Podcasts about hitchcock

Horror history gets iconic, aquatic, gothic, apocalyptic, and completely unhinged this week as This Week in Horror History travels through June 15–21 with motel terror, shark sequels, dark superhero nightmares, zombie blockbuster chaos, and one wild space-vampire cult classic that brings cosmic horror crashing down on Earth.This episode digs into a packed week of classic horror movies, cult horror, summer blockbusters, gothic comic-book horror, zombie disaster cinema, and 1980s Cannon Films madness, including the New York premiere of Psycho, the U.S. release of Jaws 2, the theatrical arrival of Batman Returns, the blockbuster zombie outbreak of World War Z, and the Deep-Cut Spotlight on Tobe Hooper's bizarre 1985 space vampire epic Lifeforce.Inside this episode:• Psycho rewrites the rules of horror moviegoing, turns the Bates Motel into a nightmare landmark, and makes one ordinary shower one of the most famous crime scenes in cinema.• Jaws 2 drags audiences back to Amity Island for more shark terror, seaside panic, and one of horror's most frustrating “nobody believes the guy who is right” sequel setups.• Batman Returns transforms Gotham into a twisted Christmas horror fairy tale full of sewer lairs, circus gangs, stitched leather, abandoned children, corporate monsters, Catwoman, and the Penguin.• World War Z reimagines the zombie apocalypse as global disaster cinema, with the undead moving less like slow corpses and more like a rushing human flood.• The Deep-Cut Spotlight goes to Lifeforce, Tobe Hooper's strange, ambitious, and deeply excessive Cannon Films cult classic about Halley's Comet, alien vampires, life-draining seduction, plague victims, and London falling apart under cosmic horror.Plus: a horror birthday roll featuring Courteney Cox, Laurie Metcalf, John Carl Buechler, and Nicole Kidman, a creepy look at how horror became a massive summer marketing event, and a weekly recommendation for Hammer's Dracula, also known as Horror of Dracula, starring Christopher Lee and Peter Cushing.From Norman Bates and shark-infested beaches to Gotham monsters, zombie swarms, Halley's Comet, space vampires, Hammer horror, and Cannon Films insanity, this week proves horror history can be classic, blockbuster-sized, cult, strange, seductive, and absolutely impossible to ignore.

The digital age has turned everyone into a broadcaster. Cameras are always rolling. Phones are always recording. But what happens when the footage captures something it was never meant to see? That chilling idea is at the heart of PICK-UP, the new crime thriller one-shot from AWA Studios, written by Michael Coast and arriving in comic shops on March 18. In this episode of the Comic Crusaders Podcast, Al Mega sits down with Coast to explore the inspiration behind the story and the dangers hiding inside our always-online world. PICK-UP dives headfirst into the collision between social media fame and violent crime. The story follows an influencer whose carefully curated online life spirals out of control when background footage captures a dangerous secret. Suddenly, the camera that once fueled his success becomes the key to unraveling everything. For Coast, the project marks an exciting shift from editor to creator. As a Senior Editor at AWA Studios, he has played a key role in shaping projects from other writers and artists. With PICK-UP, he steps forward as the storyteller himself, bringing a tense, modern thriller to readers. During the conversation, Coast shares insights into the creative process behind the comic, the influence of classic suspense storytelling, and how modern technology has changed the way crime stories can be told. The episode also explores: • Michael Coast's journey into comics • The transition from editor to writer • The influence of Hitchcock-style storytelling • The role of social media in modern thrillers • How technology reshapes crime narratives PICK-UP promises a suspenseful ride that blends psychological tension with a chillingly realistic premise. If cameras truly record everything, sometimes they capture truths people would rather keep hidden. PICK-UP arrives March 18 from AWA Studios. YT: https://www.youtube.com/watch?v=UOl7wjhdwe0 Check out a preview of Pick-Up HERE Thank you for Watching / Listening! We appreciate your support! Host Al Mega Follow on Twitter | Instagram | Facebook: @TheRealAlMega / @ComicCrusaders Make sure to Like/Share/Subscribe if you haven't yet Rumble/Twitch: ComicCrusaders YouTube: / comiccrusadersworld Visit the official Comic Crusaders Comic Book Shop: comiccrusaders.shop Visit the OFFICIAL Comic Crusaders Swag Shop at: comiccrusaders.us Main Site: https://www.comiccrusaders.com/​​​​ Edited/Produced/Directed by Al Mega

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Victor kicks off a week-to-week deep dive into Cape Fear, the new Apple TV+ adaptation from producer Nick Antosca (executive produced by Scorsese and Spielberg). Before bringing in co-host Sona, Victor walks through the full history of the source material — from the 1957 novel and the 1962 Hitchcock-adjacent adaptation, through Scorsese's celebrated 1991 film, all the way to this new ten-episode series. The conversation covers what makes this version distinct: a new crime at the center of Max Cady's imprisonment, a defense attorney protagonist played by Amy Adams who may have a far more complicated history with Cady than anyone knows, and a modern-day anxiety layer involving home security systems, online manipulation, and the very real fear that someone is already inside your house. Javier Bardem's magnetic, unsettling performance as Max Cady is a major topic, as is whether the show's relentless, uncut dread — and its considerable gore — will sustain itself over a full ten-episode run. Sona joins to share her firsthand perspective on the accuracy of the innocence project storyline, weigh in on the performances, discuss the show's overwhelming sense of dread, and debate the many dangling mysteries of episodes one and two — including who (or what) is living in the Bowden house, what really happened between Anna and Max during the trial, and just how many secrets this family is hiding. The episode closes with a recommendation for Maximum Pleasure Guaranteed, a new Tatiana Maslany thriller that may be airing in parallel. Join our Patreon for more Content https://www.patreon.com/cw/NeedsSomeIntroduction Mailto:needssomeintroduction@gmail.com 00:00 Welcome and Introduction 00:58 Cape Fear Adaptation History 01:50 Scorsese's 1991 Version 04:51 Nick Antosca's New Adaptation 07:18 Modern Anxieties and Themes 10:36 Episode One Recap Begins 11:36 The Bowden Family Introduction 13:03 Max Cady's Girlfriend Suicide 16:12 Max Cady's Release 20:11 Family Tensions and Secrets 23:49 Technology and Home Invasion 26:03 The Gala Event 28:55 Javier Bardem's Entrance 34:19 Max Confronts the Family 38:01 Episode Two Flashback 39:55 Discovery in the House 40:30 Natalie's Classmate Encounter 41:05 The Toe Revelation 41:27 Family Tensions Rise 42:48 Max's Prison Visit 43:35 Katie's Traumatic Past 45:15 Anna's Phone Trick 45:42 The Interview Performance 47:06 Episode Two Ending 47:59 Max Rents a House 48:34 Series Length Concerns 49:10 Innocence Project Realism 53:12 Show's Disturbing Tone 53:41 Bardem's Grounding Performance 55:32 Horror Elements Discussion 56:36 New York Apartment Detour 57:47 Sustaining the Tension 58:26 The Toe Scene Reaction 59:50 Bardem's Magnetic Performance 01:00:41 Katie's Villainous Nature 01:02:03 Cape Fear Comparisons 01:03:31 The Son's Mental State 01:04:52 Male Loneliness Themes 01:05:22 Husband's Secrets 01:08:13 Patrick Wilson's Performance 01:09:14 Physical Threat Balance 01:11:46 Amy Adams Discussion 01:13:37 Gore Level Debate 01:15:43 Husband's Affair Mystery 01:16:00 Affair Speculation and Comparisons 01:16:53 Parentage Mystery Discussion 01:19:11 The Son's Strange Behavior 01:21:53 Missing Toe Investigation 01:22:54 Mystery Woman and Acolytes 01:24:16 Too Many Mysteries 01:25:56 Dosing Theory Speculation 01:27:52 Animal Symbolism Analysis 01:29:27 Plot Potential and Concerns 01:31:52 Southern Setting Atmosphere 01:34:23 Unreliable Narration Hints 01:36:59 Maximum Pleasure Guaranteed Introduction 01:38:33 Cam Boy Mystery Plot 01:40:08 Bathtub Scene Reveal 01:43:32 Corporate Blackmail Theory 01:45:24 Final Thoughts and Wrap-Up Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

6/7/2026 - Prayer Warrior (11am) - Ephesians 6:18-20 - Dr. mark Hitchcock

durée : 00:48:15 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires Sensibles, Tippi Hedren dans "Les Oiseaux", la proie Alfred Hitchcock. - réalisation : Stéphane Cosme, Hélène Bizieau, Frédéric Milano, François Audoin, Valentine Chédebois, Franck Cognard, Rebecca Denantes, Claire Teisseire Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

It's time for another Mike Makes Mike Watch! This week, Mike D is making Smith catch up on Denis Villeneuve's breakout hit, PRISONERS. Meanwhile, Smith is making Mike D watch the incredibly fun Hitchcock-for-kids thriller CLOAK & DAGGER!

In Cineversary podcast episode #95, host ⁠Erik J. Martin⁠ commemorates the 75th birthday of Strangers on a Train, directed by Alfred Hitchcock. Seated adjacent on this train ride is Stephen Rebello, contributing screenwriter on the 2012 film Hitchcock, and author of Criss-Cross: The Making of Hitchcock's Dazzling, Subversive Masterpiece Strangers on a Train. Erik and Stephen swap insights and opinions on why this film is essential viewing, its subversive sexual dynamics, salient themes, and much more. Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com.

Can Falk crack the murder case or will he need help from Inspector Tropesmith, Speed Detective, Emerald Ash Borer or The Ad Hawk? You want a fast resolution or a satisfying one? Listen to find out!Has This Gun in My Hand Ever Happened To You?, episode 152 of This Gun in My Hand, was stunned, hawked, sped up and salvaged by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. Why have I gathered you all here today? This Gun in My Hand!Show Notes:1. Charters and Caldicott were two minor characters in Hitchcock's 1938 film The Lady Vanishes. Played by the actors Basil Radford and Naunton Wayne, the pair were popular enough to get three films of their own, though not with Hitchcock. After creative differences with the film studio in 1946, the actors appeared as similar characters with different names in seven other films and five BBC radio productions. A 1985 BBC television series rebooted Charters and Caldicott with new actors.https://en.wikipedia.org/wiki/Charters_and_Caldicott2.  “Sir, a woman has been murdered in your house, therefore it follows there must be a murderer.” That line is from a teaser for an actual British police procedural show. They use it in a promo on almost every dvd for Acorn TV and the dullness of it kills me every time.Credits:Music in this episode came from these public domain films:The Sun Sets at Dawn (1950), and Too Late for Tears (1949, aka Killer Bait). Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Music Title: Flight of the Carpenter BeeBy Steve ArntsonLicense: Creative Commons Attribution 3.0https://archive.org/details/Bildungsroman-7512Sound Effect Title: Mount Moganshan Insect Chorus by RTB45 License: Creative Commons Attribution 3.0https://freesound.org/people/RTB45/sounds/325321/Insect chorus recorded one summer evening, Mount Moganshan, Zhejiang Provence, People's Republic of ChinaSound Effect Title: Car_motor_Sound.m4aLicense: Public Domainhttps://freesound.org/people/Blizzard123/sounds/504633/#Sound Effect Title: Beep_Sequence_10.wav by AlienXXX License: Creative Commons Attribution 4.0https://freesound.org/s/267561/ Music Title: Spaceship Engine - noise + heavy beep by KnoplundLicense: Creative Commons Attribution 4.0https://freesound.org/people/Knoplund/sounds/371283/Music Title: PaixComposed and Performed by Alpha HydraeLicense: Public Domainhttps://freemusicarchive.org/music/Alpha_Hydrae/Peace_Love_Respect_Overdrive/Alpha_Hydrae_-_Alpha_Hydrae_-_Peace_Love_Respect_Overdrive_-_03_Paix/Music Title: HurhisComposed and Performed by Yellow OmmLicense: Creative Commons Attribution 4.0https://freemusicarchive.org/music/yellow-omm/single/hurhis/Sound Effect Title: Electric zap.wav by michael_grinnell License: Public domainhttps://freesound.org/s/512471/ Sound Effect Title: ELECTRIC_ZAP_001.wav by JoelAudio License: Public domainhttps://freesound.org/s/136542/ Sound Effect Title: Milagra.mp3 by foosiemac License: Creative Commons Attribution 3.0https://freesound.org/s/76797/ Sound Effect Title: R30-34-Red Tailed Hawk.wav by craigsmith License: Public domainhttps://freesound.org/s/479610/ Song Title: The Fairy Queen, Z. 629Composed by Henry Purcell, 1692.Performed by Carl Pini, John Tunnell, Anthony Pini and Harold Lester.License: Public Domainhttps://musopen.org/music/11140-the-fairy-queen-z629/Music Title: Peer Gynt Suite no. 1, Op. 46 - I. Morning MoodComposed by Edvard GriegPerformed by Czech National Symphony OrchestraLicense: Public Domainhttps://musopen.org/music/777-peer-gynt-suite-no-1-op-46/Sound Effect Title: S10-19 Falling wooden beam; big interior crash; house collapses; long.wav by craigsmithLicense: Public Domainhttps://freesound.org/s/675967/ The image accompanying this episode is from Popular Detective Magazine, Volume 15, Number 3 (October 1938). Public domain, artist unknown.Image Alt text: Black and white drawing of a hand firing a revolver. Lines and smoke show the gun is discharging. Behind the gun is the shadow of the apparent shooting victim with both hands up and possibly wearing a policeman's hat. Above this drawing are the words HAS THIS GUN IN MY HAND EVER HAPPENED TO YOU?

Yeni sezonda da her hafta Canlı Yayında sinema ve televizyon gündemini konuşuyoruz, haftanın öne çıkan dizi ve filmlerini yorumluyoruz, ilgimizi çeken konuları tartışıyoruz, listeler yapıyoruz, goygoydan geri kalmıyoruz...00:00 | Giriş 01:40 | 100. Bölüm Ertelendi06:50 | Half Man: Final16:35 | For All Mankind 5. Sezon Finali23:15 | Star City38:20 | Spider-Noir46:05 | Obsession58:55 | Widow's Bay1:01:55 | Maximum Pleasure Guaranteed1:05:40 | Marjane Satrapi Hayatını Kaybetti1:07:58 | Angel Heart Dizi Oluyor1:09:45 | Hitchcock'un Kuşlar'ı Dizi Oluyor1:10:10 | Heyecan Büyük: The End of Oak Street 1:13:40 | IMAX Patlamış Mısırı1:14:55 | Spielberg Tshirtleri1:17:20 | Scorsese ve Yapay Zeka Linci1:22:50 | Muhtemel Cannes 2027 Filmleri1:25:55 | Susuz Yaz Dizi Oluyor1:28:50 | Taylor Swift Şarkısı Tos Story 5'te1:29:15 | Yaz Filmleri1:30:50 | Mortal Combat İzleme Gafleti1:33:00 | Elden Ring Beklentisi 1:35:05 | Paramount ve Kirli Propaganda1:35:40 | State of Play ve Summer Game Fest1:38:55 | Sosyal Medyada Sinema İçerikleri  1:43:25 | Teşekkürler 

We return July 9th, with Star Trek.Eric on Blue Sky: @eric-hauter   Eric on Youtube.   Check out Gaming Nexus  Jeff can also be found on The Movie Draft House Jeff and Eric are on Letterboxd.  Just search JeffyPods and Eric Hauter.

The Invisible Scene is the quiet moment most viewers watch and don't notice. And it changes everything. It is not the car chase, the villain reveal, or the final showdown. It is a throwaway line, a loaded pause, a scene hiding in plain sight. Miss it, and you miss the movie. Hosts Dan and Tom of Cracking the Code of Spy Movies break down exactly what makes the invisible scene so easy to overlook — and yet, so essential, especially to spy movies. They walk through landmark spy movies in close detail. For instance, in CASINO ROYALE, a train conversation between James Bond and Vesper Lynd sets up the movie's entire emotional arc in just a few minutes. Similarly, in Alfred Hitchcock's NORTH BY NORTHWEST, a dinner on a train between Roger Thornhill and Eve Kendall quietly reveals who is actually in control. Then, in SKYFALL, a cluster of evaluation scenes tells you James Bond is broken long before the plot confirms it. Each example shows how great spy movies hide their true meaning in plain dialogue, subtle behavior, and understated moments — and how to spot them yourself. Once you start seeing these scenes, you can't unsee them. Every rewatch becomes a fresh discovery. We cover more spy movies than these three in this episode. Listen to find out what those movies are. The mission of this episode is to: Define "invisible scenes" — undramatic moments that secretly carry the movie's entire meaning Dive deeply into the invisible scenes in CASINO ROYALE, NORTH BY NORTHWEST, and SKYFALL with specific scene breakdowns. Explain why spy movies deliberately bury their biggest clues in quiet dialogue Teach a practical method for spotting invisible scenes on your next rewatch Explore how both Hitchcock and modern Bond films use the same invisible-scene technique Let you in on a post-filming edit that Hitchcock had to make in NORTH BY NORTHWEST Tell us what you think of our decoding of the invisible scene Is this something you've noticed before?  Can you find the hidden scene in your favorite spy movie? Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage:  https://spymovienavigator.com/episode/the-invisible-scene-that-explains-the-whole-spy-movie

My interview with Tony Lee Moral, author of "A Century of Hitchcock"

Good evening. Welcome to Dial P for Podcast, Patrick Ripoll's year-long chronological voyage through the films of Alfred Hitchcock. Every month Patrick will be watching four Hitchcock features and talking about them here, from The Pleasure Garden to Family Plot, all across the year of 2026, examining the life and work of England's most famous cinema pervert.In this episode Alfred Hitchcock finally escapes the confines of the British film industry, only to once again find himself a small fish in a large pond. With The Lady Vanishes (1938) he takes the 39 Steps formula into dizzying new heights of paranoia and sophistication, in Jamaica Inn (1939) he clashes with the ego of producer/star Charles Laughton, in Rebecca (1940) he breaks ground in Hollywood with a career high gothic romance classic and Foreign Correspondent (1940) finds him back to the thriller, but with greater production values and a more urgent plea for intervention than ever.One of the most important stretches of Alfred Hitchcock's career, producing some of the greatest works in his filmography! Check it out!0:00 - 0:33 - Intro0:34 - 46:00 - The Lady Vanishes (1938)46:01 - 1:18:20 - Jamaica Inn (1939)1:18:21 - 2:34:24 - Rebecca (1940)2:34:25 - 3:43:14 - Foreign Correspondent (1940)3:43:15 - 3:44:04 - Outro

April 25, 2026 - Equipped 2026 - Day 3 - 10:00 AM Session   Questions About Spiritual Growth and Development  Discusses the multifaceted nature of Christian spiritual growth. Key indicators of increasing faith include decreased fear, increased obedience, sensitivity to sin, and the fruits of the Spirit. Maturity is a disciplined, lifelong process nurtured by consistent engagement with Scripture, prayer, enduring trials, and active participation in a supportive church community. This resilience is built by trusting God's character, especially during life's unexpected challenges.   Duration 41:33

April 25, 2026 - Equipped 2026 - Day 3 - 3:30 PM Session   How Involved Should Your Parents Be in Your Life (Gen. 24) - Glenn Hitchcock   The lecture examines parental involvement and faith through Genesis 24, focusing on Abraham. It begins by defining a parent, including both biological and adoptive. The core centers on God's promise to Abraham to make him a great nation, and how Abraham, in old age, took faithful steps to secure a wife for his son Isaac to ensure the promise continued. He explains five elements of a promise, using God's covenant with Abraham as the main example. The narrative follows Abraham's trusted servant on his mission to find Isaac a wife, emphasizing faith, prayer, and patience. Rebecca, who becomes Isaac's wife, is highlighted as a model of faith and hospitality. The lecture concludes by drawing parallels to modern parenting, advocating high parental involvement marked by guidance, mutual respect, and spiritual support, while allowing children freedom to make their own choices.   Duration 39:48

Dave and Alonso are once again joined by friend of the show Stephen Rebello, who summons the Master of Suspense in his two latest books, Criss-Cross: The Making of Hitchcock's Dazzling, Subversive Masterpiece Strangers on a Train and Hitchcockian Thrillers. Get this show ad-free by joining our Patreon: https://patreon.com/LinoleumKnife 

Watch GaryEric on Blue Sky: @eric-hauter   Eric on Youtube.   Check out Gaming Nexus  Jeff can also be found on The Movie Draft House Jeff and Eric are on Letterboxd.  Just search JeffyPods and Eric Hauter.

This episode recorded live at the Becker's Spring 2026 Payer Issues Roundtable features Rob Hitchcock, President and Chief Executive Officer, Select Health. Rob discusses the operational pressures facing payers today, including Medicare Advantage challenges and rising pharmaceutical costs, while sharing how Select Health is leveraging AI and end-to-end member insights to improve care coordination, trust, and the overall member experience.In collaboration with Hippocratic AI.

Description Grab your flashlight and avoid the basement stairs because this week on Enjoy Stuff, Jay and Shua celebrate the glorious age of creature features! From giant worms and killer spiders to mischievous Gremlins and underground mutants, they revisit the movies that terrified and delighted an entire generation. Creature features, killer critters, giant worms, Gremlins, and underground monsters.  This week Jay and Shua celebrate the gloriously weird movies that made Saturday afternoons unforgettable! Plus, Jay says goodbye to Sci-Fi Saturdays, and much more on a brand new episode of Enjoy Stuff!   News "Dare to Be Stupid," a new Broadway musical inspired by Weird Al Yankovic, is officially in development with writers from Beetlejuice and Gutenberg! The Musical!   The Transformers: The Movie returns to theaters in restored 4K beginning September 17, 2026 for a special limited theatrical engagement.   Behind the Attraction Season 3 is on the way and will spotlight the history and creation of Disney Cruise Line.   Voice acting legend Tom Kane passed away at age 64 following complications from a stroke suffered in 2020. Jay shares a funny personal story and the guys reflect on Kane's incredible career. Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua has been watching The Fall and Rise of Reggie Dinkins, the new comedy starring Tracy Morgan and Daniel Radcliffe. The mockumentary-style series follows a disgraced former football star trying to rebuild his life while an overly enthusiastic filmmaker documents every ridiculous moment. Shua loved the absurd humor, awkward situations, and strong chemistry between the leads. Jay revisited The Birds and was reminded why it remains one of the greatest suspense films ever made. Beyond the iconic bird attacks, Jay discusses Hitchcock's masterful tension-building, unsettling atmosphere, and why the movie still feels effective decades later. After their Hitchcock episode a few weeks ago, it felt like the perfect time for a rewatch.     Sci-Fi Saturdays -  This week on Sci-Fi Saturdays Jay spotlights his final Sci-Fi Saturdays column covering Tenet by Christopher Nolan. In the article, Jay explores how Nolan uses time inversion, reverse motion, and innovative editing techniques to create an entirely new cinematic language that challenges audiences while still delivering blockbuster spectacle.   Jay also reflects on the incredible run of Sci-Fi Saturdays itself: seven and a half years, 330 articles, and films spanning from 1950 through 2020. Beginning with Rocketship X-M and ending with Tenet, the series celebrated over seven decades of science fiction cinema while examining how the genre reflects humanity, technology, and society.    Jay also highlights his latest MCU Location Scout featuring Daredevil: Born Again and Punisher: One Last Kill. And make sure to play around with the interactive map on MCULocationScout.com. This week he's added some new locations from Daredevil: Born Again season 2. Plus, you can tune in to SHIELD: Case Files where Jay and Shua talk about great stuff in the MCU.   Enjoy Creature Features!  This week the guys dive into the gloriously gooey world of creature features. Those monster-filled movies that combined horror, comedy, suspense, and pure popcorn fun into the ultimate Saturday afternoon viewing experience. From alien furballs and killer fish to giant worms and demonic little creatures, Jay and Shua revisit the films that introduced many young viewers to horror without completely traumatizing them…well, mostly.   Along the way they discuss why the 1980s and early 1990s became the golden age for lighter horror movies, the importance of practical creature effects, and why these films still remain endlessly rewatchable today. Whether it's giant spiders, Gremlins causing chaos, or mysterious monsters lurking underground, the episode celebrates the fun side of fear and the unforgettable creature classics that still make audiences smile, scream, and laugh all at once.   Which creature are you afraid of? Do you like B-movies? Let us know! First person that emails me with the subject line, "Unpack your adjectives" will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

The guys wrap up their Golden Oldies theme with a divisive debate over Alfred Hitchcock's voyeuristic classic, Rear Window.-Listen to more episodes: somanysequels.com-Follow on Instagram: @somanysequelspodSo Many Sequels is a movie podcast where Josh Gammon, Garrett Powders, and David Prock talk about new releases, old favorites, and everything in between like a book club for movies.

Publishing scams are everywhere right now. And the truly frightening thing? They're catching out really smart people - judges, lawyers, high-powered business owners. People who should know better. Emily Hitchcock - CEO of Columbus Publishing Lab + hybrid publisher Boyle & Dalton - is back to walk us through exactly what to look for. From dodgy website tells to the cold call that sounds too good to be true. Plus, what you should expect to actually pay to self-publish your book - because if the price feels wrong in either direction, it probably is. Look for more in the Red Flags strand - and do check out Emily's earlier shows on publishing scams + why smart people fall for long cons. Books discussed in this episode: The Confidence Game - Maria Konnikova Where the Crawdads Sing - Delia Owens Emily's Websites: ColumbusPublishingLab.com +  BoyleAndDalton.com  Emily's Website + Secret Page - Made Just for Us:: columbuspublishinglab.com/liz ==== If you'd like my help with your Business go to www.lizscully.com/endlessClients ==== And don't forget to get your reading list of the 10 essential reads for every successful biz owner - these are the books Liz recommends almost on the daily to her strategy + Mastermind clients. This isn't your usual list of biz books, these answer the challenges you've actually got coming up right now. Helpful, quick to read and very timely. Click here lizscully.com/reading to get your book list

Before Alfred Hitchcock turned birds into cinematic terror, The Birds was a bleak, intimate apocalypse story from author Daphne du Maurier. In this special Now Playing Podcast Book Review, Arnie looks at the 1952 short story that inspired Hitchcock's classic film and finds something very different: a grim survival tale closer to War of the Worlds, I Am Legend, and Night of the Living Dead than the Hollywood thriller audiences know. From post-war paranoia to unexplained cosmic dread, hear why this short story still works over 70 years later, why its ending hits so hard, and why Hitchcock may have only borrowed the premise while leaving most of the original story behind. Plus, how gulls attacking a farmer became one of horror's most influential setups.

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mother's Day has past, but that doesn't mean we're not still celebrating as we look at one of the most iconic Mother's Day movies of all-time, 1960's PSYCHO. Tyler and Arik of the Team T&A Podcast join us for a black and white dissection of this Hitchcock classic. Remember, a boys best friend is his mother. #psycho  #horrormovies  #moviereview #alfredhitchcock #1960s  #mothersday  FOLLOW Tyler and Arik and Team T&A Podcast here: https://drawmearobot.com/team-t-and-a/ Intro/Outro Music by DARKRAIZARD Intro video created by Mickey Joe Smith Help support the show and join us on PATREON: https://patreon.com/dissectthatfilm LIKE, COMMENT, SUBSCRIBE, and HIT THE BELL  GO TO OUR LINKTREE FOR ALL OF OUR LINKS https://linktr.ee/dissectthatfilm

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

For over a century, Alfred Hitchcock has remained one of cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963). Hitchcock's work received tremendous success and critical acclaim. While he never won the competitive Academy Award for Best Director, he received five Oscar nominations, two Golden Globes, the Irving G. Thalberg Memorial Award, a BAFTA Fellowship, multiple lifetime achievement awards, and two stars on the Hollywood Walk of Fame. Nine of his films are preserved in the United States National Film Registry. His mastery of tension, innovative camera techniques, and psychological depth continue to inspire and influence modern filmmakers such as Christopher Nolan, Jordan Peele, and Bong Joon Ho. Drawing on new archival research, previously unpublished interviews, and a rigorous examination of key biographies, A Century of Hitchcock: The Man, the Myths, the Legacy (University Press of Kentucky, 2026) challenges the long-standing narratives that have shaped Hitchcock's legacy. Author Tony Lee Moral revisits controversial claims regarding Hitchcock's alleged abuses, scrutinizing biographer Donald Spoto's interpretations—particularly Spoto's portrayal of the director's relationship with actress Tippi Hedren. With his analysis of Spoto's 1980 interview of Hedren, Moral reveals for the first time how one key document contradicts decades of exaggeration. In this comprehensive reappraisal of Hitchcock's career, Moral encourages readers to explore the complexities of creative collaboration and the risks of relying on a single biographical narrative. Marking one hundred years since Hitchcock's first film, The Pleasure Garden, and fifty years since his last film, Family Plot, Moral reexamines the director's cinematic brilliance, storytelling mastery, creative partnerships, and controversies, offering a fresh perspective on Hitchcock's legacy in the post-#MeToo era. Tony Lee Moral is a British filmmaker and author who specializes in film history, especially the work of Alfred Hitchcock. He is the author of Hitchcock and the Making of Marnie, The Making of Hitchcock's The Birds, The Young Alfred Hitchcock's Moviemaking Master Class, and Alfred Hitchcock Storyboards. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th- and 19th-century British Literature.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Send Kevin a Text MessageMark Canton, producer of 300, Immortals, Men in Black, Air Force One, and My Best Friend's Wedding, former President of Worldwide Production at Warner Bros., and former Chairman of Columbia Pictures and Columbia TriStar Motion Picture Companies, joins host Kevin Goetz for a conversation about a career defined by passion and instinct. From delivering mail on the Warner Bros. lot as a college student to greenlighting some of Hollywood's most beloved films, Canton reflects on the legends he learned from, the risks he took, and why he still smells the circus every time he walks onto a sound stage.Queens, New York, and Family (02:34): Canton traces his love of film to a father who survived being shot down over France in WWII, won an Oscar for a short film on Van Gogh, and went on to do publicity for Hitchcock and Dr. Martin Luther King Jr., and to a mother who was a published poet. The movies, he says, were always destiny.Learning from the Greats on Papillon (15:22): Working for director Franklin Schaffner in Jamaica and living between the houses of Steve McQueen and Dustin Hoffman, Canton learned what it meant to commit to a film.From the Warner Bros. Mail Room to Running the Studio (20:31): Canton traces his rise from UCLA film student to head of Worldwide Production at Warner Bros., sharing stories about the Vacation franchise, Caddyshack, and Lethal Weapon.Taking the Helm at Columbia Pictures (39:22): Recruited by Peter Guber and Jon Peters, Canton became Chairman of Columbia Pictures and later oversaw Columbia TriStar. He reflects on the team he assembled and the record-breaking run that followed, including Jerry Maguire, My Best Friend's Wedding, Bad Boys, and Air Force One.The Art of the Difficult Screening (47:51): Canton recounts two defining test screening moments: a chaotic preview of Scorsese's The Age of Innocence in a New Jersey bowling alley, and a tough audience response to Luc Besson's Léon: The Professional that led to an ultimatum and a reworked film that became a modern classic.The Cable Guy and No Regrets (50:43): Canton defends paying Jim Carrey $17 million and notes what history confirmed: the film launched Ben Stiller's directing career, introduced Jack Black, Owen Wilson, and Judd Apatow. He also recalls his affectionate standoff with Mike Nichols over the ending of Wolf.What Keeps Audiences Coming Back (54:50): Canton argues that what fills theaters today is the same thing that made Purple Rain a phenomenon: the feeling of a live, communal, irreplaceable experience.Host: Kevin GoetzGuest: Mark CantonProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Mark Canton:Wikipedia: https://en.wikipedia.org/wiki/Mark_CantonIMDB: https://www.imdb.com/name/nm0004799/Instagram: https://www.instagram.com/markcanton/?hl=enFor more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Únete a nuestro canal y apoya a FUERA DE SERIES: https://www.youtube.com/channel/UCFNyyACx7XbgZ4-S4jzNnGQ/join Tatiana Maslany protagoniza Maximum Pleasure Guaranteed, el nuevo thriller de Apple TV que mezcla humor negro, crimen, paranoia digital y relaciones tóxicas en una de las series más extrañas y adictivas del año. En este nuevo episodio de Razones Para Ver Express, Juan Francisco Bellón analiza sin spoilers la primera temporada completa de la serie creada por David J. Rosen y protagonizada también por Murray Bartlett, Jake Johnson y Dolly De Leon. ¿Funciona realmente esta mezcla de thriller criminal, sátira social y drama emocional? ¿Está Tatiana Maslany tan bien como dicen? ¿Merece la pena verla en Apple TV? Comentamos el tono de la serie, sus personajes, el humor negro, la tensión constante y por qué recuerda por momentos a Fargo, Hitchcock o incluso a los thrillers paranoicos de los 70.

Cape Fear is Martin Scorsese at his sleaziest, sweatiest, and most unhinged — and Robert De Niro's Max Cady might be one of the most terrifying villains we've reviewed yet.In this long-form horror movie review podcast, we dive into Cape Fear (1991), the wild performances, the uncomfortable tension, the Hitchcock vibes, the piano wire kill, the boat finale, and why this movie somehow manages to be hilarious… until it absolutely is not.Is Cape Fear an underrated Scorsese thriller? Is Max Cady one of cinema's creepiest villains? And why did those guys think a bike chain was going to stop him?Hit play and join us as we dissect the madness...

Governor General's Award-winning playwright Nicolas Billon joins Laura Mullin to talk about his play The Neighbours and why the thriller form is the best tool he has for asking the questions that haunt him. Billon traces his love of suspense back to Hitchcock and explains why dread is one of the most honest ways to get an audience leaning in. He breaks down his choice to use direct address, what it does to an audience when a character looks right at them, and how becoming a father has changed him as a writer.

Nato a Londra nel 1899, Alfred Hitchcock è considerato uno dei registi più influenti della storia del cinema. Cresciuto in un ambiente segnato da rigore e disciplina, sviluppa fin da giovane una sensibilità particolare per il senso di colpa, la paura e il controllo, elementi che diventeranno centrali nella sua filmografia. Dopo i primi anni nel cinema britannico, il suo trasferimento a Hollywood segnerà l'inizio di una carriera straordinaria, fatta di successi e di uno stile inconfondibile, capace di trasformare lo spettatore in parte attiva del racconto. Il suo cinema, apparentemente semplice, nasconde una struttura complessa e profondamente moderna, capace di influenzare intere generazioni di registi. Ma qual era il segreto di Alfred Hitchcock? E perché, a distanza di decenni, i suoi film continuano a farci paura? Ne parliamo insieme a Laura Scaramozzino: editor, coach letteraria, nonché autrice premiata di novelle e romanzi noir. Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon e accedere a contenuti bonus esclusivi tramite questo link: patreon.com/LucePodcast

Attrice, cinefila secchiona e tennista pentita, Maria Chiara Giannetta si è fatta amare in tantissime serie e adesso la aspettano nuove sfide. Lavora tantissimo, mettendosi in gioco, sperimentando. Ma è anche esperta nel godersi la vita, perché quando si ha un po' di tempo libero non c'è niente di meglio di un buon bicchiere di vino e di un film del maestro Hitchcock. Parola di Giannetta! Non perdetevi la sua "Rosa Elettrica" su Sky e in streaming su NOW! Una produzione Corax. Learn more about your ad choices. Visit megaphone.fm/adchoices

HOLLYWOOD ROYALTY EP.10 – SILHOUETTE/ARIZONA DREAM/DUNSTON CHECKS IN This week on Hollywood Royalty, it's Faye as you've never seen her before, starring in a trio of titles that proved uncharted territory for the actress. Up first, we see Faye take on both Jimmy Stewart and Grace Kelly's roles in the 1990 Hitchcock-influenced Silhouette, a reworking […]

What if you were trapped on an island with your horrible boss? This week we review the new Sam Raimi horror thriller Send Help. We talk about the themes of the film and the cathartic effect it has on audiences, as well as the incredible Danny Elfman score. https://www.spreaker.com/episode/send-help--72049055#horror #samraimi #brucecampbell #eviildead #classic #delta88 #thriller #Hitchcock #hitchcockian #cathartic #catharsis #island #boss #dannyelfman #score #film #review #movie #podcast

Steven C. Smith is an Emmy-nominated documentary producer, author, and speaker who specializes in Hollywood history and profiles of contemporary filmmakers.A four-time Emmy nominee and 16-time Telly Award winner, Steven has produced and written over 200 documentaries. They include The Sound of a City: Julie Andrews Returns to Salzburg; The Lure of the Desert: Martin Scorsese on Lawrence of Arabia; A Place for Us: West Side Story's Legacy; and Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood.He is the author of three acclaimed books: A Heart at Fire's Center: The Life and Music of Bernard Herrmann; Music by Max Steiner: The Epic Life of Hollywood's Most Influential Composer; and, just recently, Hitchcock and Herrmann: The Friendship & Film Scores That Changed Cinema.  It's a real treat to welcome Steven back to my podcast!

Send us Fan MailIn this episode, we talk with filmmaker Glenn Andreiev about the 1976 Alfred Hitchcock film Family Plot. We break down the final film of Hitchcock's by talking about the cast and story. We also talk a great deal about the last decade of Hitchcock's legendary career. Glenn has been a great guest on the show. Be sure and check out his IMBD. https://www.imdb.com/name/nm0028333/Thanks for listening! 

A Guide to the Sapphic Regency The Lesbian Historic Motif Podcast - Episode 342 with Heather Rose Jones In this episode we talk about: Demographics and economics affecting f/f couples Legal and religious considerations Friendship and romance Affection and sex The language of lesbianism Models of gender and sexuality Bibliography 18th Century Precursors Bennett, Judith M. & Amy M. Froide eds. 1999. Singlewomen in the European Past 1250-1800. University of Pennsylvania Press, Philadelphia. ISBN 0-8122-1668-7 Bennett, Betty T. 1991. Mary Diana Dods: A Gentleman and a Scholar. Johns Hopkins University Press, Baltimore. ISBN 0-8018-4984-5 Beynon, John C. & Caroline Gonda eds. 2010. Lesbian Dames: Sapphism in the Long Eighteenth Century. Ashgate, Farnham. ISBN 978-0-7546-7335-4 Bodek, Evelyn Gordon. 1976. "Salonières and Bluestockings: Educated Obsolescence and Germinating Feminism" in Feminist Studies vol 3 no. 3/4 185-199. Clark, Anna. 1996. "Anne Lister's construction of lesbian identity", Journal of the History of Sexuality, 7(1), pp. 23-50. Donoghue, Emma. 1995. Passions Between Women: British Lesbian Culture 1668-1801. Harper Perennial, New York. ISBN 0-06-017261-4 Dugaw, Dianne. 1989. Warrior Women and Popular Balladry 1650-1850. The University of Chicago Press, Chicago. ISBN 0-226-16916-2 Merrick, Jeffrey & Bryant T. Ragan, Jr. 2001. Homosexuality in Early Modern France: A Documentary Collection. Oxford University Press, New York. ISBN 0-19-510257-6 Norton, Rictor (ed.), Homosexuality in Eighteenth-Century England: A Sourcebook. Updated 7 September 2014 http://rictornorton.co.uk/eighteen/. (Accessed 2014/09/13) Hitchcock, Tim. 1997. English Sexualities, 1700-1800. St. Martin's Press, New York. ISBN 0-312-16573-0 Rizzo, Betty. 1994. Companions without Vows: Relationships among Eighteenth-Century British Women. Athens: University of Georgia Press. ISBN 978-0-8203-3218-5 19th Century Sources Binhammer, Katherine. 1996. “The Sex Panic of the 1790s” in Journal of the History of Sexuality 6, no. 3: 409-34. Jennings, Rebecca. 2007. A Lesbian History of Britain: Love and Sex Between Women Since 1500. Greenwood World Publishing, Oxford. ISBN 978-1-84645-007-5 Lanser, Susan S. 2014. The Sexuality of History: Modernity and the Sapphic, 1565-1830. University of Chicago Press, Chicago. ISBN 978-0-226-18773-0 Lasser, Carol. 1988. "'Let Us Be Sisters Forever': The Sororal Model of Nineteenth-Century Female Friendship" in Signs vol. 14, no. 1 158-181. Moore, Lisa. 1992. "'Something More Tender Still than Friendship': Romantic Friendship in Early-Nineteenth-Century England" in Feminist Studies vol. 18, no. 3 499-520. Norton, Rictor (ed.), Homosexuality in Eighteenth-Century England: A Sourcebook. Updated 7 September 2014 http://rictornorton.co.uk/eighteen/nineteen.htm (Accessed 2014/09/13) Vicinus, Martha. 2004. Intimate Friends: Women Who Loved Women, 1778-1928. University of Chicago Press, Chicago. ISBN 0-226-85564-3 Whitbread, Helena ed.  1992.  I Know My Own Heart:  The Diaries of Anne Lister 1791-1840.  New York University Press, New York.  ISBN 0-8147-9249-9 Whitbread, Helena ed.  1992.  No Priest But Love.  NY Univ Press, New York.  ISBN  0-8147-5077-X A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

In this episode, I spoke with author Tony Lee Moral about his book "A Century of Hitchcock: The Man, the Myths, the Legacy". For over a century, Alfred Hitchcock has remained one of the cinema's most influential directors. Known as the Master of Suspense, this visionary filmmaker directed more than fifty films over six decades. His thriller The Lodger (1927) marked the start of his signature style, which was later exemplified in classic films like Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963).The book will be out on June 9, 2026.

Don't go anywhere, We're about to get crackalackin on our review of Misery, one of Stephen Kings most successful and critically acclaimed novel adaptations. Synopsis When world class author Paul Sheldon takes a spill he falls under the care of Annie Wilkes, his Nurse. As Paul regains his strength to learn to walk again, he also finds himself learning to love again. Little does he know that Annie Wilkes is his #1 fan. As Annie becomes his muse for his next novel, Annie tries to remain professional and hide her true feelings. From the Director Princess Bride and When Harry Met Sally comes the feel good romantic comedy of the 90's, which asks, why unrequited love can lead to such… Misery. Review of Misery Misery is a horror movie that proves you don't need all the bells and whistles of the genre to be truly terrifying. Sometimes all you need is one truly unhinged person and no escape. Kathy Bates performance is truly impressive and well deserving of her academy award win. She is convincingly able to portray a cavalcade of mental health disorders at the flip of a switch. Going from Manic fan girl to menacing anger, to unnerving disassociation. James Caan comparatively has light work being nonplussed at Annie's theatrics. William Goldman's adapted screenplay deserves a lot of credit for its tight pacing, the smart addition of a sheriff character, and great dialogue. Rob Reiner had a lot to prove with this film in expanding his credibility as a director outside of comedy. It undeniably is a great thriller, but my one criticism is that it is often visually uninteresting. It might be intentional, but the over reliance on monologue long closeups felt claustrophobic at times. It's said that Reiner studied the films of Hitchcock before shooting Misery, but I don't see anything close to that level of visual storytelling. Overall, this is a great movie. The tension never lets up and Kathy Bates performance is required viewing. Score 10/10

Danielle Nicolet Tells the Truth About Hollywood, Thrillers & Survival Actress, writer, and director Danielle Nicolet joins Keith Reza on Reza Rifts for a fun, insightful conversation about acting, filmmaking, and stepping behind the camera for her directorial debut, Long Time Listener. Known for standout roles in The Flash, Central Intelligence, and Born Again Virgin, Danielle opens up about her creative evolution, the realities of low-budget filmmaking, and what it took to build a tense thriller rooted in suspense rather than gore. In this episode, Danielle talks about the challenge of directing and acting at the same time, the influence of Hitchcock-style tension, the value of trust and chemistry between performers, and the lessons she's learned from working across comedy, drama, and voice acting. She also shares advice for aspiring actors and filmmakers trying to build a real career in the entertainment industry.  If you're into Hollywood stories, behind-the-scenes filmmaking, actor-to-director journeys, and practical advice from someone who's truly lived it, this episode is packed with inspiration and real industry insight. Guest Info Danielle Nicolet is an actress, writer, and director best known for her work in The Flash as Cecile Horton, Central Intelligence, Born Again Virgin, and voice work in the Saints Row franchise. Raised in Ohio, she later moved to Southern California to train in gymnastics before building a long-running career in television, film, and voice acting. She recently made her feature directorial debut with the ALLBLK thriller Long Time Listener, in which she also stars. Follow Danielle Nicolet Instagram: https://www.instagram.com/daninicolet/ IMDb: https://www.imdb.com/name/nm0630379/ Watch Long Time Listener: https://allblk.tv/longtimelistener Chapters 00:00 Introduction and Guest Welcome 04:18 Danielle Nicolet's Career Beginnings and Hollywood Experience 08:47 Directing Her First Feature, Long Time Listener 23:13 Hitchcock, Billy Wilder, and Building Suspense 28:33 Filmmaking on a Budget and Making Scenes Work 36:12 Sitcom Timing, Comedy, and Working in Front of a Live Audience 41:00 Mentorship, Career Turning Points, and Samuel L. Jackson 45:29 Voice Acting and the Intensity of Recording Sessions 47:15 Advice for Aspiring Actors and Filmmakers 50:43 Final Reflections and Wrap-Up Up Next on Reza Rifts Episode 439 with HOBART Stay subscribed for more no-holds-barred conversations with actors, comedians, and unforgettable personalities from across the entertainment world. Keith always brings the energy and the guests always bring the stories. Subscribe now and never miss an episode! Subscribe to YouTube: https://www.youtube.com/@rezarifts6263  Support the show on https://patreon.com/rezarifts61  Follow Keith on all social media platforms: FB: https://www.facebook.com/realkeithreza IG:https://www.instagram.com/keithreza  ALT IG:https://www.instagram.com/duhkeithreza  X:https://www.twitter.com/keithreza  TT:https://www.tiktok.com/keithreza  Book Keith on cameo at www.cameo.com/keithreza Check out my website for dates at https://www.keithreza.com/  Subscribe - Rate & Review on Apple Podcasts - Tell a friend :) Be a Rifter!   © Reza Rifts Podcast. All rights reserved. #DanielleNicolet #TheFlash #RezaRifts #KeithReza #LongTimeListener #Hollywood #Acting #Filmmaking #DirectorInterview #ThrillerMovie  

Join Alex and friend of the show Dr. Ed Hansen as they discuss the delightfully silly and usefully psychological High Anxiety (1977), Mel Brooks' send-up to the master filmmaker Alfred Hitchcock. The film stars Brooks as Dr. Richard Thorndyke, a world-renowned psychiatrist who begins a new career at the Psycho-Neurotic Institute for the Very, Very Nervous. Joining him are his normal contributors, including Cloris Leachman, Harvey Korman, and Madeline Kahn. When Thorndyke is framed for murder, he must use all the Hitchcockian tools at his disposal to clear his name. Of course, no discussion of Hitchcock films can be made without a discussion of Freud, as well as the use of the term "High Anxiety", using humor as a means to cope with anxiety, the role of suspense to build a crescendo of anxiety, and a brief foray into institutionalization and its foibles. After listening to this podcast, you recovery rate might also be "once in a blue moon"! Follow Ed on BlueSky @EdHansen_PhDAD or Threads EdHansen_PhDAD If you like this content, you might like my new Audible audiobook/course, A Psychologist Goes to the Movies, available now! It features six films that have been on this show, condensed into 25-30 min essays, researched and analyzed. Please leave your feedback on this post, the main site (cinemapsychpod.swanpsych.com), on Facebook (@CinPsyPod), or Threads/Instagram (@cinemapsych_podcast). We'd love to hear from you! Don't forget to check out our Paypal link to contribute to this podcast and keep the lights on! Don't forget to check out our MERCH STORE for some great merch with our logo and other designs! Legal stuff: 1. All film clips are used under Section 107 of Title 17 U.S.C. (fair use; no copyright infringement is intended). 2. Intro and outro music by half.cool ("Gemini"). Used under license. 3. Film reel sound effect by bone666138. Used under license CC-BY 3.0. Episode Transcription Go to this link to read a transcript generated by Whisper AI Large V3 Model. Disclaimer: It is not edited and may contain errors!

On this special episode of Wine 101, we share with you an episode that ran on The VinePair Podcast earlier this week. Adam Teeter is joined by Nicole Hitchcock, the estate director of J Vineyards & Winery in Sonoma, California, about her background in wine, what's so exciting about California sparkling wine, and the current state of Sonoma. Hosted on Acast. See acast.com/privacy for more information.

Dead End Hip Hop listens and reacts live to Deante Hitchcock's new album 'Junkie in the Sun.'See omnystudio.com/listener for privacy information.

EPISODE 138 -  “NORMAN LLOYD: CLASSIC CINEMA STAR OF THE MONTH” - 5/4/2026  Few figures in Hollywood history have had careers as long—or as varied—as NORMAN LLOYD.  Spanning nearly a century, his work bridges the worlds of theater, radio, and film, with collaborations that include legends like CHARLIE CHAPLIN, ALFRED HITCHCOCK and ORSON WELLES. Whether appearing on stage, on screen or shaping stories behind the scenes, Lloyd's presence has always carried a quiet intensity and sharp intelligence. Join us as we take a closer look at the life and legacy of Norman Lloyd, our Star of the Month — a man who didn't just witness Hollywood history—he helped create it.   SHOW NOTES:  Stages: Norman Lloyd by Norman Lloyd and Francine Parker, The Scarecrow Press, Inc., 1990; Stages: Of Life in Theatre, Film and Television by Norman Lloyd, Limelight, August 1, 2004; Norman Lloyd Career Retrospective, Legacy Collection, Conversations at the SAG-AFTRA Foundation, May 4, 2004;  Noir City, Post-Screening Q&A with Norman Lloyd, Palm Springs, May 15, 2011; Shattered Applause: The Lives of Eva Le Gallienne by Robert A Schanke, Dec 9, 1992, Southern Illinois University Press; Broadway's Dreamers: The Legacy of the Group Theatre, PBS, June 26, 1989; Norman Lloyd, Associate of Welles, Hitchcock and Others, Dies at 106 by Eric Nagourney, May 11, 2011; The End of an Era: Norman Lloyd, 1914-2021 by Peter Sobczynski, May 12, 2021; Norman Lloyd, Star of ‘Saboteur' and ‘St. Elsewhere,' Dies at 106, by Mike Barnes, The Hollywood Reporter, MAY 11, 2021; TCM Remembers Norman Lloyd, TCM.com, May 13, 2021; Wikipedia.com; IBDB.com TCM.com; IMDBPro.com; Movies Mentioned: Saboteur (1942) Starring Robert Cummings and Priscilla Lane; Spellbound (1945) Starring Ingrid Bergman and Gregory Peck; The Southerner (1945) Starring Zachary Scott and Betty Field; A Walk in the Sun (1945) Starring Dana Andrews and Richard Conte; The Green Years (1946) Starring Charles Coburn and Tom Drake; A Letter for Evie (1946) Starring Marsha Hunt and John Carroll; The Beginning or the End (1947) Starring Brian Donlevy and Robert Walker; The Red Pony (1949) Starring Myrna Loy and Robert Mitchum; Scene of the Crime (1949) Starring Van Johnson and Arlene Dahl; The Flame and the Arrow (1950) Starring Burt Lancaster and Virginia Mayo; Buccaneer's Girl (1950) Starring Yvonne De Carlo and Philip Friend; The Light Touch (1951) Starring Stewart Granger and Pier Angeli; He Ran All the Way (1951) Starring John Garfield and Shelley Winters; Limelight (1952) Starring Charlie Chaplin and Claire Bloom; Audrey Rose (1977) Starring Marsha Mason and Anthony Hopkins; Dead Poets Society (1989) Starring Robin Williams and Robert Sean Leonard; The Age of Innocence (1993) Starring Daniel Day-Lewis and Michelle Pfeiffer; In Her Shoes (2005) Starring Cameron Diaz and Toni Collette; Trainwreck (2015) Starring Amy Schumer and Bill Hader --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

On Thursday April 30th, the state of Florida is set to finally execute 70-year-old James Ernest Hitchcock. Hitchcock was just 20 when he raped, beat and strangled 13-year-old Cynthia Driggers to death. After decades of appeals and having his death sentence overturned three times, Driggers’ family is relieved that their legal nightmare is finally coming to an end.See omnystudio.com/listener for privacy information.

On Thursday April 30th, the state of Florida is set to finally execute 70-year-old James Ernest Hitchcock. Hitchcock was just 20 when he raped, beat and strangled 13-year-old Cynthia Driggers to death. After decades of appeals and having his death sentence overturned three times, Driggers’ family is relieved that their legal nightmare is finally coming to an end.See omnystudio.com/listener for privacy information.

On Thursday April 30th, the state of Florida is set to finally execute 70-year-old James Ernest Hitchcock. Hitchcock was just 20 when he raped, beat and strangled 13-year-old Cynthia Driggers to death. After decades of appeals and having his death sentence overturned three times, Driggers’ family is relieved that their legal nightmare is finally coming to an end.See omnystudio.com/listener for privacy information.