Podcasts about hays code

Josh and Dru kick off Pride with the L in LGBT with 1936's Dracula's Daughter. From wiki: “Dracula's Daughter is a 1936 American vampire film produced by Universal Pictures as a sequel to the 1931 film Dracula. Directed by Lambert Hillyer from a screenplay by Garrett Fort, the film stars Otto Kruger, Gloria Holden in the title role, and Marguerite Churchill, and features, as the only cast member to return from the original, Edward Van Sloan – although his character's name was altered from "Van Helsing" to "Von Helsing".”Also discussed: The Watcher in the Woods, All About Eve, Backrooms, By Design, Universal Monster Movies, Hays Code, Daughters of Darkness, The Addams Family, Sunset Blvd, Bonnie & Clyde, Piranesi, House of Leaves, Son of Dracula, and more. NEXT WEEK: Stranger by the Lake (2013) Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

Erin welcomes back Ashley and introduces Tangle for a discussion inspired by conversations from the Life on Side B and Your Other Brothers podcasts. So much can be said about queer representation in the media, especially as more queer stories have been told in the last couple years. Join us as we discuss our favorite TV shows and movies, including how queer characters have impacted them, and what we would like to see in future queer media productions. We end our episode with a lightning round of guessing the sexualities of cartoon villains from our childhood! LINKS FROM THIS EPISODE Curious about the Hays Code? Follow Erin on Letterboxd! Why are Disney Villains Queer Coded? Tangle's animation project Ashley's Charmed blog: “The Sisters Who Happened to be Witches” Ashley's favorites: Warrior Nun, Dead to Me, League of Their Own, Lioness, Supergirl, Fried Green Tomatoes Tangle's favorites: Arcane, Warrior Nun, The Owl House, Atypical Erin's favorites: Hacks, Saved!, But I'm a Cheerleader, The Children's Hour (disclaimer: not a feel-good film), Wake Up Dead Man (bonus for great Christian clergy representation) COMMENT ON THIS EPISODE What are your favorite TV shows and movies that feature LGBT characters? What character or character dynamic made you feel seen while watching? What stories would you like to see be told via movie or TV show? PODCAST EPISODE PAGE YOScast 003: Queer Representation in Media RATE/REVIEW US Apple Podcasts Spotify FOLLOW THE CAST Erin's posts Ashley's posts Our other contributors GET IN TOUCH Call the YOFline: 1.706.389.8009 Email Erin: erin@yourotherfamily.org Mail us: Your Other Family / P.O. Box 843 / Asheville, NC 28802 SUPPORT YOF General giving (for non-members) Giving toward membership in YOS Giving toward membership in YOB FOLLOW YOF YOF: YouTube | Facebook | Instagram YOS: Facebook | Instagram YOB: Facebook | Instagram | TikTok MUSIC CREDIT Intro/outro theme: “Be More” by Linden Hope Used with permission. you are not alone; even the sparrow finds a home

Wedding bells are ringing for trip down the aisle number three. Only there is not an actual aisle, and not everyone is full of glee. Part 2 of 2 November 1933, despite her broken arm Madeleine Astor marries Enzo Fiermonte from her hospital bed. More press scandal follows them on their way to honeymoon in Palm Beach. Other people and subjects include: Madaleine Talmage Force Astor Dick Fiermonte, Colonel John Jacob Astor IV aka “Jack,” John Jacob Astor VI aka “Jakey,” Enzo Fiermonte, William Vincent Astor, Alice Ava Muriel Astor Obolensky von Hofmannsthal, Prince Serge Obolensky, Princess Barbara Hutton Mdivani, Prince Alexis Mdvani, Prince David – Prince of Wales – future King Edward VIII – Duke of Windsor, Mrs. Katherine Talmage Force, William Force, William Dick, William Dick Jr., John Henry Dick, Philip Lyndon Dodge, Charles Lindbergh, Anne Morrow Lindbergh, Vanderbilt reference, Margaret Brown – Unsinkable Molly Brown – Maggie Brown – Mrs. James J. Brown – Mrs. J.J. Brown, Catherine Ellen Brown aka “Helen,” Caroline Astor, William Waldorf Astor, Viscount Waldorf Astor, Nancy Astor, Eileen Gillespie, Lawrence Gillespie, Irene Sherman Gillespie, Brooke Hart kidnappers, Dr. Moullowd, Dr. Watson, Madeleine's lawyer, gray haired female friend, City Court Official, Philip Hines, Municipal City Justice Vincent Lippe, photographers, reporters, private physician, dead millionaire, Maryland lynch mob, widowhood, wedding, hospital room, allowance, newspaper clipping service, Italian wedding, wedding kiss, flowers, champagne buffet, deluxe accommodations, Car National private car service, private railcar, the Titanic, Vulcania, Berengaria, Aquitania, the Olympic, Doctor's Hospital, Pennsylvania Train Station, Breakers Hotel fire, Waldorf Astoria Hotel, Manhattan, Long Island, Palm Beach, Bermuda, Lido, Italy, Nevada, tracking down articles, True Story Magazine – “Kept Husband” 6 articles series by Enzo Fiermonte, Dionne quintuplets, finding physical copies, New Yorker, Vogue, GQ, Newport Historical Society, Newport Library, Bowling Green University, University of Texas, University of Chicago, UCLA, collectible comic store, Ebay, Shadow of the Titanic by Andrew Wilson, YouTube channel Ti's Hot Mess History, wish for AI – Artificial Intelligence assistance with footnotes and bibliography, Hays Code, Pre-code Hollywood, 1920s & 1930s social rules and sexual references, Thirteen Women (1932), Myrna Loy, Peg Entwistle, Hollywood sign, The Women (1939), Norma Shearer, Joan Crawford, Kept Husbands (1931), The Dancing Lady (1933), Clark Gable, Franchot Tone, Algonquin Table humorist Robert Benchley, Fred Astaire, Ted Healey and his Stooges – Larry Fine, Jerome “Curly” Howard, Moe Howard, blackmail, drug use, affairs, stealing husband, racial bullying, first screen credits, heirs & heiress romances, FX Hulu Love Story tv series, Caroline Bessette Kennedy, John F. Kennedy, Jr. – JFK Jr – John John, Micheal Bergin, Daryl Hannah, Markie Mark – Mark Wahlberg, Calvin Klein underwear model, tell all book, biographies, The Other Man by Michael Bergin, $3k on Ebay, reprints, C. David Heymann, Poor Little Rich Girl re: Barbara Hutton, American Legacy re: Carolyn Bessette & JFK Jr., plagiarism & fabrication allegations, Ask Not by Maureen Callahan, actor Eric Braeden from Young and the Restless and James Cameron's Titanic,… -- Extra Notes / Call to Action: 7th Anniversary of As The Money Burns podcast last month (April 2026) The Nerve with Maureen Callahanhttps://www.youtube.com/@TheNerveShow Ask Not by Maureen Callahan 2024https://www.amazon.com/Ask-Not-Kennedys-Women-Destroyed/dp/0316276170 The Other Man by Michael Bergin will be re-released around June 2026 in print and is immediately available via Kindle.https://www.harpercollins.com/products/the-other-man-michael-bergin?variant=45086513659938https://www.amazon.com/Other-Man-EPB-Kennedy-Bessette-ebook/dp/B0GTF27XM8 I walked Out of the Titanic Audition… Eric Braeden | Still Here Hollywood Podcast with Steve Kmetko 6 min clip on Titanic rolehttps://www.youtube.com/watch?v=XT1sV0Zib7E whole interviewhttps://www.youtube.com/watch?v=XNfyWIf_WKE Ti's Hot Mess History, YouTube Channelhttps://www.youtube.com/@TisHotMessHistory Riches to Ruin – Titanic Widow of John Jacob Astor & Her Troubled 3rd Marriage by Ti's Hot Mess History July 2023https://www.youtube.com/watch?v=ODY-qiEn3ak The Scandalous True Story of Titanic's Wealthiest Passenger – JJ Astor & His Teen Wife by Ti's Hot Mess History May 2023https://www.youtube.com/watch?v=uF89xKNWbow&t=25s The Rich Boy Nobody Wanted: Titanic Baby John Jacob Astor VI by Ti's Hot Mess History December 2023https://www.youtube.com/watch?v=1rlV8oT6lxs Share, like, subscribe -- Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com. Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands Section 1 Music: Let's Fall In Love For The Last Time by Mantovani, Albums The Great British Dance Bands & Tea Dance 2 Section 2 Music: There Isn't Any Limit To My Love by Ambrose, Album It's Got To Be Love Section 3 Music: In the Mood for Love by Freddy Gardner, Album Elegance End Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands --https://asthemoneyburns.com/ X / TW / IG – @asthemoneyburns X / Twitter – https://x.com/asthemoneyburns Instagram – https://www.instagram.com/asthemoneyburns/ Facebook – https://www.facebook.com/asthemoneyburns/ ©℗ 2026. Nicki Woodard. All rights reserved.

[A crosspost with Hollywood Woketopia, my other Substack]Every so often, a moment in culture arrives, a Sydney Sweeney ad, or Project Hail Mary. Every time, we hear that the Woke fever has finally broken. Hollywood cares about the people again. Right?The same reason Kamala Harris is likely to be the nominee in 2028, the same reason the Democrats are still selling the lie that any kind of attempt by Republicans to even out the redistricting is “Jim Crow 2.0,” is proof enough that on the Left, Woke is not going anywhere. It is who they are now. Not all of them, but the most powerful among them.Early on, when Mark Halperin and others were insisting Gavin Newsom would be the nominee in 2028, I said there was no way the Democrats would get behind a white guy, no matter how passionately he genuflects to the Woke (“Anti-woke is anti-black!”). I know the Democrats. I was one. I helped build the modern-day party of the Great Feminization and the Great Awokening. I know what fires them up every day, and it isn't just taking back power; it's foisting their religion upon the rest of us.They think it's the opposite, that it's the Right that is foisting their “Christian Nationalism” upon them. While it's true that a faction of the Right has unmasked to become the very thing Rob Reiner warned about in his movie, God and Country, they aren't the majority. Perhaps that's true on the Left. But look around. Their religion is the dominant culture in America.When news got out that Christopher Nolan had cast Lupita Nyong'o as Helen of Troy, the “most beautiful woman in the world,” whose face launched a thousand ships, it ignited yet another culture war. How you reacted was like whether or not you wore a mask outside in 2020. It was a test. You're on one side, or you're on the other. Notice it, comment on it, object to it, criticize it, and you're one of the bad people to be purged. And if that weren't enough, Nolan brought back Ellen Page from Inception, now recast as Elliot Page, the male, as an act of affirmation and yet another test. These are Orwellian 2+2=5 and force people to choose between ignoring it and going to see a big-effects movie in IMAX, or not buying a ticket and boycotting the film. Elon Musk took the bait, becoming the villain Hollywood needed to turn seeing The Odyssey into a righteous and political act. You can see them now: the bearded male feminists buying tickets ten times in a row. “Take that, Elon Musk!” The ladies of Blue Sky will go in groups, then fawn over how beautiful Lupita Nyong'o is and overuse the male pronoun for Ellen/Elliot Page. “Wasn't he great?”The game is becoming exhausting by now, as Hollywood demands the hard-working American public be impressed by them, lectured by them, and corrected by them. All audiences really want is the one thing Hollywood seems unable to accomplish: entertain them.It isn't that Nyong'o isn't pretty. She is. It's that Helen of Troy was white, famously so, even if Greek. Nyong'o is a unique beauty, not a universal one, a reality the Left wants to force, because Hollywood doesn't care about its audience. They want to look good.Probably the worst thing about the game Hollywood plays with the movie fans they helped raise is that Lupita Nyong'o is held out as a sacrificial lamb. She isn't pushing any ideology, unlike Ellen/Elliot Page. They are putting her out there and expecting her to absorb criticism about herself, including whether she is pretty enough. I met her once, back in 2013 in Telluride, before her career took off. She was too young to know how to act like a celebrity. She was so nice, I was won over. She would win an Oscar that year and become a big star in Hollywood. Is it fair to put her in this position just so they can feel good about themselves? No. Does it change anything? No. There is still such a thing as truth and reality, even if that is the thing that is unfair. The Woke Code and the Hays CodeThe Hays Code (1930-1968) represented an era wherein decency and morality were mandated in all Hollywood films. The Christian conservatism/morality mandated by the Hays Code reflected less a separation between art and governance and more a united effort toward a utopian society of goodness, especially as we moved through the last Fourth Turning, the Great Depression, and World War II, a time where the world saw true evil in Hitler and Stalin, not to mention the nuclear bomb.That isn't all that different from what the Woke Code is now. It's roughly the same kind of thing: rigid rules to depict an ideal society. The difference is that Christian advocates have been replaced by progressive activists, and the villain is the white male patriarchy. What is different now, amid our current Fourth Turning, is that the Woke Code includes only half of America. To the Left, they would rewrite this narrative to say that Hollywood depicted mostly White America, and that is what has changed. But really, if you respond to the box office, as Hollywood doesn't anymore, you will always default to the majority. It isn't rocket science — beautiful, sexy women and masculine men and a great story.The end of the Hays Code was entirely due to economics. Television became so popular in the 1950s that there wasn't much of a need to go to the movies if all you saw was the same kind of buttoned-up themes you could see on TV. That's true now, too. Movies, then, had to break out of the Hays Code and become much more subversive, leading into the 1970s, which saw some of the best films ever made. While it's true that The Odyssey will be eligible to win Oscars under the new rules, it's also true that the criteria could have been met in a way that didn't make audiences play this same exhausting game that has alienated them from everything Hollywood puts out. The casting of Nyong'o and Page is less about Oscars and more about status. Perhaps Nolan was under pressure to cast a non-white woman as Helen, or maybe he wants to be seen as a good person using his wealth and fame to make change, as the most famous white male directors reach for things money can't buy, like Martin Scorsese making Killers of the Flower Moon, Steven Spielberg making West Side Story with a real Latina, and Paul Thomas Anderson's Peak Woke Best Picture winner, One Battle After Another.No film has better exemplified Hollywood in the Trump era than this one. It says it all. ICE as the Gestapo, check. America is run by a cabal of wealthy white Nazis, check. A woman of color must save herself, check. All of it is held together by a hapless white man, Leonardo DiCaprio, who represents the film's beating heart. He's the only good white guy, which is how those in Hollywood who make these kinds of choices would like to be seen. One Battle is actually a movie about them.Had Nolan cast a blue-eyed blonde woman as Helen of Troy, all hell would have broken loose. When you go against the rules of the Woketopia, you aren't just getting hit on X with lots of angry tweets by loyal fans who continually feel betrayed; they bring out the big guns - agonizing op-eds in the New Yorker, for instance. If you obey the rules, then you are praised. The problem is that it all feels so artificial, so pre-planned, so inorganic.I used to write the Oscars report for Jane Fonda's Women's Media Center (who fired me after they found out I voted for Trump), counting the number of female nominees and winners. The statistics were always grim. Every year, it was bad news. As things began to change for women after the Academy announced its DEI mandate in 2020, that change was forced. If before merit had made too many white men winners, now we were seeing something a little closer to gender parity. So then the line moved back, and it became not just about women but women of color and trans women. Now, it's all about Marxism disguised as art. If life isn't fair, movies will make it fair. It isn't just because the Oscars have it written into their new rules, and it isn't just because activist groups like GLAAD breathe down the neck of every Hollywood studio, counting heads and making reports. It's that this is a deeply felt belief system that isn't going anywhere anytime soon. I have no doubt The Odyssey will make money. It's a Christopher Nolan film, after all. Who doesn't want to go see a giant visual effects epic filmed entirely on IMAX? If you can ignore the elephant in the room, the performative casting, you might have a great time. But if you were hoping that Woke is over, well, I think that was its own Hollywood fairy tale. It's why Kamala Harris was the nominee in 2024 and why she will once again be the nominee in 2028. This is how the ruling class in America wants to be represented. They want to force change, and they do that by elevating minority groups to high-status positions as symbols for the mostly white people who run things.Culture, like the Democratic Party, will have to be built anew. That, more than anything, explains why AI is about to completely consume the business, becoming the subversive counterculture revolution Hollywood never saw coming. They can do it all and more without the millions of dollars necessary to mount a production. AI artists don't have to be held to the same rigid standards. They can be purely about bringing in eyeballs by showing what people most want to see, rather than what Hollywood wants them to want to see. In other words, they can make the women as beautiful as they want, and no one can cancel them for it. I spent my life in movie theaters gazing up at the big screen and watching some of the best films ever made. The only way that makes sense is if you are escaping real life and finding your way into a fantasy world, and maybe for the Woke, seeing Lupita Nyong'o cast as the most beautiful woman in the world is its own kind of fantasy fulfillment. After the movie comes out, we'll have to see whether it works or not. At the moment, it feels like just another test to decide who gets to stay and who has to go. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Was habt ihr zuletzt gesehen? Heute in groß bei KINO PLUS. Heißt: Eddie, Andi und Schröck palavern über THEY WILL KILL YOU, über DRACHENZÄHMEN LEICHT GEMACHT (das Remake) oder READY OR NOT 2. Und noch so viel mehr. Über Filme vor und nach dem Hays Code wie zum Beispiel BOULEVARD DER DÄMMERUNG (SUNSET BOULEVARD), den Daniel endlich mal nachgeholt hat oder PANIK IM ZOO (MURDERS IN THE ZOO), der Andi besonders interessiert hat. Außerdem geht es um EYES WIDE SHUT, um DRIVE von Nicolas Winding Refn und wie er von THE DRIVER von Walter Hill beeinflusst wurde. Gefolgt von einer kleinen Abschweifung zum Thema Remakes, die dann solche Titel wie DIE BLECHPIRATEN (GONE IN 60 SECONDS) also das Original von 1974 und die Neuauflage NUR NOCH 60 SEKUNDEN zur Folge hat. Daneben wird auch mal THE BOYS - STAFFEL 2 kurz zum Mittelpunkt, was in DUNE: PART TWO übergeht, aber eigentlich nur von TIMOTHÉE CHALAMET handelt. Darüber hinaus widmen sich die Drei dann noch einer wirklich verstörenden Perle namens FERIEN IN DER HÖLLE oder WAKE IN FRIGHT, was Schröck noch mal ermöglicht, auf zwei japanische Gangsterfilme einzugehen, die er frisch für sich entdeckt hat: zum einen A COLT IS MY PASSPORT und zum anderen BRANDED TO KILL, die deutlich mehr Begeisterung bei ihm ausgelöst haben, als zum Beispiel Jonah Hills OUTCOME oder THOR: LOVE AND THUNDER, der aber eigentlich THOR: TAG DER ENTSCHEIDUNG sein müsste. Begleitet von viel BlaBla, einigen Unterbrechungen und dem wie immer ganz eigenen Charme der Jungs. Dabei wünschen wir Euch viel Spaß, dazu ein schönes Wochenende und dass Ihr so gesund wie gut drauf bleibt. Au revoir. Learn more about your ad choices. Visit megaphone.fm/adchoices

March 31, 1930. The Hays Code is instituted, imposing strict guidelines on the treatment of sex, crime, religion and violence in American movies. Support the show! Join Into History for ad-free listening and more. History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.

Berlin, 1924.Hyperinflation. Maimed soldiers. Cocaine cabarets. Early gender-affirming surgery. Queer films screening publicly. Magnus Hirschfeld arguing homosexuality is innate, not criminal.In this episode of Blue Movie, we trace how the sexual laboratory of the Weimar Republic burned bright and brief — and how its collapse under Adolf Hitler reshaped the future of pornography.During WW2, attitudes shifted again - From the liberal sexual attitudes of Berlin to Nazi book burnings and raidsFrom underground American stag films to the Hays Code.From wartime pin-ups to mail-order bondage empires.From Alberto Vargas to Bettie Page.JOIN PATREON (all proceeds donated to ACLU & efforts to help people fighting oppression in 2026)Get in touch: thisbodypodcast@gmail.comFollow Night Blooming Jasmine This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sofiacaramella.substack.com/subscribe

Friday Film Showcased (FFS) returns with part one of a two part special on adaptations of Kenneth Fearing's novel The Big Clock. We are doing this as a tribute to the late Gene Hackman, who is not in the movie discussed in this episode, but was alive when it came out. But was he a child? Listen and find out!Ciara Moloney and Conor Hogan discuss topics including: Ray Milland (man), ray-millanding (verb), The Powerhouse Charles Laughton, queer coding and the Hays Code, clocks of various sizes and mechanisms, comedic genius Elsa Lancaster of Bride of Frankenstein fame, Maureen O'Sullivan who surely is only in this as a favour to her husband John Farrow (father of Tia, Mia, and this film, if directing is fatherhood), how much can you actually fit behind a bar, President McKinley, and the existential quest to find one's self. Literally!

Friday Film Showcased (FFS) returns with part one of a two part special on adaptations of Kenneth Fearing's novel The Big Clock. We are doing this as a tribute to the late Gene Hackman, who is not in the movie discussed in this episode, but was alive when it came out. But was he a child? Listen and find out!Ciara Moloney and Conor Hogan discuss topics including: Ray Milland (man), ray-millanding (verb), The Powerhouse Charles Laughton, queer coding and the Hays Code, clocks of various sizes and mechanisms, comedic genius Elsa Lancaster of Bride of Frankenstein fame, Maureen O'Sullivan who surely is only in this as a favour to her husband John Farrow (father of Tia, Mia, and this film, if directing is fatherhood), how much can you actually fit behind a bar, President McKinley, and the existential quest to find one's self. Literally!

Lauren and Trey pick up right where they left off, starting with a candid apology tour as they own a few mistakes listeners lovingly (and correctly) pointed out from the first two HEATED RIVALRY episodes, including a spirited mini-debate about whether the Hays Code is still “a thing.”Quick history moment: the Hays Code, officially enforced from the 1930s through the late 1960s, strictly limited what could be shown on screen, explicitly banning the depiction of homosexuality. As a result, queer stories were erased, coded, or forced into tragic endings, shaping generations of viewers' understanding of masculinity, desire, and love in ways we're still unraveling today.From there, a moving comment from a new subscriber opens the door to a rich conversation about masculinity, sexual orientation, and why HEATED RIVALRY feels so deeply resonant for so many people. Lauren reiterates (with feeling) that this is a show everyone should see, not just hockey fans or romance readers.The episode then turns toward Shane and Ilya's family dynamics, exploring how a lack of choice in childhood often shows up as difficulty with choice in adulthood. Whether it's subconsciously entering relationships where autonomy is limited or avoiding choice-making altogether, Lauren and Trey unpack this through a relational lens, drawing on David Schnarch's work around differentiation, self-definition, and the courage it takes to choose oneself.They close by tackling a question so many people quietly hold: Do I need to be fully healed before I'm ready for a relationship? Lauren compares relational readiness to being an athlete, reminding us that while training happens in the off-season, real growth requires coaching alongside teammates. Trey adds that nothing compares to the intensity of a live game, offering compassion for how much relationships can stir us, no matter how much work we've done.If this conversation resonates and you're longing for support navigating intimacy, desire, or relational growth, you don't have to do it alone. Learn more about sex and relationship coaching and book a free consultation at www.sexedforyou.com/freeconsult.About ThemLauren and Trey are partners living in Central Virginia, where Lauren owns and operates Sex Ed for You. She provides comprehensive sexuality education and embodied coaching to individuals, partners, and parents.Through a biopsychosocial approach, Sex Ed for You works to restore positive and respectful approaches to sexuality and sexual relationships, while increasing the possibility of pleasurable and safe sexual experiences, free of coercion, discrimination, and violence (World Health Organization).Sexual health is fundamental to the overall health and well-being of individuals, couples, and families, as well as to the social and economic development of communities and countries (World Health Organization). When individuals are blocked from sexual health, they are often stunted in their ability to develop sensual play, embodied connection, and enjoyment. Learn More & Connect• Learn more about Sex Ed for You: https://www.sexedforyou.com• Schedule a FREE CONSULT with Lauren: https://www.sexedforyou.com/freeconsult• Learn more about partnered communication and relational education on Instagram: https://www.instagram.com/sex_ed_for_you/• Subscribe to the YouTube channel for conversations about sex, partnership, communication, and love: https://youtube.com/@thepartnershippodcastImportant RemindersThis is not a “how to” podcast, but rather a “how they” podcast. Lauren and Trey share personal experiences, perspectives, and reflections, inviting listeners to learn from what resonates, question what doesn't, and decide what feels aligned for their own lives.Lauren is not a therapist. She is a Certified Holistic Sexuality Educator and Embodied Intimacy and Relationship Coach.

Was the 1967 film adaptation of Truman Capote's nonfiction novel ‘In Cold Blood' ground zero for our movie-and-true-crime obsession? In this bonus episode, Zeth does a deep dive into how the film broke all the rules while the infamous Hays Code was breaking down in Hollywood. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Was the 1967 film adaptation of Truman Capote's nonfiction novel ‘In Cold Blood' ground zero for our movie-and-true-crime obsession? In this bonus episode, Zeth does a deep dive into how the film broke all the rules while the infamous Hays Code was breaking down in Hollywood. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoicesSee omnystudio.com/listener for privacy information.

Today on Questions with Father, we take up a timely and challenging question: how should Catholics judge movies and modern media? We walk through the Church's traditional teaching on cinema by revisiting Pope Pius XI's 1936 encyclical Vigilanti Cura. Why did the Church once take movies so seriously? What makes cinema uniquely powerful—for good or for evil? And what lessons can Catholics today draw from the Legion of Decency, the Hays Code, and the collapse of moral standards in film after Vatican II? This episode offers clear principles to help Catholics navigate movies wisely in a culture saturated with screens. See all the episodes: https://sspxpodcast.com/questions/ We'd love your feedback on this series! podcast@sspx.org – – – – – – View this episode on YouTube: https://www.youtube.com/watch?v=yGFGsk0l7LM  – – – – – – – The Society of Saint Pius X offers this series and all of its content free of charge. If you are able to offer a one time or a small monthly recurring donation, it will assist us greatly in continuing to provide these videos for the good of the Church and Catholic Tradition. Please Support this Apostolate with 1-time or Monthly Donation >> – – – – – – – Explore more: Subscribe to this Podcast to receive this and all our audio episodesSubscribe to the SSPX YouTube channel for video versions of our podcast series and SermonsFSSPX News Website: https://fsspx.newsVisit the US District website: https://sspx.org/ – – – – – What is the SSPX Podcast? The SSPX Podcast is produced by Angelus Press, which has as its mission the fortification of traditional Catholics so that they can defend the Faith, and reaching out to those who have not yet found Tradition.  – – – – – – What is the SSPX? The main goal of the Society of Saint Pius X is to preserve the Catholic Faith in its fullness and purity, to teach its truths, and to diffuse its virtues, especially through the Roman Catholic priesthood. Authentic spiritual life, the sacraments, and the traditional liturgy are its primary means of bringing this life of grace to souls. Although the traditional Latin Mass is the most visible and public expression of the work of the Society, we are committed to defending Catholic Tradition in its entirety: all of Catholic doctrine and morals as the Church has always defended them. What people need is the Catholic Faith, without compromise, with all the truth and beauty which accompanies it. https://sspx.org

In the Silent Era, before the existence of the Hays Code (and largely a cause for it), many female screenwriters wrote heroines who flouted the brazen sexual freedom of the new century, a specialty of Josephine “Jo” Lovett. Born in October 1877 in San Francisco Lovett would spend some time as a lead actress on the … Continue reading "Sexual Liberation 1920s Style: The Screenwriting Career of Josephine Lovett – Dr. Rosanne Welch, Script Magazine, December 2025" Related posts: From Missouri to Musicals: The Screenwriting Career of Dorothy Yost – Dr. Rosanne Welch, Script Magazine, November 2025 Lois Weber: More than a Writer-Director She's the Auteur Activist of Early Cinema – Dr. Rosanne Welch, Script Magazine, April 2025 Focused on Sin and Redemption Before the Hays Code: The Screenwriting Career of Alice D.G. Miller – Dr. Rosanne Welch, Script Magazine, September 2025

Two things make up the meaning of Christmas: career advancement and extramarital affairs! For our last episode of 2025, we watched The Apartment (1960), directed by Billy Wilder and starring Jack Lemmon and Shirley MacLaine. Lemmon plays C.C. "Bud" Baxter, a middleman at an insurance company who allows his superiors to use his apartment to conduct extramarital affairs while falling in love with Fran (MacLaine), a woman with her own secret affair. The Apartment was nominated for 10 Oscars (winning 5) and has been added to the Library of Congress National Film Registry. In this episode: cheating etiquette and cheap executives; using a broom to quiet your neighbors; the end of the Hays Code; sexuality in the late 1950s; Shirley MacLaine: Metaphysical Expert; do romantic comedies need a Big Kiss? (yes). Our recommendations: Cactus Flower (1969), It Happened One Night (1934) Support the show with a Ko-fi! ko-fi.com/blackgirlfilmclub Check out the rest of our socials at linktr.ee/blackgirlfilmclub

Moody Movies: Keeper (2025), The 39 Steps (1935), Nouvelle Vague (2025), Put Your Soul On Your Hand And Walk (2025), Wicked: For Good (2025). Kylie and Elliott feel middled by a beloved filmmaker's new movie, fall in love with an early Hitchcock, sink into the sumptuous world of a France they'll never experience, have their hearts swell and break by a vital documentary, and try to absorb the love of a film they don't care for by seeing it with their nieces. Support the show:Give us a tip (as much or as little, as often or just one one time!) to help us keep the show goingFollow and interact with us on Instagram: like our posts, join the conversation on episode posts, send us a cheeky DMLeave us rating and/or review, wherever you're listening from Tell someone about the show!Contact us: moodymovieclub.pod@gmail.comFollow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

This Day in Legal History: Free Speech at the MoviesOn this day in legal history, November 25, 1915, the U.S. Supreme Court issued a landmark decision in Mutual Film Corp. v. Industrial Commission of Ohio, holding that motion pictures were not protected under the First Amendment. The case arose when Ohio enacted a law requiring films to be approved by a censorship board before public exhibition. Mutual Film Corporation challenged the statute, arguing it infringed upon free speech and press freedoms. The Supreme Court unanimously rejected that argument, declaring that movies were a business enterprise, not a medium of public expression deserving constitutional protection. The Court emphasized that films could be used for evil and lacked the inherent public value of newspapers or books.This ruling gave states and cities wide discretion to censor films, leading to the rise of local and state censorship boards that controlled what audiences could legally view. It also provided a legal foundation for the Motion Picture Production Code, or Hays Code, a system of industry self-censorship that dominated Hollywood for decades. For nearly 40 years, this decision limited the creative scope of filmmakers and allowed governments to suppress films based on moral, religious, or political grounds.It wasn't until Joseph Burstyn, Inc. v. Wilson in 1952 that the Supreme Court reversed course, striking down New York's ban on a film deemed “sacrilegious” and recognizing movies as a significant medium for the communication of ideas. The reversal marked a turning point for First Amendment jurisprudence and artistic freedom. But on November 25, 1915, the legal system closed the door on film as protected speech—setting the stage for a long legal battle over cinema's place in American constitutional law.The U.S. Department of Justice's misconduct complaint against U.S. District Judge Ana Reyes was dismissed. The rare complaint accused Reyes of bias in her handling of a case challenging President Donald Trump's ban on transgender individuals serving in the military. Chief U.S. Circuit Judge Sri Srinivasan ruled in September that judicial misconduct proceedings were not the proper venue to raise such concerns, suggesting instead that the DOJ could have filed for Reyes' recusal if it believed she was unfit to preside.The complaint, filed in February before Reyes ruled on the case, alleged she had shown hostility during hearings by expressing disbelief, questioning a lawyer's religion, and engaging in behavior the DOJ claimed compromised the dignity of the courtroom. The Justice Department claimed her conduct showed potential bias. In March, Reyes blocked Trump's executive order, though her ruling is currently on hold pending appeal. The complaint was one of only two such filings by the DOJ amid broader tensions between Trump's administration and the judiciary. Neither Reyes nor the DOJ commented on the dismissal.US DOJ's misconduct complaint against judge in transgender military ban case gets tossed | ReutersA federal judge dismissed the criminal cases against former FBI Director James Comey and New York Attorney General Letitia James after finding that the prosecutor who brought the charges lacked lawful authority. The judge concluded that Lindsey Halligan, appointed by the Trump administration as interim U.S. attorney for the Eastern District of Virginia, was installed in violation of the Constitution's Appointments Clause and federal law governing interim U.S. attorney appointments. Because her appointment was invalid, every step she took—including securing indictments—was deemed an unlawful exercise of executive power and therefore had to be vacated. The judge rejected the Justice Department's argument that the attorney general could repeatedly make interim appointments without Senate confirmation, noting that doing so would sidestep the constitutionally required process. Attempts by Attorney General Pam Bondi to retroactively validate Halligan's actions—such as re-appointing her as a special attorney and “ratifying” the indictments—were also found ineffective.Under the Appointments Clause of the U.S. Constitution and federal statute, U.S. Attorneys must be appointed by the President and confirmed by the Senate. When a vacancy arises, the Attorney General may make an interim appointment, but that appointment is limited by law to 120 days. If a permanent U.S. Attorney is not confirmed within that time, the district court may appoint a replacement to serve until the vacancy is officially filled. This process is designed to ensure both accountability and separation of powers, preventing the executive branch from indefinitely bypassing Senate oversight by cycling through temporary appointments. Repeated or back-to-back interim appointments without Senate confirmation undermine this framework, raising constitutional concerns about legitimacy and legality.The cases were dismissed without prejudice, leaving the door open to new prosecutions, though the expired statute of limitations appears to bar refiling against Comey. Defense lawyers had additionally characterized the charges as politically driven, but the court did not need to reach those claims because the appointment defect alone required dismissal. The ruling underscores that prosecutions must be brought by properly appointed officials, and that structural constitutional violations invalidate downstream actions—even in high-profile or politically charged cases.US judge tosses cases against ex-FBI chief Comey, New York AG James | ReutersA federal judge has denied Arkansas health worker Joy Gray's request for immediate reinstatement after she was fired over social media comments made following the murder of conservative figure Charlie Kirk. Gray sought a preliminary injunction requiring the Arkansas Department of Health to rehire her, continue paying her, or provide a “name-clearing hearing” to protect her reputation. However, U.S. District Judge Lee P. Rudofsky ruled that Gray failed to demonstrate the kind of irreparable harm necessary to justify emergency relief, emphasizing that job loss—even from a government position—does not automatically meet that legal standard. He cited controlling precedent, noting Gray did not show she couldn't be adequately compensated by monetary damages if she ultimately wins her case.The judge also rejected her claim that the department's actions were currently chilling her speech, pointing out that the firing was a past event and not part of an ongoing restriction. Additionally, her request for a name-clearing hearing was unlikely to succeed, as the court found no stigmatizing statements in the department's response. Rudofsky was careful to clarify that this ruling does not determine the outcome of Gray's broader First Amendment retaliation claim, which may involve more complex legal questions as the case proceeds.State Worker Fired for Kirk Posts Can't Revive Job During Trial This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

As always there are spoilers ahead!  You can follow the podcast on social media on Threads, Instagram and Bluesky.  If you would like to be a patron of the podcast you can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm  Roger Corman produced hundreds of films in his lifetime and directed dozens. X: The Man with the X-Ray Eyes is a colourful, psychedelic, 1960s extravaganza with aspirations of transcendence. If you wanted to join in, you can watch the film X: The Man with the X-Ray Eyes from 1963 first. DVDs of the film are available, but it is also available to rent and watch online on Apple TV and many other platforms. You can check the Just Watch website to see where it is available in your region. Oscar winner Ray Milland (we heard a bit about him in the Panic in Year Zero! episode) stars as a mad scientist who creates a serum that will help him understand the secret of life itself. A serum that unlocks the 90% of the visible spectrum that is beyond our realm of vision. The film is fun and pacey and the tone is once again firmly in the 1960s. I have two excellent guests to help us unravel the minds and life's mysteries around what could be Corman's magnus opus. Barry Keith Grant is professor Emeritus of Film Studies at Brock University Canada. He has written/edited numerous books, articles and essays about science fiction cinema. John Wills is a Professor of American Media and Culture at the University of Kent. He has written lots about popular culture including 1950s American and Nuclear film. Chapters: 00:00 Intro 01:57 Barry's experience of watching the film on release 03:48 Eyeballs and vision 08:58 The body in sci-fi 10:57 Mad science and closing in on the Gods 12:20 Science in the 60s 15:56 LSD 17:18 A film of two halves 19:18 Diane's romantic arc 21:57 Hays Code & the Nudie Cuties 25:35 Roger Corman's 2001: A Space Odyssey comparison 31:17 Special Effects 32:41 Gurus incoming 34:48 Blunt honesty of Xavier 37:36 The music of Les Baxter 39:59 Stephen King and the ending 44:23 Legacy 51:21 Recommendations   CORRECTION: We refer to the female scientist as Diana but her name is Diane.   NEXT EPISODE! Next episode we are heading back to the Eastern Bloc with the Czech 1963 scifi Ikarie XB-1. In terms of watching it, the American version is titled Voyage to the End of the Universe and is a different edit. Although Just Watch advertises the English language title it seems to not differentiate which edit is available. The original is available on The Criterion channel and also cultpix.com.        

Step into the shadows of early Hollywood horror as Chris and Gerry explore The Island of Lost Souls (1932) - the chilling pre-Code adaptation of H.G. Well' The Island of Dr. Moreau. In this video, Chris and Gerry break down the film's unsettling atmosphere, unforgettable performances (including Charles Laughton as Dr. Moreau), and the bold themes that pushed boundaries before the Hays Code began restricting Hollywood. 

“AN/TA-???#1 - gildi [a return]AN/TA-???#2 - annuus recension [annual review]AN/TA-???#3 - midforrad [middle management]AN/TA-???#4 - spaginnung [the call of the void]AN/TA-???#5 - absens [missing]”Transcripts available here: https://www.planarprod.com/the-attic-monologues-transcriptsCONTENT WARNINGS: Performance reviews, threat (non-specific). Mentions of body horror, existentialism and apathy, Section 28, the Hays Code. References to bills and money, unfair work contracts/child labour, kidnapping (joking).Voices:Kaz Gidman as Athrie DaneZahra Rajab as Yasmin HakimLaura Mirsky as The Head LibrarianBonnie Calderwood Aspinwall as Bella BlackwellRoya Gharbi as Lola BrodeurAlasdair Stuart as The AuthorMJ Scott as Ophelia MartinKit Lovick as Sam HarrisProduction Team:Written by Morgan GreensmithProduced by Morgan Greensmith & LM ClohessyDirected & Script-Edited by LM ClohessySound Designed by Jura LeopoldTheme tune composed by Wilkie MorrisonSocial Media by Morgan GreensmithLogo by Sorren BriarwoodThe Attic Monologues is a Planar Prod show. For more information on the show and our production network, visit our website www.planarprod.com. Find us on Twitter @AtticMonologues, and on Instagram, Tumblr, TikTok, and Facebook @TheAtticMonologues. You can also send us an email at theatticmonologues@gmail.comThank you for listening! If you enjoyed, please consider leaving a review and telling a friend; join us on our patreon: https://www.patreon.com/theatticmonologues, or buy us a coffee: https://ko-fi.com/theatticmonologues Join our discord: https://discord.gg/Fw7EgGdeAr The hint for Episode 48 is “Uterque Likr Í Kurteisliga”.See you then!

Film noir would have been so much cooler without the Production Code. SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

The gang calls in the big guns this week as they (Pete) reviews our first entry for Pre-Code November, the OG Scarface starring Paul Muni. Joining Pete on his journey is crowd favorite, Aunt Linda, to drop some knowledge on the class about the short era between the inception of talkies, and the Hays Code being enacted. It's a fascinating time in film history, and Scarface is a fascinating movie to go along with it. Visit the YouTube channel Saturdays @ 12:30 PM Pacific to get in on the live stream, or just watch this episode rather than just listen!Channel:https://www.youtube.com/channel/UCI1lVsk1xjMSBgZK82uAzgQThis Episode:https://youtu.be/LK2UiziMTyQhttp://www.MCFCpodcast.comhttps://www.twitch.tv/MCFCpodcasthttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comMerch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksChris GeigerDylanMitch Burns Robert Stewart JasonAndrew Martin Dallas Terry Jack Fitzpatrick Mackenzie MinerAngry Otter (Michael)Joseph Navarro     Pete Abeyta  and Tyler Noe

Mirror, mirror on the wall, who's the gayest of them all? Happy surprise Halloween episode! Today we're joined by sisters Yvette Gentile and Rasha Pecoraro of So Supernatural podcast to dive into the history of queer-coded villains, the Hays Code and our favorite, gay characters across the media landscape before they were legally able to come out of the closet. Representation matters, folks, including Christine's newly uncovered obsession with the Grinch. We love gay Halloween, what do you mean you're going as Luke the Halloweentown goblin before he magically turned cute... and that's why we drink! Check out the Buzzfeed listicle Christine mentions here to help get you in the Halloween spirit: https://www.buzzfeed.com/samstryker/all-the-disney-villains-ranked-from-least-gay-to-most-gay Check out Yvette and Rasha on So Supernatural dropping spooky episodes every week on all your favorite listening platforms! They're also @ywblend and @rashapecoraro on Instagram and yvetteandrasha.com online! Find your scent soulmate today and get up to 60% off at http://microperfumes.com/drink Use code DRINK at jonesroadbeauty.com to get a Free Cool Gloss with your first purchase! #JonesRoadBeauty #ad Learn more about your ad choices. Visit podcastchoices.com/adchoices

Muah hah hah! In this evil-incarnate of an episode, Mike and Kyle talk about The Hays Code, Ursula, Dracula, the new gay villain, the gayest villain bracket, and Ask Reddit. In this episode: News- 3:29 || Main Topic (Villains)- 16:50 || Gayest & Straightest- 1:15:18 Buy our book, You're Probably Gayish, available right now at www.gayishpodcast.com/book! Each chapter dissects one gay stereotype ranging from drugs to gaydar to iced coffee. It's also available as an audiobook on Audible, Spotify, and more. If you want to join Mike and Kyle on their 2027 Mexican Riviera cruise, visit www.gayishpodcast.com/cruise to sign up. Make sure to check Gayish as the podcast you're attending for. On the Patreon bonus segment, Mike tells Kyle about villains' fashion. If you want to support our show while getting ad-free episodes a day early, go to www.patreon.com/gayishpodcast.

Cultists, a successful film demands a sequel, and The Monster Demands a Mate! Coming four years after the original, and largely considered the pinnacle of the Classic Era of Universal Horror, Bride of Frankenstein arrived in a very different cinematic landscape than its predecessor. Karloff was now a Horror Movie Star, director James Whale had considerably more creative control, and there was a newly established Hays Code to contend with. Please join us for the Dissection Dissection Topic https://www.imdb.com/title/tt0026138/?ref_=ext_shr https://www.amazon.com/gp/video/detail/B000I9VO3K/ref=atv_dp_share_cu_r Unholy Sacrament "Electric Fields" Fresh Hop Strata - IPA, Threshold Brewing & Blending https://untp.beer/a6mX8 Dark Tidings Guillermo Del Toro's 'Frankenstein' Receives Monster 15-Minute Ovation at Venice Film Festival https://deadline.com/2025/08/frankenstein-guillermo-del-toro-15-ovation-venice-1236501987/ Vault of Darkness Electric Angel: A Dystopian Sci-Fi Adventure: Cyber Dreams, Book 1 By Plum Parrot https://www.amazon.com/Electric-Angel-Dystopian-Sci-Fi-Adventure-ebook/dp/B0CC36CXT5 https://www.audible.com/pd/B0CBNFGWT2?source_code=ASSORAP0511160007 Tearing Down The Orange Curtain: How Punk Rock Brought Orange County to the World By Nate Jackson and Daniel Kohn https://www.dacapopress.com/titles/nate-jackson/tearing-down-the-orange-curtain/9780306832963/ https://www.audible.com/pd/B0DM74N541?source_code=ASSOR150021921000O #frankenstein, #brideoffrankenstein, #frankensteinmonster, #jameswhale, #boriskarloff, #marryshelley, #colinclive, #elsalanchester, #dwightfrye, #ernestthesiger, #valeriehobson, #jackpierce, #drfrankenstein, #drpretorius, #themodernprometheus, #itsalive, #darkuniverse, #universalhorror, #universalmonsters, #classicmonsters,

Frankenstein (1931), was a revolution pre-code Universal Monster Movie. In 1935, the Hays Code had been in place for a year and Universal released, The Bride of Frankenstein, which became arguably more iconic than its predecessor. This week on Geek History Lesson, Ashley is joined by Geek History Lesson Research Assistant and Talking Titans co-host Diego Anthony Nuñez to explore the cultural impact of both films. Which is better?Follow Diego on Threads ► https://www.threads.com/@blackcrow521#SpookySeason2025 Merch ► https://www.teepublic.com/stores/jawiinFor exclusive bonus podcasts like our Justice League Review show our Teen Titans Podcast, GHL Extra & Livestreams with the hosts, join the Geek History Lesson Patreon ► https://www.patreon.com/JawiinGHL RECOMMENDED READING from this episode► https://www.geekhistorylesson.com/recommendedreadingFOLLOW GHL►Instagram: https://www.instagram.com/geekhistorylessonThreads: https://www.threads.net/@geekhistorylessonTik Tok: https://www.tiktok.com/@geekhistorylessonFacebook: http://www.facebook.com/geekhistorylessonGet Your GHL Pin: https://geekhistorylesson.etsy.comYou can follow Ashley at https://www.threads.net/@ashleyvrobinson or https://www.ashleyvictoriarobinson.com/Follow Jason at https://www.threads.net/@jawiin or https://bsky.app/profile/jasoninman.bsky.socialThanks for showing up to class today. Class is dismissed!

Frankenstein (1931), was a revolution pre-code Universal Monster Movie. In 1935, the Hays Code had been in place for a year and Universal released, The Bride of Frankenstein, which became arguably more iconic than its predecessor. This week on Geek History Lesson, Ashley is joined by Geek History Lesson Research Assistant and Talking Titans co-host Diego Anthony Nuñez to explore the cultural impact of both films. Which is better?Follow Diego on Threads ► https://www.threads.com/@blackcrow521#SpookySeason2025 Merch ► https://www.teepublic.com/stores/jawiinFor exclusive bonus podcasts like our Justice League Review show our Teen Titans Podcast, GHL Extra & Livestreams with the hosts, join the Geek History Lesson Patreon ► https://www.patreon.com/JawiinGHL RECOMMENDED READING from this episode► https://www.geekhistorylesson.com/recommendedreadingFOLLOW GHL►Instagram: https://www.instagram.com/geekhistorylessonThreads: https://www.threads.net/@geekhistorylessonTik Tok: https://www.tiktok.com/@geekhistorylessonFacebook: http://www.facebook.com/geekhistorylessonGet Your GHL Pin: https://geekhistorylesson.etsy.comYou can follow Ashley at https://www.threads.net/@ashleyvrobinson or https://www.ashleyvictoriarobinson.com/Follow Jason at https://www.threads.net/@jawiin or https://bsky.app/profile/jasoninman.bsky.socialThanks for showing up to class today. Class is dismissed!

"Hollywood was swarming with gay people."You know how Pedro Pascal hasn't come out yet? Well: this episode will explain why.Between the 1930s and 1960s, the Hays Code banned “sexual perversion” of all kinds from the silver screen, which (spoiler alert) meant queers.That has bequeathed us a predominantly homophobic industry in Hollywood, even if the stars and culture have always been decidedly – how do you say? – VERY GAY.This week we dive into the queerness of Hollywood's first Golden Age.We cover:The pre-Code era archetypes of pansies, sissies, butches, and sapphics, oh my!The Code's first filmic victim: a 1936 adaptation of Lillian Hellman's thesbian stage classic The Children's HourHitchcock's Rope, featuring two fascist dandy murderers whose day jobs included playing the piano and being fantastically richThe legacy of homophobia and queer desire in post-Code films up to the presentThis week, Bash is joined by film critic and filmmaker, Michael Koresky, who is the recent author of Sick and Dirty: Hollywood's Gay Golden Age and the Making of Modern Queerness — a love letter to the sly, coded, and deeply horny films that the uptight, antisemitic, racist, homophobic, Catholic censors forced out of the era's greatest artists.Hollywood was always swarming with queers, as Michael puts it, but people weren't naïve or stupid. We saw the signs – and we shot each other furtive glances as we hid our brain-boners...

Get the book here. The definitive, in-depth look inside the making of Alfred Hitchcock's Rear Window—the all-time classic of voyeurism, paranoia, and murder that became one of Hollywood's greatest achievements and turned generations of viewers into “a race of Peeping Toms.” . . .Before the internet and social media offered voyeuristic glimpses into the lives of others, the acclaimed Master of Suspense, Alfred Hitchcock, exposed the dangers and delights of looking—and knowing—too much in his 1954 masterpiece Rear Window. Widely hailed as one of the greatest films ever made, it stars James Stewart and Grace Kelly at the top of their game but, in an unusual gamble, is shot entirely from within a Greenwich Village apartment . . .Using this limited point of view, Hitchcock forces his audience to participate in his protagonist's voyeuristic impulses and darkest obsessions—a bold move in the era of the Hollywood Blacklist and restrictive Hays Code. But the gamble paid off, and Rear Window became a timeless classic.This eye-opening book goes straight to the source of Rear Window's genius by mining the original papers of Hitchcock, Jimmy Stewart, and Thelma Ritter, revealing little-known facts behind the Why taking the role of Lisa Fremont was one of the toughest decisions Grace Kelly ever made; How Hitchcock intertwined suspense and romance with inspiration from Ingrid Bergman; How he used a topless scene to distract the censors from other scenes to which they may have objected; and how Hitchcock crafted the film's unforgettable villain, Lars Thorwald, by modeling him on a producer he loathed—the infamous David O. Selznick. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Get the book here. The definitive, in-depth look inside the making of Alfred Hitchcock's Rear Window—the all-time classic of voyeurism, paranoia, and murder that became one of Hollywood's greatest achievements and turned generations of viewers into “a race of Peeping Toms.” . . .Before the internet and social media offered voyeuristic glimpses into the lives of others, the acclaimed Master of Suspense, Alfred Hitchcock, exposed the dangers and delights of looking—and knowing—too much in his 1954 masterpiece Rear Window. Widely hailed as one of the greatest films ever made, it stars James Stewart and Grace Kelly at the top of their game but, in an unusual gamble, is shot entirely from within a Greenwich Village apartment . . .Using this limited point of view, Hitchcock forces his audience to participate in his protagonist's voyeuristic impulses and darkest obsessions—a bold move in the era of the Hollywood Blacklist and restrictive Hays Code. But the gamble paid off, and Rear Window became a timeless classic.This eye-opening book goes straight to the source of Rear Window's genius by mining the original papers of Hitchcock, Jimmy Stewart, and Thelma Ritter, revealing little-known facts behind the Why taking the role of Lisa Fremont was one of the toughest decisions Grace Kelly ever made; How Hitchcock intertwined suspense and romance with inspiration from Ingrid Bergman; How he used a topless scene to distract the censors from other scenes to which they may have objected; and how Hitchcock crafted the film's unforgettable villain, Lars Thorwald, by modeling him on a producer he loathed—the infamous David O. Selznick. Learn more about your ad choices. Visit megaphone.fm/adchoices

Read Focused on Sin and Redemption Before the Hays Code: The Screenwriting Career of Alice D.G. Miller Read about more women from early Hollywood   Related posts: Friend and editor Anna Weinstein’s book on Shonda Rhimes make Bloomsbury's Essential New Books list for film students Writing Successful Films into her 60s? Zelda Sears Did It! – Dr. Rosanne Welch, Script Magazine, March 2024 From Silents to Talkies to TV Lenore J. Coffee Did It All – Dr. Rosanne Welch, Script Magazine, November 2023

 ✅ “Ever wondered why your deodorant suddenly stops working—or what sound was once banned in Hollywood movies?”In this episode of The Sandy Show, Sandy and Tricia dive into a hilarious mix of nostalgia, pop culture, and bizarre facts you didn't know you needed. From Sandy proudly admitting he was the real-life Stifler, to a deep dive into the Hays Code—the old Hollywood rulebook that banned everything from stationary dancing to the sound of a raspberry—this episode is packed with laughs and surprises.You'll also hear:The Nirvana baby lawsuit finally put to rest—and why the judge called it a “money grab.”The deodorant debate: spray vs. roll-on vs. stick—what's your go-to?Random but fascinating trivia: Why the Canary Islands have nothing to do with birds, and the shocking story of a hunter who made dentures out of deer teeth.Pringles secrets revealed: Meet Julius Pringles, the man behind the mustache.Memorable quote: “That's known as TDF—Total Deodorant Failure. Always happens at the worst time.” Whether you're here for the laughs, the weird facts, or just to hang out with Sandy and Tricia, this episode delivers.

“You're trying to seduce me…” The Graduate dropped in 1969 from Mike Nichols on the cutting edge of New Hollywood. The story of a recent college grad and an affair that shapes the transitional years into his adulthood and his lover's middle age. As iconic as a movie can be, Dustin Hoffman and Anne Bancroft starred in a movie that's as relevant now as it was in the aftermath of the Hays Code and on the cusp of a new style of filmmaking that would define a generation of artists. Clint, Cal and Nick talk about revisiting this classic in their own moments of change, how an old school cinematographer was the best way to break new ground and why the movie hits WAY different when you realize you're older than Mrs. Robinson. Meanwhile, Dan's Algorithm wonders where Joe DiMaggio has gone… CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Technical Producers, Marhyan Franzen and Amir Rakib. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Superhero Ethics dives deep into the "bury your gays" trope—where LGBTQ+ characters disproportionately meet tragic ends—examining its history, evolution, and modern implications, and whether it can be applied to the death of Cinta in Andor.The conversation begins with the trope's roots in 19th century British law and the Hays Code, which allowed "bad behavior" to be depicted on screen only if characters faced consequences. Tracing this trope from there all the way to the modern day, the episode explores how social media amplified fan outrage and created lasting change in how writers approach queer storylines.The hosts wrestle with whether Cinta's death in Andor constitutes “burying your gays,” given that many characters die in the show's realistic portrayal of rebellion. They examine how the lack of queer representation in the broader Star Wars franchise adds weight to this single relationship, and whether it's fair to hold individual creators responsible for franchise-wide representation gaps. The discussion reveals how intersectionality compounds the problem—Cinta was both the queer character and the character of color in an interracial relationship.The episode highlights positive examples like Schitt's Creek, which promised viewers that queer tragedy would never be part of the story, and The Last of Us, which handled queer character deaths in ways that felt organic to the world rather than punitive. The hosts argue that diverse writers' rooms could help creators navigate these sensitive storytelling choices while still allowing for dramatic character deaths when they serve the narrative.Other Topics Covered:The "fridging" trope and its overlap with "bury your gays"How the AIDS crisis shaped media representation in the 1980s-90sThe role of queer coding and queer baiting in modern mediaWhy horror films have evolved to include more surviving queer charactersThe difference between tragic queer stories and queer tragedy as plot deviceImpact of fan shipping on reactions to character deathsDeath scenes following romantic moments: examining harmful patternsPositive portrayals in Station 19, The Dragon Prince, and Harley Quinn**************************************************************************This episode is a production of Superhero Ethics, a The Ethical Panda Podcast and part of the TruStory FM Entertainment Podcast Network. Check our our website to find out more about this and our sister podcast Star Wars Generations.We want to hear from you! You can keep up with our latest news, and send us feedback, questions, or comments via social media or email.Email: Matthew@TheEthicalPanda.comFacebook: TheEthicalPandaInstagram: TheEthicalPandaPodcastsTwitter: EthicalPanda77Or you can join jump into the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want to get access to even more content while supporting the podcast? Become a member! For $5 a month, or $55 a year you get access to bonus episodes and bonus content at the end of most episodes. Sign up on the podcast's main page. You can even give membership as a gift!You can also support our podcasts through our sponsors:Purchase a lightsaber from Level Up Sabers run by friend of the podcast Neighborhood Master AlanUse Audible for audiobooks. Sign up for a one year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

Universal's output in 1944 was packed with horror tales and MURDER IN THE BLUE ROOM seems a likely addition to that list of chillers. At least until you realize that a firm 20% of the film's scant running time is taken up by song & dance numbers! Yes, its another horror comedy with a script that started life as a Ritz Brothers feature, but don't let that scare you off. The chills may be lacking but the entertainment value is surprisingly high. And there is a ghost enlivening the proceedings. Oh! And a murder as well.  Troy Guinn and I take a run through this humorous creeper and find ourselves having more fun than expected. The credit for that goes to the talented cast so we spend a lot of time talking about the stars and a few of the amazing bit players as well. Where else other than in this movie are you going to hear actor Ian Wolfe say the word ‘Zut'? The film has several great songs and I include Troy's favorite tune in the show because it is far too catchy to ignore. We discuss the plot shenanigans and the script's careful skipping past a subject usually forbidden by the Hays Code. Mention is made of the award-winning career of one of the screenwriters and we point to areas in the dialog where his efforts might be heard. Also, we point the curious to the first English language version of this tale, THE SECRET OF THE BLUE ROOM (1933), as a better source of horror thrills if not toe-tapping fun. This 1944 version might serve as a good pairing with that minor classic but only if we can ever get a better-looking print. Come on, Universal. If you have any song recommendations from a scary film thebloodypit@gmail.com is where to send them. And let us know what you think of this film and the podcast in general too. Thank you for listening! 

for the full episode join the Patreon [patreon.com/fashiongrunge]Runnin' wild and talking Some Like it Hot for the latest 'Back track' episode! I'm so excited to cover this one because I got a major case of the feels when watching this for the pod.If you are looking for an all around stellar film with an incredible cast, laughs a plenty, brilliant story, and an ethereal Marilyn Monroe then look no further. I get into the behind the scenes tidbits I discovered including the troubles on set, how the men were cast as Daphne and Josephine, and how it wasn't well received (inconceivable) during the first screening.off-topic rants include: 80s movies, Frank Sinatra, and the Hays Code in films---Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanie Follow Fashion Grunge PodcastFind more Fashion Grunge on LinktreeJoin me on Substack:  The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge

SEASON 2 - EPISODE 149 - A LOOK AT TWO INSPIRATIONAL FILMS - with Joe Walker - Part 1 In this episode of the Team Deakins Podcast, editor Joe Walker (Season 1, Episode 35) returns for the first half of a two-part discussion about the filmmaking behind two of our favourite films: Richard Brooks' IN COLD BLOOD and Jean-Pierre Melville's ARMY OF SHADOWS. The films may contrast in their expression of cinematic storytelling with each other and with films made today, but we find, over the course of these two episodes, that both films share and build on the fundamental elements of what makes a movie, a movie. This episode focuses on IN COLD BLOOD, and we discuss how the film frequently subverts expectations through its structure, cinematography, and editing. Joe also breaks down composer Quincy Jones' evocative score, and he reveals how the film radically flew in the face of a soon-to-be-abandoned Hays Code. Additionally, we look at the innovations in filmmaking technologies and techniques from cinema's youth to the 1960s, and Joe presents his theory of the 30-year-cycle of evolution in the film industry. Plus, we take a moment to consider the links between Soviet propaganda's understanding of montage and the modern analytics and algorithms that manipulate how images are presented on the internet today.  - Recommended Viewing: IN COLD BLOOD (1967), ARMY OF SHADOWS (1969) - This episode is sponsored by Aputure & Barco

Although the Hays Code and Lavender Scare served as a deterrent to queer representation in cinema, many filmmakers still found ways to include queer themes into their works. In his new book Sick and Dirty: Hollywood’s Gay Golden Age and the Making of Modern Queerness, film historian Michael Koresky collects examples of these early queer projects and helps provide context to their development. Detailing the use of queer innuendos and development of Hays-code approved stereotypes, the book shares how films like The Children’s Hour and Rebecca served as some of the earliest examples of LGBTQ-themed cinema. Joining us to discuss their book, early films with queer themes and the filmmakers behind them, is Michael Koresky, author of the new book Sick and Dirty: Hollywood’s Gay Golden Age and the Making of Modern Queerness. ‘Sick and Dirty: Hollywood’s Gay Golden Age and the Making of Modern Queerness’ is out now, click here for more information. Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!

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.

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! 

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

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 WallaceAnother Word for LoveOthers: 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/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

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

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

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