALTH & SPELLS ONLINE: CREATION: Lost $0.15 for every dollar spent, 1 sale for every 4.76 clicks.   THE LINUX COMMAND LINE BEGINNER'S GUIDE: $3.16 for every dollar spent, 33% of the profit from audio, 1.34 sales for every click.   The standout was HALF-ELVEN THIEF, which actually had more sales than clicks on the ads. That hardly ever happens!   You can see there's a reason I'm going to conclude STEALTH & SPELLS with the third book, because it just doesn't sell well. All of the advertising experiments I have tried to make it sell well have not responded to date. That said, we did improve from December, where I only got a sale for every 14 clicks.   Additionally, Amazon ads work really well with nonfiction books, since they respond a lot better to keyword ads.   Finally, I used Bookbub ads for THE GHOSTS on Apple. That went pretty well.   THE GHOSTS: $4 for every $1 spent.   So, all in all, a pretty good month for ads, though STEALTH & SPELLS remains the weak point. As always everyone, thank you for buying the books and listening to the audiobooks.   00:06:50 Main Topic: Movie/TV Show Reviews of Winter 2024/Early Winter 2025 Now onto our main topic, the movies and streaming shows I watched in Winter 2024 and early winter 2025. As always, my ratings are totally subjective and based on nothing more concrete than my own opinions.   Our first one is Red One, which came out in 2024. This was a strange mashup of genres, a holiday movie, urban fantasy, a thriller, and just a little bit of existential horror. Dwayne “The Rock” Johnson plays Callum Drift, who is the head of Santa Claus's security. Meanwhile, Chris Evans plays an unscrupulous hacker and thief named Jack O'Malley. Jack unwittingly helps unknown malefactors kidnap Santa Claus and so Callum and Jack have to team up to rescue Santa from his kidnappers. This sounds like a lighthearted holiday movie, but it really isn't. The movie is rather dour and takes itself very seriously. Callum acts like he's in a Jason Bourne movie and deals with various supernatural creatures like a special forces operator assessing targets. Additionally, there are some urban fantasy elements with the vast government agency dedicated to hiding the supernatural world from normal people. I don't think the dissonance really worked at all. It had pieces of a light holiday movie and pieces of a thriller and they really didn't mesh. It's not hard to see why this one didn't do well in the theaters, on top of its enormous budget. Overall Grade: D (In the spirit of Christmas generosity)   Next up is Argylle, which came out in 2024. This was a dumb movie, but I enjoyed it, kind of like Murder Mystery with Adam Sandler and Jennifer Aniston on Netflix. I mean that wasn't exactly Shakespeare or Milton, but I would be lying if I said I didn't enjoy myself while watching it. Same thing applies to Argylle. The plot is that the protagonist Ellie Conway is a bestselling spy novelist. Ellie is a bit of an eccentric personality and travels everywhere with her cat in a backpack that has a window in it so the cat can see what's going on. However, it turns out that Ellie's novels are accurately predicting events in real life espionage, so several sinister spy agencies are hunting her down to learn her secret. A spy named Aidan saves Ellie, claiming that he's the only one she can trust. Of course, this is the kind of movie that has a shocking betrayal and plot twist every eight minutes or so, and the revelation of the central twist made me face palm a bit. There is a fight scene at the end involving colored smoke that's absolutely bonkers. It was on Apple Plus or Apple TV or whatever it's called, but that means all the characters did all their computing on shiny new Apple devices, which is always amusing. Overall Grade: D+ (but barely)   Next up is Venom: The Last Dance, which came out in 2024. It wasn't as good as the first two since so many of the characters did not return, but it brought the Venom Trilogy to a mostly satisfying conclusion. Eddie Brock and Venom are on the run after the events of Venom: Let There Be Carnage. Unbeknownst to either of them, the US government has a secret facility holding captured symbiant aliens and the agency that runs the facility is hunting for them. Unbeknownst to the US government, the creator of the symbiotes, an evil entity named Knull is preparing to escape his prison and to do that, he needs Eddie/Venom delivered to him alive, so he dispatches his creatures to Earth hunt down Eddie and Venom, with disastrous results. The best part of the movie was the comedic duo of Eddie and Venom since the movie takes the absurdity of their situation and leans into it. Overall Grade: B- Next up is the Lord of the Rings: The War of the Rohirrim, which came out in 2024. I read an interview with Brandon Sanderson where he said that a big part of the problem with movie adaptations of books is that the filmmakers often want to tell their own story, not the books'. So they basically used the book as a framework for telling their own story, which inevitably annoys the readers of the book. I suspect that was what happened with The War of the Rohirrim. This movie was a mixture of strong points and weaknesses. Apparently it only exists because New Line needed to put out something or they'd lose film rights to Tolkien's stuff, and so The War of the Rohirrim was fast-tracked.   The strong points: the animation looked pretty, the battle scenes were fun to watch, the voice performances were good, and the music was also good.   The weak points: it felt too long and slow-paced. I think a good half-hour could have been cut of the characters looking pensive and thoughtful (and saved the animators a lot of work in the process). Additionally, I don't think the changes to the plot quite worked. It's based out of the Appendices of The Lord of the Rings, specifically the history of Rohan. In the book, the plot is touched off when the corrupt Lord Freca demands that King Helm's daughter Hera marry Freca's son Wulf. Helm takes exception to this and ends up killing Freca. His son Wulf swears vengeance, gathers an army from Rohan's enemies, and sets out to seize the crown for himself. In the book, Helm's sons are killed, and Helm himself dies in the defense of the Hornburg (which later becomes known as Helm's Deep), but his nephew Frealof gathers an army, kills Wulf, and becomes the new king of Rohan.   That would have been perfectly good for the plot, but as we mentioned above, I think the screenwriters decided they wanted to write about a Strong Female Character, so they massively expanded Hera's part and made her the protagonist. The problem with this as an adaptation is that Hera is only mentioned once in the book, so the script has to make up a lot of extra stuff to justify Hera's presence, which always weakens an adaptation of a book. This version of Hera would have been in danger of becoming a stereotypical #girlboss character, but she acts more like a Japanese anime protagonist, which does work better in this sort of movie than an Americanized Strong Female Character.   So, in the end, not a bad movie, but I think it would have worked better if they had stuck closer to the original plot in the book. Overall Grade: B-   Next up is Golden Era, which came out in 2022. This is a documentary about the making of the classic Nintendo 64 game Goldeneye and the company behind it. Until I watched this, I never knew that Rare, the company that made Goldeneye, was based in the UK.   I admit I really didn't play Goldeneye back in the ‘90s and early ‘00s. I did a few times at various social events, but I never really got into it since I didn't own a game console from 1998 to 2019. Nonetheless, Goldeneye was a very influential game that left its mark on all first-person shooter games since. The documentary interviews most of the people who were involved in the making of Goldeneye, and it was fascinating to see how they more or less accidentally created a genre-defining game.   If you enjoyed Goldeneye or are interested in video game history at all, the documentary is worth watching. After many years of official unavailability, Goldeneye is now available on Nintendo Switch and Xbox, so I may have to give it a try. Overall grade: B     Next up is Wonka, which came out in 2023. I didn't really intend to watch this, but it was on in the background while I was playing Starfield…and Starfield has a lot of loading screens. This movie wasn't made for me, not even remotely, but I thought it was a competently executed example of a movie musical.   Anyway, the plot revolves around a young Willy Wonka coming to a city that seems like a weird hybrid between Paris and New York. Wonka sets out to start selling his innovative chocolates, but soon runs into stiff opposition from the corrupt local candy industry, the corrupt local police chief, and his equally corrupt landlady, who has somehow transitioned from hospitality to luring people into debt slavery. Wonka makes allies from his fellow indentured workers, and soon he is conducting local chocolate manufacturing like a heist.   Like I said, this really wasn't made for me, and I'm sure people who actually like musicals would have many more detailed opinions. But this had some genuinely funny bits. Hugh Grant as an Oompa Loompa was hilarious, and so was Rowan Atkinson as a corrupt bishop. The best line: “Judgment has come…in a most unexpected form!” Overall grade: B     Next up is Man on the Inside, which came out in 2024, and this is a Netflix comedy series from Mike Schur, who created Parks and Recreation, The Good Place and Brooklyn 99. To describe this show, think of a meditation about accepting the inevitability of aging and death through Schur's comedic style, and you'll be there.   Anyway, Ted Danson stars as a recently widowed retired professor of engineering named Charles. His daughter is worried that he's not handling things well and becoming too isolated, so suggests that he find a hobby. Charles answers a classified ad for an “older man who can use technology” and finds himself recruited by a private investigator named Julie. Julie's company has been hired to find a thief within a retirement home, and Julie is about 35 years too young to convincingly infiltrate a retirement home. Hence, Charles pretends to be a new resident, and finds himself befriending the residents he is supposed to investigate. All the while, he tries to deal with the remaining grief from his wife's death, which he never got around to processing in the moment.   In my opinion, The Good Place and Brooklyn 99 both kind of fell apart in their final seasons, but Man on the Inside avoids that in its final episodes, providing good resolution to both the conflict and the emotional stakes. I thought it was both bittersweet and quite funny, and I approve that there's going to be a 2nd season. Overall grade: B   Next up is Minted, which came out in 2023, and this was an interesting documentary about the rise in the fall of the NFT, which in the early 2020s we were assured was going to be the next big thing, but it just turned out to be yet another scam.   The documentary follows an interesting course, first explaining what an NFT is, and then interviewing artists who made life-changing money from minting their early NFTS. But then the speculators arrived, and followed swiftly by the scammers. As of 2025, of course, NFTs are quite worthless, like so many much-vaunted Web 3.0 style technologies.   I think the documentary's biggest weakness was assuming that NFT technology was around to stay and would find a use that would help artists. I agree that it's around to stay, but I don't think it adds value to anything at all. Nevertheless, an interesting look into the NFT fad and the impact it had on artists. Overall grade: B     Next up is Gladiator 2, which came out in 2024. This is basically the same movie as the original Gladiator, just reshuffled a bit and with twenty years of improved technology. The main character Hanno is a soldier in an African city that rebels against Rome. After the rebellion is inevitably crushed, he is taken as a slave and ends up as a gladiator in Rome, determined to take his vengeance on the Roman general who ordered the death of his wife. However, the general was only carrying out the orders of the insane twin emperors Geta and Caracalla. For that matter, Hanno's owner, the charming and affable Macrinus, has his own agenda. As Hanno seeks revenge, he finds himself drawn into the deadly game of imperial politics and must confront the secrets of his own past.   The movie is only very vaguely accurate in terms of history, but it does a good job of capturing the corruption and decadence of the Roman Empire at that time. The empire was in very bad shape, and in fact was only a few years from what historians call the Crisis of the Third Century, a fifty year period of continual civil war, assassination, usurpation, and economic meltdown that resulted in the empire breaking into three separate states for about fifteen years. Everyone knows that the Roman Empire fell in 476 AD, but it very nearly didn't make it even to 300 AD. So the ending of Gladiator 2 is a total fantasy, like one of those alt-history books where the Roman Empire ends up conquering the Americas or expanding into outer space.   That said, I enjoyed the movie. Denzel Washington, Pedro Pascal, and Connie Nielsen in particular gave very good performances, with Denzel Washington's Macrinus as the standout. Overall grade: B Next up is High Sierra, which came out in 1941, and this is 1940s true crime grimdark. A common misconception is that black and white films are generally more sanitized and saccharine than modern fare. This definitely isn't true – there wasn't any gratuitous violence and nudity in ‘40s movies, but some of them were very cynical and dark. High Sierra definitely falls into that category. Humphrey Bogart plays Roy Earle, a bank robber currently in Indiana state prison. His former boss Big Mac arranges a pardon for him, and brings him out to California for one last big job.   Unfortunately, the other people on Earle's crew are idiots, and he has a growing sense of impending disaster. Additionally, Earle gets emotionally entangled with two women – Velma, a sick woman from his hometown, and Marie, a woman inured to the lifestyle of criminals. As Earle prepares for the job and attempts to deal with the two women, things get more and more complicated. Definitely on the darker side as I mentioned, but well worth watching, both as a historical artifact and a crime story in its own right. Overall grade: B+   Next is Star Trek: Lower Decks Season 5, which came out in 2024. Lower Decks is an example of a parody of a thing that is so good that it sort of loops around the horseshoe and becomes a good example of the thing it is parodying. Season 5 is the undeserved end to the very funny Lower Decks series. Paramount really, really wants to get purchased by Skydance, and that's probably going to happen in 2025, so there's a lot of clearing the decks at Paramount, and I expect Lower Decks was one of the casualties.   Then again, our protagonists are no longer lower deckers but junior officers, so perhaps it was a natural place to end the show. So Lower Decks went out pretty strong with a collection of funny and good episodes. All the characters experienced plot arcs and development. The lower deckers matured from the callow ensigns they were in Season 1, and the senior officers likewise experienced character growth and development. (I liked Commander Ransom's triumphant battle cry of “high intensity interval training!”)   I'd say the only weakness is that the show ended with multiverse stuff, and I don't like multiverse stuff in general. Still, the show made a compelling argument for the multiverse as a concept, and the multiverse plot did give an excuse to bring back various Trek actors for speaking parts. And, to be fair, Star Trek has been doing multiverse stuff long, long before the Marvel movies ran the concept into the ground – Captain Kirk was dealing with alternate universe stuff back in the 1960s.   The last episode was a satisfactory conclusion to the series. Lower Decks might be over, but once the Skydance acquisition settles down, maybe the character will return in a new show called Junior Officers? One can hope! Overall grade: B+   Next up is the Frasier reboot Season 2, which also came out in 2024. I liked this about as much as I liked Season 1, which is to say I enjoyed it and found it funny. Frasier's and his son Frederick's relationship seems to have reached equilibrium, so the season spent more time on more 1940s style screwball comedy, which is not a bad thing. Some of the best comedy remains the conflicts between Frasier and Frederick, which is of course an echo of Frasier's own conflicts with his father back in the original show in the 1990s.   I think the best episode was the return of Frasier's scheming, Machiavellian agent Bebe and her daughter Phoebe, who did not exactly fall far from the maternal apple tree. The 10-episode format for the season does seem rather cramped compared to the 20-ish episodes per season of the original show, but that was a different era.   Frasier remains, as one of the characters said in the previous season, the same well-meaning buffoon who goes “that extra, ill-advised mile.” I hope we get a Season 3, but with the shakeups we mentioned at Paramount, that seems unlikely. Overall grade: A-     Finally, let's close with the three best things I saw in Winter 2024/2025.   The first of my favorite three is Saturday Night, which came out in 2024. This is a biopic about the chaotic first night of Saturday Night Live back in the 1970s. Quite hilarious in a vicious sort of way, and (from what I understand) it accurately captures the sheer chaos of live TV. Of course, the chaos surrounding SNL is probably a bit higher than usual for standard live television.   After I watched it, I looked it up, and it seems the movie compresses about three months' worth of events into the hour and a half before the launch of the very first episode. What's amusing is that the more outlandish an event in the movie was, the more likely it was to have actually happened in the leadup to the show's launch. It was the mundane stuff that was made up, not the crazy stuff.   JK Simmons was hilarious as Milton Berle. Nowadays, SNL is an Institution, so it was amusing to see it back when everyone thought it was a bad idea that would fail catastrophically. The movie convincingly captured the “look” of the 1970s – all the characters looked like they were made of nicotine, cholesterol, and cocaine, and in some instances, a lot of cocaine. That stuff is bad for you, as several SNL stars later found out to their sorrow.   It really shows the randomness of history – watching the creation of SNL, you wouldn't expect it to have lasting cultural impact, but it did. Overall grade: A The second of my three favorite things I saw was The Thin Man, which came out in 1934. This is based on a novel by Dashiel Hammett (most famous for writing The Maltese Falcon), and was made pre-Hays Code, so the female lead tended to wear outfits that show off a bit more skin than you would otherwise expect in a 1930s movie. Interestingly, The Thin Man is a fusion of a noir detective movie and a screwball comedy, not two genres that are usually connected, and somehow it all works.   Anyway, the movie centers around detective Nick and his wife Nora, who have returned to New York after a four-year sojourn to California. Nick used to be a private detective, but then he married the wealthy Nora, and wanted to retire to a life of ease and parties with a lot of alcohol. Except everyone in New York assumes that Nick isn't retired and is back on the case, and so he gets dragged into the disappearance of an eccentric factory owner and a string of murders that pop up around it. Of course, Nick isn't as reluctant to come out of retirement as he pretends.   As is often the case in many movies made in the 1930s, many of the rich characters are shown as malicious buffoons, especially the factory owner's ex-wife. Nick and Nora, as the protagonists, are of course exempt from this.   This is considered a classic, and deservedly so – the characters are sharply drawn, the dialogue is good, the performances are excellent, the movie manages to portray a fairly complex plot in 90 minutes. You'll want to watch it with the captions on, of course, because while human nature may not have changed in the ninety years since this movie came out, audio technology has sure improved.   Fun fact: Nick and Nora's dog is named Asta, which is apparently a frequent answer in crossword puzzles due to the double vowels. Overall grade: A   Now, for the third of my three favorite things I saw in Winter 2024/2025, that would be Star Wars: Skeleton Crew, which came out in 2024. This is Star Wars meets The Goonies meets Pirates of the Caribbean, and despite that very odd combination of influences, the show was really quite good. The show opens on the idyllic planet of At Attin, which looks like an idealized version of 1980s suburbia filtered through Star Wars. Everyone on the planet has the same job – contributing to the Great Work (whatever that is). Since our four protagonists are kids, they don't pay much attention to that or the concerns of the adults. When one of the children discovers a derelict spaceship in the woods, they accidentally activate it and fly off-planet.   This is a problem because At Attin is protected by a Barrier that doesn't allow travel, and the galaxy is a dangerous place with a lot of pirate gangs roaming around looking for prey. However, the children fall in with Jod, who claims to be a Jedi who will help the kids get back to their home. Everyone they meet warns them that Jod is a con artist and not to be trusted, but he demonstrates Force powers again and again (which would seem to support his claim that he's a Jedi). And the kids' home of At Attin has a mysterious secret, one that Jod desperately wants to claim for himself.   This is very entertaining all the way through. Star Wars really works best as a kids' adventure show (in my opinion), though I'm still looking forward to the second season of Andor, which is Star Wars crossed with a John le Carre spy thriller. Overall grade: A     So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

As usual there are spoilers ahead! Description Forbidden Planet (1956) is a somewhat overlooked 50s classic. Although it often fails to make lists of the greatest sci-fi films of all time it has come across often in my written research and when speaking to guests. It's a film that not only seems to excite avid fans of sci-fi cinema but also influenced some of the genre's heavy hitters like both Star Wars and Star Trek. A costly, slick, colourful movie which takes a break from the red scare themes and invites us to delve into the dangers of the human mind. We mention Isaac Asimov's Three Laws of Robotics in the episode which are: 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. The fourth law also known as Law Zero or Zeroth Law is: A robot cannot cause harm to mankind or, by inaction, allow mankind to come to harm.I have two amazing guests to help unravel the threads in this space opera. The ExpertsJay Telotte is Professor Emeritus of film and media studies at Georgia Tech. He has written/edited numerous books and articles about science fiction film including the 2023 book Selling Science Fiction Cinema. Glyn Morgan is Curatorial Lead at the Science Museum in London and a science fiction scholar. Chapters 00:00 Introduction to the film, some historical context and the guests 02:25 The impact of Forbidden Planet 07:56 MGM does big budget sci-fi 13:52 Robby the Robot: a new type of robot and Asimov's laws 22:02 Special effects 23:15 Altaira: miniskirts, the Hays Code and sexism 32:44 The monster: Disney, the id and technological hubris 38:01 The sound of electronic music: Bebe and Louis Barron's breakthrough 43:50 The legacy of Forbidden Planet 50:09 Recommendations for the listenersNEXT EPISODE! The next episode we will focus on The Incredible Shrinking Man. You can buy or rent the 1956 film from many outlets or check the Just Watch website to see where it may be streaming in your region. It is worth checking platforms like Tubi and Pluto if they are available. 

The Big Daddy of movies, Citizen Kane! We get into the most celebrated film of all time, as well as peeping werewolves, proto-Brooks/Zucker Bros comedy, formative film noir, Hays Code horniness, nostalgic coal mines, and jewel stealing robots! You can watch along with our video version of the episode here on YouTube!You can check out our Instagram, Twitter, and other social media crap here: http://linktr.ee/1w1yAnd you can watch and form your own opinions from our 1941 Films Discussed playlist right here!See you next year!

It is my heart-warm and world-embracing Christmas hope and aspiration that all of us, the high, the low, the rich, the poor, the admired, the despised, the loved, the hated, the civilized, the savage, may eventually be gathered together in a heaven of everlasting rest and peace and bliss, except the inventor of the telephone.Mark Twain - Letter to the Editor, New York Evening World, 23 December 1890If you grow up on the Left, you grow up without religion. After the counterculture movement split from conventional religion in the 1960s, we'd done everything we knew how to do to fill up the eternal emptiness that had us chasing everything from sex, drugs, and rock n' roll, cults in the 1970s, gurus, and ashrams, the self-help movement, the mental health movement, and eventually, we ended up back where we started.We “found religion,” but this time as the politics of identity, where our happiness depended on how we solved the problems of society, like racism, homophobia, transphobia, misogyny, and climate change. It came from needing to feel good about ourselves and our world, but it was followed by anger and resentment when we could not convert the entire country to our way of life.The truth about the Left is that they know no other way of life. This was the problem for the Southerners after the Civil War. They, too, knew no other way of life and could not evolve out of their hatred, fear, and hysteria. All they could do was preserve it by banishing those who threatened it. I wish I could say I've come out of these past several years with a renewed faith in humanity. The truth is exactly the opposite. What I saw was what collective hatred, fear, and tribalism can do to otherwise decent people. I saw what we're all capable of when our power is threatened. I saw how easy it is to go along with the crowd, even when what they're doing is wrong.I always thought the people I called my heroes were made of tougher stuff. Better stuff. Kinder stuff. I always thought my side was the side of the good guys who would be immune to group dehumanization. I also did I think we would ever be the ruling class aristocracy sneering at the middle and working class, gathering all of our culture, wealth, and institutions, and hogging them for ourselves.Now that the empire is in collapse, those with all of the power are scrambling, not just to explain it but as a way to get back some of what's been taken. Good luck with that one. Take yet another agonizing, unbearable column by your typical Leftist elite, Jill Filipovic, writing for The Guardian:Worse than what, Jill? Indoctrinating children to choose their genders, then surgically or chemically sterilizing them? Or does it just come down to immigrants and their right to cross the border illegally by the millions, their safety, and our safety be damned? Corruption? You mean like government censorship on a laptop or covering up the mental incapacity of the Commander in Chief for four years? Weaponizing the Department of Justice? Immorality? Like what exactly? Lying to the public via the propaganda press? Calling half the country “garbage” or “White Supremacists” or “Nazis”? And what rights? The right to have an opinion without losing your job, status, or social standing? Your right to play in sports as a biological female without having to compete with biological men? Oh, of course not. She means abortion, as usual. Honey, if you want an abortion, there's a pop-up clinic down the street. People like Jill examine half the country as insects in a jar, watching how they behave in tightly confined spaces, how they respond to being called racists, or how they are de-banked or canceled off of social media. It's fun, right? To watch the insects get stressed and claw at the glass for a way out? The disgust drips from every word, even as she tries to make nice-nice, now that her ass has been handed to her in a historic, humiliating defeat.Trump won again, Jill. Eat that for breakfast. It isn't you people who have to learn to tolerate Trump voters. It's you who have to apologize to them for what you've done not only to them but to this country. You have destroyed every great thing you ever built, and listen to you now, pretending you still have the moral high ground. She then tries to explain why she's writing this at all:To paraphrase a line from Carrie, “Shut up, Jill. Just shut up.”These are the kinds of people I used to call home. I knew them, mingled with them, read them, RT'd them and was Facebook friends with them. Now, they terrify me. They are the banality of evil. They are the side that would go along with segregation, even if they'll never admit it. They're the side that would lock arms as the Jews were carted off to camps, and no, they'll never see themselves that way. She writes:Oh, poor deluded Jill. She has no idea what just happened, does she? It would do her a world of good to start opening her mind to reality, escape the fear bunker, and start interfacing with the truth. She should read David Samuels' piece in Tablet, one I'll be writing about in more depth for my next piece: “Trump's head turn was a perfect example of an event that has no explanation outside the favor of the gods, or whatever modern equivalent involving wind factors and directional probabilities you might prefer to the word “God.” Trump was fated to win, just as Achilles was fated to overcome Hector, because the gods, or if you prefer the forces of cosmic randomness, were on his side, on that day, at that moment. That move not only saved his life by allowing him to escape an assassin's bullet; it revitalized his chi and set in motion a series of subsequent events that generated a reordering of the entire world.”“You can't stop what's coming. It ain't all waiting on you. That's vanity.”A Christmas StoryI was always the first to wake up on Christmas morning. It was almost like a job. I'd scramble into the living room before the sun even came up to gaze upon the abundance of treasures beneath the Christmas tree. I never believed Santa was real, but those presents got there somehow. It was my grandmother who enlisted my older sister to help her wrap all of the presents after the rest of us had gone to sleep. It was a magic trick she performed every Christmas to keep the illusion of Santa alive in our imaginations.She thought she had us fooled. We let her pretend. It didn't matter because every Christmas morning was a rare moment of pure joy. One after the other, we'd tear through the presents, not waiting for each person to finish before moving on to the next. Pure carnage but oh what fun. I never really thought much about what Christmas really means until recently. If it is only about driving the economy or buying stuff, then it isn't worth celebrating. But if it is about something much bigger than ourselves, a way to unify us as one people under God, well, then it means something.I began thinking back on my life, on my childhood, and how religion fit into it. Most movies during the Hays Code era (before the 1960s and 1970s) were infused with Christian ideology, especially Christmas movies. And why wouldn't they be? George Bailey prays in It's a Wonderful Life, and an angel shows up to answer his prayers. In A Charlie Brown Christmas, they sing about the “Newborn King,” who is, of course, Jesus. We all used to share that as a country. It was a thread that united us, along with being American citizens. We all watched these movies because we understood the foundational principles of what made America. That isn't true anymore. To even reference religion, as I'm doing now, is practically a revolutionary act. There is a new religion in town, a fundamentalist one that offers no path to redemption or forgiveness and demands total compliance or else.What does any of it mean to us now? Is it really just about the list of things we buy? Is it about the movies we all treasure every year? Is it about what unites us, not what divides us? Is it about something bigger than ourselves? Are we still even allowed to say “Merry Christmas?” I don't have the answers; I just know that I was raised by a devout atheist who hated religion, and thus, I never thought about Christmas other than as a way to give things and get things. But now, thanks to my four years of getting to know Trump supporters, I see that and many other things differently. I wandered out of darkness and despair toward what looked like a golden light of hope and optimism, surrounded by people our ruling class deemed “dangerous” at best and “human garbage” at worst. I knew every step that brought me closer to them would be one more step that separated me from everyone and everything else.As I've written so often here, it was another Christmas movie, maybe the best one, that reminded me of what happened to me. It was The Grinch Who Stole Christmas. The moral of that story is that you can't steal Christmas. It isn't something you can buy or attain. It isn't even something you can give. That's why the Whos in Whoville are still celebrating and singing even after the Grinch takes away every last symbol of Christmas. He couldn't take away the one thing that mattered most - what was in the hearts and minds of those celebrating.I can't call myself a Christian or even a person of faith. I lean in, and that's farther than I did before. But I also know I have learned the same lesson the Grinch did. I saw people abandoned by our political establishment, institutions, and culture - people who should have been angry and bitter. But they weren't. They were happy. That's how my heart grew and why I think differently about Christmas now.It wasn't Trump supporters who demanded I pick a side—it was the Left. They have imagined an unbearable reality for most of us. Perhaps it comforts people like Jill Filipovic, but for the rest of us, we choose the better way, one that values forgiveness, redemption, and humility. And one that allows us to say, even shout, Merry Christmas. So thank you, dear readers. When I say you saved me, I really mean it. You did. There, but for the Grace of God, Go I. // This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sashastone.substack.com/subscribe

Moody Movies: Sunset Boulevard (1950), What Ever Happened To Baby Jane? (1962), Cabaret (1972), and Paris Is Burning (1990)Welcome to The Rad Wrap: a series on series, where Kylie (not a doctor) and Elliott (not a doctor) explore films with a common thread. In this episode, they are joined by K.D. Burton (a doctor), a professor of history, to discuss their curated series: Queering The Culture. Along the way, the three think about what it means to survive (and how different doctors help us do it), consider just what exactly "camp" is, celebrate post-Hays Code queer revelry, and insist that it isn't enough to celebrate if you're not also fighting for community. Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Writer and podcaster Carvell Wallace joins co-hosts V.V. Ganeshananthan and Whitney Terrell to discuss finding his way to the understanding that life is lived on a continuum and is not made up of neat endings and beginnings. He talks about how his childhood experiences with poverty, housing insecurity, and a frustrated creative genius of a single mother prepared him to understand the world. Wallace also discusses his expansive, generous approach to writing about both people he knows and loves and those he's profiling as a journalist. He reads from his new memoir Another Word for Love. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/ This episode of the podcast was produced by Anne Kniggendorf. Carvell Wallace Another Word for Love Others: Life is Elsewhere by Milan Kundera Marilynne Robinson Easy Rider “Remembering Hollywood's Hays Code, 40 Years On” | All Things Considered, NPR | August 8, 2008 James Alan McPherson Learn more about your ad choices. Visit megaphone.fm/adchoices

Do You Expect Us To Talk? returns with more Hitchcock in its "Women... don't trust your husbands" series. Suspicionfeatures a young woman (Joan Fontaine) who marries a cad (Cary Grant), whose behavior escalates from reckless and selfish to something far more suspicious. Is she overthinking things, or could he actually be trying to murder her? Join Becca, Chris, and Dave as we discuss what Quentin Tarantino thinks about Hitchcock, how this film might work today outside the constraints of the Hays Code, just how much of a jerk Cary Grant's character is, and whether Joan Fontaine will ever learn. You can follow Becca, Chris, and Dave on Twitter/X. You can also find us on iTunes, Spotify, Podbean, and YouTube—just search for us. If you enjoy our content, leave us a lovely review! It helps us grow. And if that's not enough, you can follow us on X (formerly Twitter) and like us on Facebook. Do You Expect Us To Talk will return with Saboteur.

Send us a textDETECTIVE STORYSeason 13's 4x4 has reached its 1/2way point with our 9th of 16 movies and a new director, provisional co-host Ryan's pick of the 15-time Academy Award-nominated, 3-time Oscar-winning director William Wyler. This week, we cover the first of Ryan's four curated Wyler flicks DETECTIVE STORY (1951).  Up for four Academy Awards, including Best Director, but winning none, Detective Story was Wyler's 22nd talkie and his earliest we're covering the for the pod (the directorial powerhouse also shot about thirty silent films prior the talkies and two documentaries during WWII when he enlisted in the U.S. Army Air Forces). Like many of Wyler's works, the picture was adapted from a successful contemporary play and stars Kirk Douglas (Spartacus nine years later) in the main role of Detective Jim McLeod with stage roles reprised both by Joseph Wiseman (Dr. No eleven years later) as a booked burglar who goes (SPOILER) for a gun and by Lee Grant (featured on TGTPTU seventy-two years later and amazing always) as a flighty shoplifter in a performance that would win her Best Actress at Cannes.   As a play adaptation, Detective Story is staged almost as a bottle movie, escaping its second-floor New York City precinct set only to introduce main characters in the opening minutes and for an aborted car ride. Speaking of abortion, the film's creative team couldn't under the Hays Code. This silencing through censorship changed a major component of the play when adapted, namely when Detective McLeod who sees in black-and-white (morally, not just because of the film stock) confronts the messiness of the gray world in his pursuit of a doctor's medical malpractice manslaughter during a birth gone bad and, subsequently, upon learning of his wife's secret life prior to knowing him when she'd used the same doctor's services for... So join the boys as they kick off Big Willy Winter with Ryan parodying the Fresh Prince lyrics; Ken maps Inspector Harold Francis Callahan (a.k.a. “Dirty Harry”) onto Det. McLeod; Tom gets thirsty for Lee Grant; and Jack stays awake. And keep subscribing and following for next week's pairing with The Desperate Hours. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @mrkoral.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Lords: * Andrew * https://kittenm4ster.neocities.org/ * Aubrianne Topics: * I will never get good at video games and that's okay * Does charging (or even allowing donations) for something change its perception as a piece of art? * Messy game design * To Be of Use, Marge Piercy * https://www.poetryfoundation.org/poems/57673/to-be-of-use * Films Noir * Complementary Hobby Power Couples Microtopics: * Just shakin' it a little bit. * The royal it. * Putting Homestar Runner on shuffle while you do homework. * Making Pico-8 games under an Internet name. * Your child petting a dog but when you try to pet the dog as well the dog is like "no, not you!" * A beard or long braid as a fidget tool. * Spectrum Cheater Reveals. * Games where you have to plan ahead. * A very easy social slot to fit into. * How many extra organs does Master Chief have? * Watching your mom fail the same jump in Animal Well for twenty minutes. * Picking a garbage can in Fallout 3 where you keep all your stuff which works great until they patch garbage collection into the game. * A game that requires two skills and the two skills exist in two different people. * What happened to cheat codes? * Paying the pickpocket trainer to train you and then pickpocketing your money back. * Pickpocketing someone's vital organs. * Homestar Runner as the ultimate counter example. * What quilts are worth if you charged a fair wage for your time. * Spending half an hour convincing your nephew that this scarf really is worth $300. * The only two millennials who haven't professionalized their hobbies. * Constructing your game design like a mathematical proof. * The promise of the text parser. * All the weird bespoke deaths you could find in a Sierra game. * Games intended for people who have more free time than you. * How to make it completely viable to make small games. * A clever hack to market your video game (spend a bunch of money) * The promise of the 50 in one pirate kart. * Trying to get the house gifts in every game in UFO 50. * Collecting the umbrella and the pin an least a dozen times. * A Guided Tour of Barbuta. * The black sleek heads of seals bouncing like half submerged balls. * Doing what has to be done, again and again. * A form of idleness that produces an incredibly amount of textiles. * Peruvian people spinning while they wait for the bus. * Why nobody gives a shit about rope and string. * Appreciating the lasagna that's right in front of you. * Making a loaf of bread for your family that mostly eats peanut butter sandwiches. * Making a little frowny face at "amphoras." * Meeting a girl and wooing her with good semicolon usage. * Dressing up as Elaine and Guybrush for Halloween. * Whoppers Jr. and Games Boys Advance. * Classic Film Noir such as Who Framed Roger Rabbit. * That time Rita Hayworth made you realize you were gay. * Getting no movies from America for years and then getting a ton of movies from America all at once. * Pulpy low-budget melodramas. * The Hays Code. * The five minute monologue where Quint describes the graphic sex scene between Jaws and the Hoth Ice Wampa * Neo Noir. (Meaning from the 70a.) * Modern art. (Meaning from the early 20th century.) * Neo Noir films such as the Bourne Identity and Batman Begins * Bugs Bunny inventing the smoky noir saxophone. * A taxonomy of complementary hobby pairs. * Getting 20 musicians in a room and it's a total disaster. * Sheep growing so much extraneous wool that they fall on their backs and explode. * Youtube recommending a video on how to flip a sheep over. * Sheep Tips: How to Flip a Sheep. * A video of a guy getting out of a car and hopping a fence and running over to help a sheep who is stuck on its back like "what do I even do now?" * Fellow Jorts Horsians. * Deep lore of server outages.

Moody Movies: Young Frankenstein (1974), A Different Man (2024), Seeds (2024), Inside Out 2 (2024), Double Indemnity (1944).Welcome back to Moody Movie Club! In this episode, Kylie and Elliott reflect on the spectrum of silliness, scratch an itch in their brains that they didn't know needed scratching, respect the representation of CanCon cat content, finally watch a not-a-kid's-movie kid's movie that has been on the watchlist, and get educated in the Hays Code and nuzzle-cinema. Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Blitz - Ali Smith - The Hays Code

In this conversation, Greg and Meredith discuss the film 'Freaks' (1932), exploring its significance in pre-code cinema, the impact of the Hays Code, and the themes of acceptance and identity. The discussion delves into the plot, character dynamics, and the use of real sideshow performers, highlighting the film's horror elements and its legacy as a cult classic. The conversation also touches on censorship, audience reactions, and the film's unique portrayal of marginalized individuals. 00:00 - Introduction to Freaks and Pre-Code Cinema 03:07 - The Context of Freaks and Its Director 05:47 - Understanding the Hays Code and Its Impact 09:05 - Plot Overview and Character Dynamics 11:47 - The Use of Real Sideshow Performers 15:02 - Themes of Acceptance and Identity 17:53 - The Horror Elements and Third Act 21:04 - Censorship and Audience Reactions 27:13 - Final Thoughts on Freaks and Its Legacy 32:15 - Alternate Endings 36:10 - Horror Movie or Cult Classic 43:20 - What's Coming Next 47:20 - Final Thoughts Learn more about your ad choices. Visit megaphone.fm/adchoices

From 1934 to 1968, a rigid code of moralist conformity hung over every single movie produced in Hollywood during this time, stemming from a 1915 Supreme Court case that essentially held that the "new" form of media, motion pictures, was not "speech" and therefore was unprotected by the 1st Amendment.  Movie studios scrambled to respond to a pushback against the wildness of the "Roaring '20s" and adopted The Hays Code "voluntarily" to make sure their movies could have the widest possible audience, and therefore make the most amount of money.     Join the Rebeccas as they dive into the interplay of Hollywood and American culture, and how that culture came to be dominated by one particular viewpoint about how society "should" be as determined by the Hays Code, and how the disparity between that and the reality of the counterculture that arose during the '50s and '60s, in addition to foreign competition from films without this code, would ultimately lead to its demise.  ***PLEASE NOTE: Some of the audio for Becca is really poor, which, combined with several family hospital stays this summer, has lead to our longer-than-intended hiatus, and is part of the reason why this episode is so late.  We tried to find time to redo, but just couldn't. However, the content of this pod is so important and relatively unknown, we decided to release "as is". We will be back soon with better audio quality AND ELECTION-THEMED EPISODES to help close out 2024!***   Comments or Questions? Or have an idea for future episodes - #pitchtothepod? Email us tourguidetellall@gmail.com   Support Tour Guide Tell All: • Want to send a one off donation to support the podcast team? We have a venmo @tourguide-tellall • Check out our STORE for Tour Guide Tell All podcast paraphernalia from tote bags to stickers - https://tour-guide-tell-all.myshopify.com/ • Become a Patron for bonus episodes and early release: https://www.patreon.com/tourguidetellall   Want more information? We found theses sources to be accessible and helpful: NPR, Remembering Hollywood's Hays Code, 40 Years On  PBS, Hollywood Censored: The Production Code Betty Boop Fan Club (comparing pre and post code Boop) How to Find Pre-Code Movies     You're Listening To: Rebecca Fachner and Rebecca Grawl The Person Responsible for it Sounding Good: Dan King Technical & Admin Work Done During Toddler Naptime: Canden Arciniega Intro/Outro Music: Well-Seasoned from Audio Hero  

Welcome to our Season 6 Premiere! We took a two-month break, and we never want to be away for that long again! (Please scroll to the bottom for chapter timestamps.)Sara and Dad cover the 6th Academy Awards ceremony. This is the longest eligibility period to date: honoring the best in films released in the United States between August 1, 1932 and December 31, 1933. We discuss the context of these films being made during the pre-code era, and what the implications are for filmmaking moving forward. (Frank Capra has a very interesting influence on the structure of the Academy and voting moving forward.)Last season we had eight nominees for Outstanding Production. This season we have even MORE with ten nominees. In addition, we are also going to be covering a record number of bonus episodes (movies that were not nominated for Outstanding Production but still fall on our historical timeline). Of course, we give an overview of the ten films nominated for the top honor, and speculate on our interests.The Movies:Smilin' Through  (1932) I am a Fugitive from a Chain Gang (1932)A Farewell to Arms (1932)Cavalcade* (1933)She Done Him Wrong (1933)State Fair (1933)42nd Street (1933)Gold Diggers of 1933 (1933)Lady for a Day (1933)The Private Life of Henry VIII (1933)Little Women (1933)Books mentioned by Dad:Capra, Frank. The Name Above the Title: An Autobiography. MacMillan, 1971.Schulman, Michael. Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears. HarperCollins, 2023Chapters00:00 Introduction to Shea Cinema and the Oscars02:23 The Sixth Academy Awards Overview08:02 Will Rogers, Frank Capra, and the Ceremony18:34 Category Capers and Changes in the Academy28:21 Exploring the Nominees: Smilin' Through to Little Women1:15:24 Dreading/Looking Forward To1:18:16 Historical Context, the Pre-Code Era, the Impact of the Hays Code, and Labor Strikes1:29:27 Looking Ahead: Bonus Episodes and Future DiscussionsAdditionally, Sara created Top-Song-of-the-Day Playlists for each season on YouTube:https://www.youtube.com/@SheaCinema/playlistsPlease leave us a review wherever you are listening!Email us rants as well as raves: sheacinema@gmail.comYou can also find us on Instagram (and now Twitter/X): @sheacinema

In this episode of Midnight Local, hosts Greg and Meredith delve into the fascinating world of pre-code cinema, the impact of the Hays Code, and a detailed analysis of the classic films Frankenstein (1931) and The Bride of Frankenstein (1935). They explore themes of censorship, morality, and the evolution of film, while also discussing the implications of parenting and creation as depicted in these iconic movies. The conversation touches on the queerness in cinema and how societal norms have shaped the portrayal of characters and narratives in film history. Chapters 00:00 - Introduction 01:52 - Exploring Pre-Code Cinema 03:21 - The Impact of the Hays Code 11:30 - Censorship and Its Consequences 15:06 - Frankenstein: A Classic Analysis 21:55 - Why Dr. Frankenstein is Awful 25:00 - How Censorship Changed Frankenstein 35:35 - The Bride of Frankenstein: A Deeper Look 39:08 - Queerness in Cinema: A Discussion 01:01:08 - Parenting and Creation in Frankenstein 01:03:29 - Conclusion and Reflections on Film Learn more about your ad choices. Visit megaphone.fm/adchoices

Here's a spooky Friday the 13th treat: Randall and Mel's Halloween Hell, the Losers' Club's Patreon-exclusive annual series in which Randall and Mel watch a horror movie every day in October and talk about it. They'll be back with a fourth iteration this year, but to whet your appetite, they're unlocking last year's third entry which saw the two Losers joined by fellow co-hosts Dan Caffrey and Justin Gerber. Across a marathon four hours, the gang lose their marbles while discussing more than 100 movies.  That includes 20 new releases, such as Saw X, When Evil Lurks, The Exorcist: Believer, VHS 85, Totally Killer, and many more. (Don't worry, we don't spoil anything released this year.) They also chat about pre-Hays Code nastiness, the benefits of casting real sickos in your movies, Caff's bizarre hatred of Ernest, and literally all things Ghoulies. (Seriously, we spend an ungodly amount of time talking about Ghoulies.) Enjoy this ride and join The Barrens -- patreon.com/thebarrens -- for earlier installments and this year's coming fourth go-around. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe and Allison are joined by Tomatometer-approved Rotten Tomatoes critics Nick and Joseph of Fish Jelly Film Reviews in this week's episode of Queer Cinema Catchup. Together, they unpack the 1959 film Suddenly, Last Summer based on the Tennessee Williams play; directed by Joseph L. Mankiewicz; written by Gore Vidal, Mankiewicz, and Williams; and starring Elizabeth Taylor, Katharine Hepburn, and Montgomery Clift.Listen as they discuss the behind-the-scenes queerness of this already queer movie (3:09); the central metaphor of the film and what it says about the implied queer identity of one of its major (albeit dead) characters (7:20); the deeper, darker implications of Elizabeth Taylor's famous white bathing suit (19:41); how the film got around the Hays Code (21:48); whether or not the coded and negative representation of the film is damaging (29:11); the connection between Tennessee Williams' personal history and the plot of the film (34:07); and how Katharine Hepburn's performance inspired Anthony Hopkins (39:50).Thanks very much to Joseph and Nick for joining us; you can hear more of their reviews on their youtube channel and podcast. Hosted on Acast. See acast.com/privacy for more information.

Hollywood has long been a place of glamour and storytelling, but its history with LGBTQ+ representation is complex and ever-evolving. Film critic Alonso Duralde dives deep into this fascinating world in his new book, Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film. Hollywood Pride is a history of queer Hollywood in chronological order, starting from the very beginnings of cinema in 1895 and journeying all the way to 2022. It's not just about the movies themselves; Alonso delves into the lives of the artists – actors, directors, writers, and more – who have shaped Hollywood, both on and off screen. "The book is a look at how queer history evolved over those decades, off the screen and in society," Alonso explains. "And then how that was reflected in the movies." Each chapter focuses on a specific period, highlighting the key LGBTQ+ figures and films of that era. It explores not only positive portrayals but also the coded messages and subtext that emerged during times of censorship, like the Hays Code era. Alonso argues that even negative portrayals hold certain significance. "Even negative inclusion is at least visibility and a reminder that we exist," he says. "It's not the greatest reminder, but it's better than nothing." The book examines Alfred Hitchcock's films, some of which are very homophobic, but still offer a glimpse of LGBTQ+ characters.There are also unexpected gems celebrated in the book, such as 1999's The Mummy, a film that has resonated with the bisexual community. By the 1970's, Dog Day Afternoon and Midnight Cowboy could more openly deal with gay characters, if not in the best light. Alonso especially enjoyed writing about Salome, Caged, I Am a Fugitive from a Chain Gang, Ed Wood's Glen or Glenda, and by the 1990's, the era of the New Queer Cinema movement. While celebrating the strides made in LGBTQ+ representation, Alonso acknowledges there are still many stories waiting to be told. "It feels like I was skimming the surface of a very deep topic," he says. But even a glimpse into this rich history is a valuable step forward, offering a deeper understanding of LGBTQ+ experiences in cinema and beyond. You can find Hollywood Pride as a book, ebook, or audiobook wherever books are sold. **WIN A COPY OF HOLLYWOOD PRIDE! Like, Follow and Comment on our post for this week's episode on Instagram, Facebook or Threads and we will pick a winner** *Winner must be within the continental U.S.!* Find Alonso Duralde: Instagram: @alonso.duralde Listen to our previous interview with Alonso Duralde about his Christmas film book, Have Yourself a Movie Little Christmas. https://www.camnoir.com/holiday2018/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Dana Gould (@danagould and @hangingwithdoctorz) returns to talk old movies, self regulating and how they didn't invent dark or questionable movies NOW. You will love.  Donate to The Dork Forest if you like the show. The paypal is my email jackie@jackiekashian.com and venmo is jackiekashian. Links to everything is at www.dorkforest.com or www.jackiekashian.com THERE IS NEW MERCH: BEES TSHIRT and BEANIES. I'm Made of BEES. Are you? www.JackieKashianStore.com is the direct. www.jackiekashian.com and www.dorkforest.com have so many other things.  Extra TDF / standup and a storytelling album are available here: https://thedorkforest.bandcamp.com/   Lots of stuff here: https://www.youtube.com/@JackieKashianInc And it's @jackiekashian on all the social mediaz. Audio and Video by Patrick Brady Music is by Mike Ruekberg #applepodcasts #spotify #amazon #youtube #tiktok Learn more about your ad choices. Visit megaphone.fm/adchoices

The Hays Code, developed by Will H. Hays but most notably supervised by Joseph Breen, had profound impact on the world of American cinema through it's elimination of any concepts that didn't match the moral standards of those heading the department. A fascinating outcome in this era, from 1934 to 1968, was the few films that were able to filmmaking trickery to get past these sensors, with many of these moments being outlined in film historian Nat Segaloff 's new book The Naughty Bits: What The Censors Wouldn't Let You See in Hollywood's Most Famous Movies. Filmmakers like Howard Hawks and Billy Wilder were able to find methods of pushing boundaries with risque language and visual euphemisms. So for this week's FilmWeek Feature, Larry sits down with Nat to discuss this time of censorship, and how some moments in American cinema at the time were able to make it through the censors undetected.  

Today on AirTalk, from AI to cellphone bans, we take a closer look at California bills that you should be aware of. Also on the show, the U.S. Surgeon General issued an advisory Wednesday warning about the stresses of parenting; we celebrate all things bagels with the co-owner of Belle's Bagels; our FilmWeek critics review the latest releases; Larry interviews film historian Nat Segaloff on his new book ‘The Naughty Bits;' and more. From AI to Cellphone bans — a closer look at CA bills (00:17) The stress of parenting is becoming a mental health crisis  (18:02) We celebrate all things bagels with the co-owner of Belle's Bagels (38:58) FilmWeek critics review the latest releases (51:27) Censorship during the Hays Code (1:22:33)

Front Row Classics is shining the spotlight on the legendary Mae West. We're taking a look at 1935's She Done Him Wrong. Brandon is joined by Hollywood historian, April Clemmer. April is best known as the creator of the Old Hollywood Walking Tour. Brandon and April discuss West's pioneering presence during Hollywood's Golden Age and constant battles with the Hays Code. We also pay tribute to the strong supporting cast including a young Cary Grant who always credited West with jumpstarting his career.

In this Major Spoilers Special Presentation, we take a look at the Hays Code, how it came to be, and how it turned into our modern movie rating system, and how moral panic made it happen. Major Spoilers Podcast Network Master Feed RSS Feed Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

In this Major Spoilers Special Presentation, we take a look at the Hays Code, how it came to be, and how it turned into our modern movie rating system, and how moral panic made it happen. Major Spoilers Podcast Network Master Feed RSS Feed Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

Front Row Classics welcomes entertainment journalist/historian Tara McNamara. Tara is co-hosting this month's TCM Spotlight, The Hays Gaze, alongside Dave Karger. The weekly series highlights the anniversary and influence of The Hays Code. Tara and Dave will present different film pairings before and after the implementation of censorship in Hollywood. Brandon and Tara discuss the history of the Hays Code as well and several of the selections this month. They also discuss the power of movies to influence young people from an early age. The Hays Gaze will be presented every Monday night at 8pm est/7pm cst on Turner Classic Movies.

The Hays Gaze Front Row Classics welcomes entertainment journalist/historian Tara McNamara. Tara is co-hosting this month’s TCM Spotlight, The Hays Gaze, alongside Dave Karger. The weekly series highlights the anniversary and influence of The Hays Code. Tara and Dave will present different film pairings before and after the implementation of censorship in Hollywood. Brandon and … Continue reading Ep. 223- TCM’s The Hays Gaze-Interview with Tara McNamara →

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

In this Tales From Hollywoodland episode, join hosts Steve, Julian, and Arthur make you an offer that you can't refuse as they delve into the history and evolution of American gangster movies. They discuss iconic films like “Little Caesar,” “Public Enemy,” and “Scarface,” and the impact of the Hays Code on Hollywood’s portrayal of violence. […] The post Hollywood Gangsters | Tales From Hollywoodland appeared first on The ESO Network.

In this Tales From Hollywoodland episode, join hosts Steve, Julian, and Arthur make you an offer that you can't refuse as they delve into the history and evolution of American gangster movies. They discuss iconic films like "Little Caesar," "Public Enemy," and "Scarface," and the impact of the Hays Code on Hollywood's portrayal of violence. The conversation explores the distinction between gangster and heist movies, highlighting films such as "The Killing" and "Bullitt." They also share insights into the making of "The Godfather" and its industry impact. The hosts examine Martin Scorsese's contributions and discuss various gangster films, offering a comprehensive overview of the genre's cultural significance and enduring appeal. Give us a listen or we will have to have you fitted for some cement shoes.   Tales From Hollywoodland on Facebook https://www.facebook.com/talesfromhollywoodland    Tales From Hollywoodland on Instagram https://www.instagram.com/talesfromhollywoodland/   Tales From Hollywoodland on YouTube https://www.youtube.com/channel/UCdLX2kbwHqdn47FNN6vVN7Q    We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, Goodpods, PlayerFM, YouTube, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.  #TalesFromHollywoodlandPodcast #HollywoodGangsters #Gangstermovies #Hollywoodcrimefilms #Classicgangsterfilms #Mobmovies #Hollywoodmobsters #Famousgangsteractors #Gangsterfilmhistory #Crimedramafilms #Notoriousgangstersinfilm #Gangsterfilmdiscussion #Gangsterfilmanalysis #Iconicgangsterroles #Hollywoodsgoldenage #Mobfilmlegends #Gangstermoviereviews #Crimefilmspodcast  

Send us a Text Message.Former NFL player Jim Brown leads an all star cast in heist film The Split, which adapts one of the many novels featuring the Parker character written by Donald Westlake. So why are we wondering if this movie is “really that bad?”  Because this was the first movie to ever be rated R after the dismantling of the Hays Code!  We also talk about notable athletes that moved over to acting once their playing days were over, and some history on the specific things the Hays Code prohibited in films, to put this movie in context. So come join us!  Children under 17 should be accompanied by an adult. 

Rerun: he Production Code Administration - which policed standards of decency on all US cinema releases for twenty years - was established on 13th June, 1934, following a patch of unconvincing Hollywood self-censorship. ‘Excessive or lustful kissing' and ‘sex perversion' were no longer allowed - but nor was ‘depictions of safe-cracking', ‘childbirth,' and ‘dynamiting'. In this episode, Arion, Rebecca and Olly consider whether the strict rules enforced by the code actively inspired the classic ‘golden era' movies that are still regarded with nostalgia today; reveal the anti-semitism behind the policy; and remind us of the pre-code movies, starring the likes of Jimmy Cagney and Mae West, that remain “raunchy - for now”...  Further Reading: • ‘The Quick 10: 9 Movies and Shows Affected by the Hays Code' (Mental Floss, 2010): https://www.mentalfloss.com/article/24341/quick-10-9-movies-and-shows-affected-hays-code • ‘Film | The First Amendment Encyclopedia' (mtsu.edu): https://mtsu.edu/first-amendment/article/1246/film • 'How the Catholic Church censored Hollywood's Golden Age' (Vox, 2018): https://www.youtube.com/watch?v=HXZGKhpv8eg ‘Why am I hearing a rerun?' Each Thursday and Friday we repeat stories from our archive of 800+ episodes, so we can maintain the quality of our independent podcast and bring you fresh, free content every Monday-Wednesday…  … But

This is a free preview of a paid episode. To hear more, visit wisdomofcrowds.liveThis week, Wisdom of Crowds hosts a fluid discussion about violence and sex in movies, where the “shoulds” of life come from, and whether liberal values can be based on something other than religion. The discussion is more meditative than contentious, an exploration prompted by recent pop culture hits and a probing comment from the Crowd.Violence is entertaining. That's the conclusion that Damir draws after watching the movie, Civil War, which he thoroughly enjoyed. Christine questions Damir about his taste for violent movies, and wonders whether we are slowly becoming numb to violence, just as we are — as recent studies suggest — becoming numb to sex in film. The discussion moves toward the question of values and where they come from, drawing from a recent reader comment that prompted some soul-searching in the Wisdom of Crowds masthead.In the bonus section for paid subscribers, Damir asks Christine how she can overcome Nietzsche's critique of Christianity and its values, while he launches into a defense of liberalism based on what he calls “mystery.” Finally, Damir explains why he believes that most moral truth claims “end up in tears.”Required Reading (and Viewing):* Civil War trailer (YouTube).* Furiosa: A Mad Max Saga trailer (YouTube).* The Mad Max movie franchise.* “UCLA Study: Gen Z Wants Less Sex Onscreen, Prefers Platonic Relationships Depicted to Romantic Rollercoasters,” (IndieWire).* The Hays Code.* Lauren Bacall movie line (YouTube).* The Big Lebowski: “Fight a stranger in the alps” (YouTube).* “Why Give a Damn?” by Samuel Kimbriel (Wisdom of Crowds).* Reader comment (Wisdom of Crowds).* Rethinking Sex by Christine Emba.* Friedrich Nietzsche (Stanford Encyclopedia of Philosophy).

This week we're going waaaay back to 1948 and covering Alfred Hitchcock's ROPE. This groundbreaking film was an experiment in long takes, color films, and how much queer subtext you could get away with during the restrictive Hays Code heyday. Next time we'll be looking at WHAT KEEPS YOU ALIVE.Stay spoopy ya'll!Timestamps:00:00:00 Intro00:06:30 ALLIES! and Billy and Stu00:08:45 Subtextual Sexuality00:12:30 The Hays Code Horrors00:19:00 ROPE Background00:45:39 Rundown00:47:00 SPOILERS01:03:00 Pros/Cons/Final Thoughts01:11:00 Ratings01:14:00 Next Week and GoodbyesThe Grindhouse Girls Podcast is created by Katie Dale and Brit Ray. This week's episode is edited by Katie Dale.Royalty free music used: Ready Set Go and Outro White SmokeCopyright 2020 Grindhouse Girls PodcastThis podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy

Film writer and author Imogen Sara Smith joins us to discuss Frank Borzage's DESIRE, produced by Ernst Lubitsch during his tenure as Production Head at Paramount Studios! In this episode, we discuss the state of Lubitsch's career in this time of personal and political upheaval, the state of Hollywood in the Hays Code era, the the careers of Marlene Dietrich and Frank Borzage, the film's relationship with genre, and the code-mandated final beat of the plot. We have a Discord! Listen on: Apple Podcasts | Spotify Edited by Brennen King NEXT WEEK: Film programmer and curator Chris Cassingham joins us to discuss ANGEL. For information as to where to find this film, check out our resources page. WORKS CITED: The Motion Picture Production ("Hays") Code [Full Text] Marlene Dietrich: Life and Legend by Steven Bach

This week we are back in musical territory because we watched the pseudo-sequel to Rocky Horror - Shock Treatment! Joining us in the studio is returning guest Joshua Conkel, tv writer for Netflix's Dead Boy Detectives and podcaster over on the Bloodhaus pod! We discuss the rocky (sorry) road from inception to screen, the incomprehensible story, and the eighties aesthetic; along with thoughts on Betty being fabulous, mental health, and Gen Z reinventing the Hays Code. Check out our Patreon for exclusive episodes you won't find over here on our main feed at patreon.com/triplemmmpod Find us on the socials @triplemmmpod Follow Clayton and Shawn @justhappy2cu and @murphthesmurph Follow Josh @joshuaconkel If you're enjoying the pod, take a couple seconds to give us a rate/review - it helps SO much! Don't forget to be kind out there! --- Support this podcast: https://podcasters.spotify.com/pod/show/triplemmmpod/support

Wir sezieren ein ganzes Genre. Den Horrorfilm. Wie haben sich Gruselstreifen seit der Stummfilmzeit verändert und haben wir heute vor anderen Dingen Angst, als die Leute damals? Welche waren die einflussreichsten Werke? Mit welchen Stilmitteln erzeugen Regisseure Anspannung, Angst und Panik? Macht euch bereit für eine interessante und wohlig beklemmende Analyse einer ganzen Kunstgattung. – – – – – – – – – – – WERBUNG Die Links zu unseren Werbepartnern findet ihr hier: https://bit.ly/kussponsored – – – – – – – – – – – PODCAST KAPITEL (00:07:16) Wiederholung: Was ist ein Genre? (00:16:07) Geschichte des Horrorfilms: Stummfilmzeit und Goldene 20er (00:30:37) Die 30er und 40er - Monsterfilme und Hays Code (00:47:09) Die 50er - Kinokrise und Sci-Fi-Horror (01:04:41) Die 60er - Wiederbelebung des Genres (01:16:54) Die 70er - Blütezeit und neue Trends (01:33:22) Die 80er - Sequels und Kommerz (01:46:40) Die 90er - Es wird seltsam (01:57:24) Die 2000er bis heute - es wird wieder härter (02:13:23) Subgenres (02:20:32) Stilmittel: Ton und Musik (02:34:10) Stilmittel: Suspense / Surprise / Negativraum (03:07:33) Hinweis: Discord und Facebook Gruppe (03:08:59) Hörerfeebback und Co. – – – – – – – – – – – Unsere IMDb Playlist: https://imdb.to/46UdNhm – – – – – – – – – – – Kack & Sachgeschichten - Der Podcast mit Klugschiss http://www.kackundsach.de/ Alle Links und Infos auch hier: https://linktr.ee/kackundsach

Wir sezieren ein ganzes Genre. Den Horrorfilm. Wie haben sich Gruselstreifen seit der Stummfilmzeit verändert und haben wir heute vor anderen Dingen Angst, als die Leute damals? Welche waren die einflussreichsten Werke? Mit welchen Stilmitteln erzeugen Regisseure Anspannung, Angst und Panik? Macht euch bereit für eine interessante und wohlig beklemmende Analyse einer ganzen Kunstgattung. – – – – – – – – – – – WERBUNG Die Links zu unseren Werbepartnern findet ihr hier: https://bit.ly/kussponsored – – – – – – – – – – – PODCAST KAPITEL (00:07:16) Wiederholung: Was ist ein Genre? (00:16:07) Geschichte des Horrorfilms: Stummfilmzeit und Goldene 20er (00:30:37) Die 30er und 40er - Monsterfilme und Hays Code (00:47:09) Die 50er - Kinokrise und Sci-Fi-Horror (01:04:41) Die 60er - Wiederbelebung des Genres (01:16:54) Die 70er - Blütezeit und neue Trends (01:33:22) Die 80er - Sequels und Kommerz (01:46:40) Die 90er - Es wird seltsam (01:57:24) Die 2000er bis heute - es wird wieder härter (02:13:23) Subgenres (02:20:32) Stilmittel: Ton und Musik (02:34:10) Stilmittel: Suspense / Surprise / Negativraum (03:07:33) Hinweis: Discord und Facebook Gruppe (03:08:59) Hörerfeebback und Co. – – – – – – – – – – – Unsere IMDb Playlist: https://imdb.to/46UdNhm – – – – – – – – – – – Kack & Sachgeschichten - Der Podcast mit Klugschiss http://www.kackundsach.de/ Alle Links und Infos auch hier: https://linktr.ee/kackundsach

From the film noir classics “Double Indemnity” and “The Lost Weekend,” to the comedies of “Sunset Boulevard” and “Some Like It Hot,” Billy Wilder's nearly five-decade film career dove into the milieu of then-contemporary American life through character-driven stories which garnered the filmmaker seven Academy Awards and 22 nominations. His work often pushed beyond the boundaries of mainstream culture, particularly during Hollywood's Hays Code era — a period of self-censorship within the film industry —, and helped to usher in new ways for filmmakers to approach controversial subject matters. Today Larry chats with author Joseph McBride about his new book “Billy Wilder: Dancing on the Edge.''

It's the second episode of March Madness/aka Rom Com-ish movies with a true crime twist, and we are going waaay back to 1949 to cover Adam's Rib. It stars Spencer Tracy as Adam an attorney who's prosecuting a woman for shooting her husband. Adams' wife Amanda, played by Katharine Hepburn is also an attorney and places herself as the woman's defense because-FEMINISM! In this episode: we argue whether this movie is a banger or a sleeper hit (because it literally put one of us to sleep), wax poetic about the 'fun twists' the movie takes due to the Hays Code, and discuss the fashion of the time like-silvery, garnish, beacon hats and 'here for business ribbons.' The legal arguments in this movie go off the rails but we're hanging on until the end so we can share the bananas-a journey with you, that is Adam's Rib.

THE LEFT HAND ENDEAVOR is this month's theme and that means classic noir 5 days a week. Bob loves this shit so we're all gonna overdose on it. No drug use under the Hays Code, though. We got ourselves a lovely little “noirmance” from “Rebel Without a Cause” director Nicholas Ray. This is actually Ray's debut film and it's a very worthy noir gem that most folks may not have heard about. We're talking about “THEY LIVE BY NIGHT” from 1948. It stars Farley Granger and Cathy O'Donnell in an incredibly sincere and believable romance that is cornered by the dark realities of the kind of world that all of our characters this month are forced to live in. A beautifully shot love story that connects until it inevitably rips you apart. This world is too hard on true love. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Alright, you scoundrels. March's theme of THE LEFT HAND ENDEAVOR is in full effect. That means all classic film noir, see? That means dangerous dames and Switchblade Sammies out the wazoo, see? We're going a little bit beyond the typical top 10 noir suggestions but we definitely got some heavy hitters out the gate and today is no exception because we're talking about Charles Vidor's iconic and influential film from 1946, “GILDA” starring the bright and shiny Rita Hayworth alongside Glenn Ford. Your grandpa or great grandpa might have busted to this movie back in the day. Perhaps they watched it and then went home to contribute to your lineage while thinking of that hair whip. Them boys up in Shawshank sure got their sheets sticky over it. This influential film has pretty bizarre plot points and plenty of hair whipping going on but it looks sharp as hell and establishes what initially feels like the ultimate femme fatale. It becomes a bit more of a romance than other noir selections this month. You might call it a “Noirmance”. We also talk a little bit about the Hays Code and how that may have effected some classic noir choices. All in glorious black and white. Oh hey, look at what I found: https://archive.org/details/gilda-1946_202106 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Michael Malice (“YOUR WELCOME”) welcomes the always funny, Count Dankula, back onto the show to talk about the recent (and hilarious) happenings in the Scottish National Party, how the Hays Code era in Hollywood has many similarities to today, and what happens when video games accidentally send the wrong message. twitter.com/CountDankulaTV youtube.com/c/countdankula Order THE WHITE PILL: http://whitepillbook.com/ Order THE ANARCHIST HANDBOOK: https://www.amzn.com/B095DVF8FJ Order THE NEW RIGHT: https://amzn.to/2IFFCCu Order DEAR READER: https://t.co/vZfTVkK6qf?amp=1 https://twitter.com/michaelmalice https://instagram.com/michaelmalice https://malice.locals.com https://youtube.com/michaelmaliceofficial Intro song: "Out of Reach" by Legendary House Cats https://thelegendaryhousecats.bandcamp.com/ The newest episode of "YOUR WELCOME" releases on iTunes and YouTube every Wednesday! Please subscribe and leave a review. This week's sponsors: Miracle Made Sheets – Self-Cleaning Sheets: trymiracle.com/MALICE (Free Towel Set + over 40% off) Omaha Steaks: omahasteaks.com, promo code: Malice (50% off sitewide + extra $30 off) Patriot Gold Group – No Fee IRA: Call 888-505-9845 or visit malicegold.com (Free investor guide) PlutoTV – Streaming TV: Pluto.tv Sheath - Dual Pouch Underwear: sheathunderwear.com, promo code: MALICE (20% off)