Podcasts about Ikiru

The couple's view of life has busy times and exciting climes on the menu, with home projects madness ensuing, a concert trip just ahead, galas and prizes, new shows, fine film, big names, and more to dish on. Come join us!

Jennifer Pahlka believes America's bureaucratic dysfunction is deeply rooted in outdated processes and misaligned incentives. As the founder of Code for America and co-founder of the United States Digital Service, she has witnessed firsthand how government struggles to adapt to the digital age, often trapped in rigid procedures and disconnected from the real-world impact of its policies. Disruption is clearly needed, she says—but can it be done in a way that avoids the chaos of DOGE? Tyler and Jennifer discuss all this and more, including why Congress has become increasingly passive, how she'd go about reforming government programs, whether there should be less accountability in government, how AGI will change things, whether the US should have public-sector unions, what Singapore's effectiveness reveals about the trade-offs of technocratic governance, how AI might fundamentally transform national sovereignty, what her experience in the gaming industry taught her about reimagining systems, which American states are the best-governed, the best fictional depictions of bureaucracy, how she'd improve New York City's governance, her current work at the Niskanen Center, and more. Read a full transcript enhanced with helpful links, or watch the full video. Recorded March 4th, 2025. Help keep the show ad free by donating today! The British remake of Ikiru referenced in today's podcast is: Living Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Jennifer on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

For Ryan's 1952 selection the guys review Akira Kurosawa's Ikiru. A dying man has a chance to do something meaningful with the last months of his life in this film, but did we find it enjoyable in 2025? Come back next week as we begin our Final Destination series with the original film leading up to the new film, Final Destination: Bloodlines!

We're back with Brendan's 1990 pick, Wild at Heart. Conor's love for Nic Cage and Brendan and Ryan's love for David Lynch crosses over here in a big way, but does the movie hold up thirty five years later? We'll be back next week with Ryan's 1952 selection, Ikiru by Akira Kurosawa. Then, on to the Final Destination movies after that!

After enjoying her new book Open Socrates so much (and having written about her previous book Aspiration in Second Act), I was delighted to talk to Agnes Callard, not least because, as she discusses in Open Socrates, she is a big Tolstoy admirer. We talked about Master and Man, one of my favourite Tolstoy stories, but also about the value of reading fiction, the relationship between fiction and a thought experiment, and other topics of related interest. George Eliot makes an appearance too. In the discussion about the use of fiction in philosophy classes, I was slightly shocked to hear about how much (or how little) reading her undergraduates are prepared to do, but I was interested that they love Pessoa. Agnes has previously written that the purpose of art is to show us evil. Here is Agnes on Twitter. Transcript below, may contain errors!I found this especially interesting.Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Transcript (AI generated)Henry: Today, I am talking to Agnes Callard, professor of philosophy at the University of Chicago, author of Aspiration, and now most recently, Open Socrates. But to begin with, we are going to talk about Tolstoy. Hello, Agnes: .Agnes: Hello.Henry: Shall we talk about Master of Man first?Agnes: Yeah, absolutely.Henry: So this is one of Tolstoy's late stories. I think it's from 1895. So he's quite old. He's working on What is Art? He's in what some people think is his crazy period. And I thought it would be interesting to talk about because you write a lot in Open Socrates about Tolstoy's midlife crisis, for want of a better word. Yeah. So what did you think?Agnes: So I think it's sort of a novel, a story about almost like a kind of fantasy of how a midlife crisis could go if it all went perfectly. Namely, there's this guy, Brekhunov, is that his name? And he is, you know, a landowner and he's well off and aristocratic. And he is selfish and only cares about his money. And the story is just, he takes this, you know, servant of his out to, he wants to go buy a forest and he wants to get there first before anyone else. And so he insists on going into this blizzard and he gets these opportunities to opt out of this plan. And he keeps turning them down. And eventually, you know, they end up kind of in the middle of the blizzard. And at kind of the last moment, when his servant is about to freeze to death, he throws himself on top of the servant and sacrifices himself for the servant. And the reason why it seems like a fantasy is it's like, it's like a guy whose life has a lacuna in it where, you know, where meaning is supposed to be. And he starts to get an inkling of the sort of terror of that as they're spending more and more time in the storm. And his initial response is like to try to basically abandon the servant and go out and continue to get to this forest. But eventually he like, it's like he achieves, he achieves the conquest of meaning through this heroic act of self-sacrifice that is itself kind of like an epiphany, like a fully fulfilling epiphany. He's like in tears and he's happy. He dies happy in this act of self-sacrifice. And the fantasy part of it is like, none of it ever has to get examined too carefully. It doesn't like, his thought doesn't need to be subjected to philosophical scrutiny because it's just this, this one momentary glorious kind of profusion of love. And then it all ends.Henry: So the difficult question is answered the moment it is asked. Exactly, exactly, right?Agnes: It's sort of, it's, I see it as like a counterpart to the death of Ivan Ilyich.Henry: Tell me, tell me more.Agnes: Well, in the death of Ivan Ilyich, the questions surface for even, you know, when death shows up for him. And he suddenly starts to realize, wait a minute, I've lived my whole life basically in the way that Brekhunov did. Basically in the way that Brekhunov does as, you know, pursuing money, trying to be a socially successful person. What was the point of all that? And he finds himself unable to answer it. And he finds himself, it's the exact opposite. He becomes very alienated from his wife and his daughter, I think.Henry: Yeah.Agnes: And the absence of an answer manifests as this absence of connection to anyone, except an old manservant who like lifts up his legs and that's the one relief that he gets. And, you know, it's mostly in the gesture of like someone who will sacrifice themselves for another. Right, that's once again where sort of meaning will show up for a Tolstoy, if it ever will show up in a kind of direct and unashamed way.Henry: Right, the exercise of human compassion is like a running theme for him. Like if you can get to that, things are going great. Otherwise you've really screwed up.Agnes: Yeah, that's like Tolstoy's deus ex machina is the sudden act of compassion.Henry: Right, right. But you think this is unphilosophical?Agnes: I think it's got its toe in philosophical waters and sort of not much more than that. And it's in a way that makes it quite philosophical in the sense that there's a kind of awareness of like a deep puzzle that is kind of like at the heart of existence. Like there's a sensitivity to that in Tolstoy that's part of what makes him a great writer. But there's not much faith in the prospect of sort of working that through rationally. It's mostly something we just got a gesture at.Henry: But he does think the question can be answered. Like this is what he shares with you, right? He does think that when you're confronted with the question, he's like, it's okay. There is an answer and it is a true answer. We don't just have to make some, he's like, I've had the truth for you.Agnes: Yes, I think that that's right. But I think that like the true answer that he comes to is it's compassion and it's sort of religiously flavored compassion, right? I mean, that it's important. It's not just. Yeah, it's a very Christian conclusion. Right, but the part that's important there in a way, even if it's not being Christian, but that it's being religious in the sense of, yes, this is the answer. But if you ask for too much explanation as to what the answer is, it's not going to be the right answer. But if you ask for too much explanation as to why it's the answer, you're going the wrong way. That is, it's gotta, part of the way in which it's the answer is by faith.Henry: Or revelation.Agnes: Or, right, faith, exactly. But like, but it's not your task to search and use your rational faculties to find the answer.Henry: I wonder though, because one of the things Tolstoy is doing is he's putting us in the position of the searcher. So I read this, I'm trying to go through like all of Tolstoy at the moment, which is obviously not, it's not currently happening, but I'm doing a lot of it. And I think basically everything in Tolstoy is the quest for death, right? Literature is always about quests. And he's saying these characters are all on a quest to have a good death. And they come very early or very late to this. So Pierre comes very early to this realization, right? Which is why he's like the great Tolstoy hero, master of man, Ivan Ilyich, they come very, and Tolstoy is like, wow, they really get in under the wire. They nearly missed, this is terrible. And all the way through this story, Tolstoy is giving us the means to see what's really going on in the symbolism and in all the biblical references, which maybe is harder for us because we don't know our Bible, like we're not all hearing our Bible every week, whereas for Tolstoy's readers, it's different. But I think he's putting us in the position of the searcher all the time. And he is staging two sides of the argument through these two characters. And when they get to the village and Vasily, he meets the horse thief and the horse thief's like, oh, my friend. And then they go and see the family and the family mirrors them. And Tolstoy's like, he's like, as soon as you can see this, as soon as you can work this out, you can find the truth. But if you're just reading the story for a story, I'm going to have to catch you at the end. And you're going to have to have the revelation and be like, oh my God, it's a whole, oh, it's a whole thing. Okay, I thought they were just having a journey in the snow. And I think he does that a lot, right? That's, I think that's why people love War and Peace because we go on Pierre's journey so much. And we can recognize that like, people's lives have, a lot of people's lives happen like that. Like Pierre's always like half thinking the question through and then half like, oh, there's another question. And then thinking that one through and then, oh, no, wait, there's another question. And I think maybe Tolstoy is very pragmatic. Like that's as philosophical as most people are going to get. Pierre is in some ways the realistic ideal.Agnes: I mean, Pierre is very similar to Tolstoy just in this respect that there's a specific like moment or two in his life where, he basically has Tolstoy's crisis. That is he confronts these big questions and Tolstoy describes it as like, there was a screw in his head that had got loose and he kept turning it, but it kept, it was like stripped. And so no matter when you turned it, it didn't go. It didn't grab into anything. And what happens eventually is like, oh, he learns to have a good conventional home life. Like, and like not, don't ask yourself these hard questions. They'll screw you up. And I mean, it's not exactly compassion, but it's something close to that. The way things sort of work out in War and Peace. And I guess I think that you're sort of right that Tolstoy is having us figure something out for ourselves. And in that way, you could say we're on a journey. There's a question, why? Why does he have us do that? Why not just tell us? Why have it figured out for ourselves? And one reason might be because he doesn't know, that he doesn't know what he wants to tell us. And so you got to have them figure out for themselves. And I think that that is actually part of the answer here. And it's even maybe part of what it is to be a genius as a writer is to be able to write from this place of not really having the answers, but still be able to help other people find them.Henry: You don't think it's, he wants to tell us to be Christians and to believe in God and to take this like.Agnes: Absolutely, he wants to tell us that. And in spite of that, he's a great writer. If that were all he was achieving, he'd be boring like other writers who just want to do that and just do that.Henry: But you're saying there's something additional than that, that is even mysterious to Tolstoy maybe.Agnes: Yeah.Henry: Did you find that additional mystery in Master in Man or do you see that more in the big novels?Agnes: I see it the most in Death of Ivan Ilyich. But I think it's true, like in Anna Karenina, I can feel Tolstoy being pulled back and forth between on the one hand, just a straight out moralistic condemnation of Anna. And of, there are the good guys in this story, Levine and Kitty, and then there's this like evil woman. And then actually being seduced by her charms at certain moments. And it's the fact that he is still susceptible to her and to the seductions of her charms, even though that's not the moral of the story, it's not the official lesson. There's like, he can't help but say more than what the official lesson is supposed to be. And yeah, I think if he were just, I think he makes the same estimation of himself that I am making in terms of saying, look, he finds most of his own art wanting, right? In what is art? Because it's insufficiently moralistic basically, or it's doing too much else besides being, he's still pretty moralistic. I mean, even War and Peace, even Anna Karenina, he's moralistic even in those texts, but his artistry outstrips his moralism. And that's why we're attracted to him, I think. If he were able to control himself as a writer and to be the novelist that he describes as his ideal in what is art, I don't think we would be so interested in reading it.Henry: And where do you see, you said you saw it in Ivan Ilyich as well.Agnes: Yes, so I think in Ivan Ilyich, it is in the fact that there actually is no deus ex machina in Ivan Ilyich. It's not resolved. I mean, you get this little bit of relation to the servant, but basically Ivan Ilyich is like the closest that Tolstoy comes to just like full confrontation with the potential meaninglessness of human existence. There's something incredibly courageous about it as a text.Henry: So what do you think about the bit at the end where he says he was looking for his earlier accustomed fear of death, but he couldn't find it. Where was death? What death? There was no fear whatsoever because there was no death. Instead of death, there was light. Suddenly he said, oh, that's it, oh bliss.Agnes: Okay, fair enough. I'd like forgotten that.Henry: Oh, okay. Well, so my feeling is that like you're more right. So my official thing is like, I don't agree with that, but I actually think you're more right than I think because to me that feels a bit at the end like he saw the light and he, okay, we got him right under the line, it's fine. And actually the bulk of the story just isn't, it's leading up to that. And it's the very Christian in all its imagery and symbolism, but it's interesting that this, when it's, this is adapted into films like Ikiru and there was a British one recently, there's just nothing about God. There's nothing about seeing the light. They're just very, very secular. They strip this into something totally different. And I'm a little bit of a grumpy. I'm like, well, that's not what Tolstoy was doing, but also it is what he was doing. I mean, you can't deny it, right? The interpreters are, they're seeing something and maybe he was so uncomfortable with that. That's why he wrote what is art.Agnes: Yeah, and that's the, I like that. I like that hypothesis. And right, I think it's like, I sort of ignore those last few lines because I'm like, ah, he copped out at the very end, but he's done the important, he's done the important, the important work, I think, is for instance, the scene with, even on his wife, where they part on the worst possible terms with just hatred, you know, like just pure hatred for the fact that she's forcing him to pretend that he isn't dying. Like that is like the profound moment.Henry: What I always remember is they're playing cards in the other room. And he's sitting there, he's lying there thinking about like the office politics and curtain, like what curtain fabrics we have to pick out and the like, his intense hatred of the triviality of life. And I love this because I think there's something, like a midlife crisis is a bit like being an adolescent in that you go through all these weird changes and you start to wonder like, who am I? What is my life? When you're an adolescent, you're told that's great. You should go ahead and you should, yes, lean into that. And when you're like in your forties, people are going, well, try and just put a lid on that. That's not a good idea. Whereas Tolstoy has the adolescent fury of like curtains and cards. Oh my, you know, you can feel the rage of his midlife crisis in some of that seemingly mundane description. Yeah. I think that's what we respond to, right? That like his hatred in a way.Agnes: Yeah. I mean, maybe we, many of us just have trouble taking ourselves as seriously as Tolstoy was able to, you know? And that's something, there's something glorious about that, that anyone else would listen to the people around them telling him, hey, don't worry, you're a great guy. Look, you wrote these important novels. You're a hero of the Russian people. You've got this wife, you're an aristocrat. You've got this family, you've got your affairs. I mean, come on, you've got everything a man could want. Just be happy with it all, you know? Many of us might be like, yeah, okay, I'm being silly. And Tolstoy is like, no one's going to tell me that I'm silly. Like I'm the one who's going to tell myself, if anything. And that kind of confidence is, you know, why he's sort of not willing to dismiss this thought.Henry: Yeah, yeah, interesting. So how do you think of Master and Man in relation to all the others? Because you know Tolstoy pretty well. You teach him a lot. How do you place it? Like how good do you think it is?Agnes: I don't teach him a lot. I'm trying to think if I ever taught Tolstoy.Henry: Oh, I'm sorry. I thought I read that you had.Agnes: I've taught The Death of Ivan Ilyich. That's the one, I have taught that one. I wish, I mean, I would love to teach. I just can't imagine assigning any of these novels in a philosophy, my students wouldn't read it.Henry: They wouldn't read it?Agnes: No.Henry: Why?Agnes: It's pretty hard to get people to read long texts. And I mean, some of them certainly would, okay, for sure. But if I'm, you know, in a philosophy class where you'd have to kind of have pretty high numbers of page assignments per class, if we're going to, I mean, you know, forget War and Peace. I mean, even like Ivan Ilyich is going to be pushing it to assign it for one class. I've learned to shorten my reading assignments because students more and more, they're not in the habit of reading. And so I got to think, okay, what is the minimum that I can assign them that where I can predict that they will do it? Anyway, I'm going to be pushing that next year in a class I'm teaching. I normally, you know, I assign fiction in some of my classes but that's very much not a thing that most philosophers do. And I have to sign it alongside, you know, but so it's not only the fiction they're reading, they're also reading philosophical texts. And anyway, yeah, no, so I have not done much, but I have done in a class on death, I did assign Ivan Ilyich. I don't tend to think very much about the question, what is the level of quality of a work of art?Henry: Well, as in, all I mean is like, how does it compare for you to the other Tolstoy you've read?Agnes: I, so the question that I tend to ask myself is like, what can I learn from it or how much can I learn? Not, it's not because I don't think the question of, the other one is a good one. I just think I trust other people's judgment more than mine unlike artistic quality. And I guess I think it's not as good as Death of Ivan Ilyich and I kind of can't see, like, it's like, what do I learn from it that I don't learn from Death of Ivan Ilyich? Which is like a question that I ask myself. And, there's a way in which that like that little final move, maybe when I'm reading Death of Ivan Ilyich, I can ignore that little final bit and here I can't ignore it. Tolstoy made it impossible for me to ignore in this story. So that's maybe the advantage of this story. Tolstoy makes his move more overt and more dominating of the narrative.Henry: Yeah, I think also, I've known people who read Ivan Ilyich and not really see that it's very Christian. Yeah, oh yeah.Agnes: I don't think I- Much less.Henry: Yeah.Agnes: That's what I'm doing. I'm erasing that from the story.Henry: But that's like much less possible with this one. I agree.Agnes: Right, exactly. That's sort of what I mean is that- Yeah, yeah, yeah. It's like, here the message is more overt. And so therefore I think it's actually a pretty important story in that way. Like, let's say for understanding Tolstoy. That is, if you were to try to take your view of Tolstoy and base it on Death of Ivan Ilyich, which sometimes I do in my own head, because it's occupied such an important place for me, then this is a good way to temper that.Henry: Yeah, they make a nice pairing. Yeah. Yeah, definitely. Let's pick up on this question about philosophers and fiction because you write about that in Open Socrates. You say, great fiction allows us to explore what we otherwise look away from. So it makes questions askable, but then you say only in relation to fictional characters, which you think is a limitation. Are you drawing too hard of a line between fictional characters and real people? Like if someone said, oh, we found out, we were in the archives, Ivan Ilyich, he didn't, it's not fiction. He was just a friend, just happened to a friend, basically word for word. He just did the work to make it kind of look okay for a novel, but basically it's just real. Would that really change very much?Agnes: I think it wouldn't, no. So it might change a little bit, but not that much. So maybe the point, maybe a better thing I could have said there is other people. That is one thing that fictional people are is resolutely other. There's no chance you're going to meet them. And like they are, part of what it is for them to be fictional is that, there isn't even a possible world in which you meet them because metaphysically what they are is the kind of thing that can't ever interact with you. And, like the possible world in which I run into Ivan and Ivan Ilyich is the world in which he's not a Tolstoy character anymore. He's not a character in a novel, obviously, because we're both real people. So I think it's that there's a kind of safety in proving the life of somebody who is not in any way a part of your life.Henry: The counter argument, which novelists would make is that if you gave some kind of philosophical propositional argument about death, about what it means to die, a lot of people just wouldn't, they'd like, maybe they'd understand what you're saying, but it just wouldn't affect them very much. Whereas if they've read Ivan Ilyich, this will actually affect them. I don't want to say it'll resonate with them, but you know what I mean. It will catch them in some way and they're more likely then to see something in their own life and be like, oh my God, I'm appreciating what Ivan Ilyich was telling me. Whereas, this is the argument, right? The statistics of social science, the propositions of philosophy, this just never gets through to people.Agnes: Yeah, so one way to put this is, novelists are fans of epiphanies. I mean, some novelists, like Tolstoy, it's quite explicit. You just get these epiphanies, right? Like in this story, epiphany. James Joyce, I mean, he's like master of every story in Dubliners, epiphany. Novelists have this fantasy that people's lives are changed in a sudden moment when they have a passionate, oh, I just read this story and I'm so happy about it. And I don't actually doubt that these things happen, these epiphanies, that is people have these passionate realizations. I don't know how stable they are. Like they may have a passionate realization and then, maybe it's a little bit the novelist's fantasy to say you have the passionate realization and everything is changed. In this story, we get around that problem because he dies, right? So, that, I don't know. I somehow am now James Joyce. I don't know. I somehow am now James Joyce is in my head. The final story in Dubliners is the dead. And there's this like, amazing, I don't know who read the story.Henry: Yeah, yeah. Also with snow, right?Agnes: Yeah, exactly.You know, and it's this amazing where this guy is realizing his wife, their relationship is not what he thought it was, whatever. But then the story ends, does he really change? Like, do they just go on and have the same marriage after that point? We don't know. I mean, Joyce avoids that question by having the story end. But, so you might say, you know, novelists like epiphanies and they're good at writing epiphanies and producing epiphanies and imagining that their readers will have epiphanies. And then there's a question, okay, how valuable is the epiphany? And I think, not nothing. I wouldn't put it at zero, but you might say, okay, but let's compare the epiphany and the argument, right? So, what philosophers and the social scientists have, what we have is arguments. And who's ever been changed by an argument? And I think I would say all of human history has been changed by arguments and it's pretty much the only thing that's ever done anything to stably change us is arguments. If you think about, like, what are the things we've moved on? What are the things we've come around on? You know, human rights, there's a big one. That's not a thing in antiquity. And it's a thing now. And I think it's a thing because of arguments. Some of those arguments, you know, are starting to come in their own in religious authors, but then really come in, the flourishing is really the enlightenment. And so you might think, well, maybe an argument is not the kind of thing that can change very easily an adult who was already pretty set in their ways and who is not going to devote much of their time to philosophizing. It isn't going to give them the kind of passionate feeling of your life has suddenly been turned around by an epiphany, but it might well be that if we keep arguing with each other, that is how humanity changes.Henry: I think a lot of the arguments were put into story form. So like the thing that changed things the most before the enlightenment maybe was the gospels. Which is just lots of stories. I know there are arguments in there, but basically everything is done through stories. Or metaphor, there's a lot of metaphor. I also think philosophers are curiously good at telling stories. So like some of the best, you know, there's this thing of micro fiction, which is like very, very short story. I think some of the best micro fiction is short stories. Is a thought experiment, sorry. Yeah. So people like Judith Jarvis Thompson, or well, his name has escaped my head, Reasons and Persons, you know who I mean? Derek Parfit, right. They write great short stories. Like you can sit around and argue about long-termism with just propositions, and people are going to be either like, this makes total sense or this is weird. And you see this when you try and do this with people. If you tell them Parfit's thought experiment that you drop a piece of glass in the woods, and a hundred years later, a little girl comes in and she cuts up. Okay, everyone's a long-termist in some way now. To some extent, everyone is just like, of course. Okay, fine. The story is good. The famous thought experiment about the child drowning in the pond. And then, okay, the pond is like 3000. Again, everyone's like, okay, I get it. I'm with you. Philosophers constantly resort to stories because they know that the argument is, you have to have to agree with you. You've got to have the argument. The argument's the fundamental thing. But when you put it in a story, it will actually, somehow it will then do its work.Agnes: I think it's really interesting to ask, and I never asked myself this question, like what is the relationship between a thought experiment and a story? And I think that, I'm fine with a thought experiment with saying it's a kind of story, but I think that, so one feature of a thought experiment is that the person who is listening to it is given often a kind of agency. Like, which way do you push the trolley? Or do you care that you left this piece of glass there? Or are you, suppose that the pond was so many miles away but there was a very long hand that reached from here and you put a coin in the machine and at the other end, the hand will pull the child out of the water. Do you put the coin in, right? So like you're given these choices. It's like a choose your own adventure story, right? And that's really not what Tolstoy wrote. He really did not write choose your own adventure stories. There's a, I think he is-Henry: But the philosopher always comes in at the end and says, by the way, this is the correct answer. I'm giving you this experiment so that you can see that, like, I'm proving my point. Peter Singer is not like, it's okay if you don't want to jump into the pond. This is your story, you can pick. He's like, no, you have to jump in. This is why I'm telling you the story.Agnes: That's right, but I can't tell it to you without, in effect, your participation in the story, without you seeing yourself as part of the story and as having like agency in the story. It's by way of your agency that I'm making your point. Part of why this is important is that otherwise philosophers become preachers, which is what Tolstoy is when he's kind of at his worst. That is, you know, the philosopher doesn't just want to like tell you what to think. The philosopher wants to show you that you're already committed to certain conclusions and he's just showing you the way between the premises you already accept and the conclusion that follows from your premises. And that's quite-Henry: No, philosophers want to tell you the particular, most philosophers create a thought experiment to be like, you should be a virtue ethicist or you should give money away. Like they're preaching.Agnes: I don't think that is preaching. So I think that, and like, I think that this is why so many philosophical thought experiments are sort of meant to rely on what people call intuitions. Like, oh, but don't you have the intuition that? What is the intuition? The intuition is supposed to be somehow the kind of visceral and inchoate grasp that you already have of the thing I am trying to teach you. You already think the thing I'm telling you. I'm just making it clear to you what you think. And, you know, like there's like, I want to go back to the gospels. Like, I think it's a real question I have. I'm going to get in trouble for saying this, but I feel like something I sometimes think about Jesus and I say this as a non-Christian, is that Jesus was clearly a really exceptional, really extraordinary human being. And maybe he just never met his Plato. You know, he got these guys who are like telling stories about him. But like, I feel like he had some really interesting thoughts that we haven't accessed. Imagine, imagine if Socrates only ever had Xenophon. You know, if Socrates had never met Plato. We might just have this story about Socrates. Oh, he's kind of like a hero. He was very self-sacrificing. He asked everyone to care about everybody else. And he might like actually look quite a bit like Jesus on a sort of like, let's say simplistic picture of him. And it's like, maybe it's a real shame that Jesus didn't have a philosopher as one of the people who would tell a story about him. And that if we had that, there would be some amazing arguments that we've missed out on.Henry: Is Paul not the closest thing to that?Agnes: What does he give us?Henry: What are the arguments? Well, all the, you know, Paulian theology is huge. I mean, all the epistles, they're full of, maybe, I don't know if they're arguments more than declarations, but he's a great expounder of this is what Jesus meant, you should do this, right? And it's not quite what you're saying.Agnes: It's conclusions, right?Henry: Yes, yes.Agnes: So I think it's like, you could sort of imagine if we only had the end of the Gorgias, where Socrates lists some of his sayings, right? Yes, exactly, yes. You know, it's better to have injustice done to you than to do injustice. It's better to be just than to appear just. Oratories should, you should never flatter anyone under any circumstances. Like, you know, there's others in other dialogues. Everyone desires the good. There's no such thing as weakness of will, et cetera. There are these sort of sayings, right? And you could sort of imagine a version of someone who's telling the story of Socrates who gives you those sayings. And yeah, I just think, well, we'd be missing a lot if we didn't hear the arguments for the sayings.Henry: Yeah, I feel stumped. So the next thing you say about novelists, novelists give us a view onto the promised land, but not more. And this relates to what you're saying, everything you've just been saying. I want to bring in a George Eliot argument where she says, she kind of says, that's the point. She says, I'm not a teacher, I'm a companion in the struggle of thought. So I think a lot of the time, some of the differences we're discussing here are to do with the readers more than the authors. So Tolstoy and George Eliot, Jane Austen, novelists of their type and their caliber. It's like, if you're coming to think, if you're involved in the struggle of thought, I'm putting these ideas in and I'm going to really shake you up with what's happening to these people and you're going to go away and think about it and Pierre's going to stay with you and it's really going to open things up. If you're just going to read the story, sure, yeah, sure. And at the end, we'll have the big revelation and that's whoopee. And that's the same as just having the sayings from Socrates and whatever. But if you really read Middlemarch, one piece, whatever, Adam Bede is always the one that stays with me. Like you will have to think about it. Like if you've read Adam Bede and you know what happens to Hetty at the end, this has the, oh, well, I'm not going to spoil it because you have to read it because it's insane. It's really an exceptional book, but it has some of those qualities of the thought experiment. She really does put you, George Eliot's very good at this. She does put you in the position of saying like, what actually went right and wrong here? Like she's really going to confront you with the situation but with the difficulty of just saying, oh, you know, that's easy. This is what happened. This is the bad thing. Well, there were several different things and she's really putting it up close to you and saying, well, this is how life is. You need to think about that.Agnes: So that last bit, I mean, I think that this is how life is part. Yeah. Really do think that that's something you get out of novels. It's not, so here's how you should live it or so here's why it makes sense, or here are the answers. It's none of the answers, I think. It's just that there's a kind of, it's like, you might've thought that given that we all live lives, we live in a constant contact with reality but I think we don't. We live in a bubble of what it's, the information that's useful to me to take in at any given moment and what do I need in order to make it to the next step? And there's a way in which the novel like confronts you with like the whole of life as like a spectacle or something like that, as something to be examined and understood. But typically I think without much guidance as to how you should examine or understand it, at least that's my own experience of it is that often it's like posing a problem to me and not really telling me how to solve it. But the problem is one that I often, under other circumstances, I'm inclined to look away from and the novelist sort of forces me to look at it.Henry: Does that mean philosophers should be assigning more fiction?Agnes: I, you know, I am in general pretty wary of judgments of that kind just because I find it hard to know what anyone should do. I mean, even myself, let alone all other philosophers.Henry: But you're the philosopher. You should be telling us.Agnes: No, I actually just don't think that is what philosophers do. So like, it was like a clear disagreement about, you know, is the, like George Eliot's like, I'm not a teacher, but the philosopher also says I'm not a teacher. I mean, Tolstoy was like, I am a teacher.Henry: Yeah, I'm a teacher.Agnes: I'm ready to guide you all.Henry: You should take notes.Agnes: But I think it's right that, yeah. So I think it's like, you know, maybe they have some other way of forcing that confrontation with reality. But I, my own feeling is that philosophers, when they use examples, including some of the thought experiments, it's sort of the opposite of what you said. It's kind of like they're writing very bad fiction. And so they'll come up with these, like I am philosophy. We have to, we're forced to sort of come up with examples. And, you know, I discuss one in my aspiration book of, oh, once upon a time, there was a guy. And when he was young, he wanted to be a clown, but his family convinced him that he should be an investment banker and make money. And so he did that. But then when he was older, he finally recovered this long lost desire. And then he became a clown and then he was happy. It's a story in an article by a philosopher I respect. Okay, I like her very much. And I haven't read it in a long time. So I'm hoping I'm summarizing it correctly. But my point is like, and this is supposed to be a story about how sort of self-creation and self-realization and how you can discover your authentic self by contrast with like the social forces that are trying to make you into a certain kind of person. But it's also, it's just a very bad piece of fiction. And I'm like, well, you know, if I'm say teaching a class on self-creation as I do sometimes, I'm like, well, we can read some novelists who write about this process and they write about it in a way that really shows it to us, that really forces us to confront the reality of it. And that story was not the reality. So if you have some other way to do that as a philosopher, then great. I'm very instrumental about my use of fiction, but I haven't found another way.Henry: Which other fiction do you use in the self-creation class?Agnes: So in that class, we read Portrait of the Artist as a Young Man and Elena Ferrante's My Brilliant Friend. And we also read some Fernando Pessoa.Henry: Pessoa, what do your students think of Pessoa?Agnes: They love it. So when I first assigned it, I'm like, I don't know what you guys are going to make of this. It's kind of weird. We're reading like just, you know, 20 pages of excerpts I like from the Book of Disquiet. I mean, it's like my own text I'm creating, basically. I figure with that text, you can do a choose your own adventure. And they like it a lot. And I think that it really, that, you know, the thing that really resonates with them is this stuff where he talks. So there are two passages in particular. So one of them is, one where he talks about how he's like, yeah, he meets his friend. And he can't really listen to what his friend is saying, but he can remember with photographic precision the lines on the face when he's smiling, or like, it's like what he's saying is, I'm paying attention to the wrong thing. Like I'm paying attention to the facial expressions and not to the content. And that I'm somebody who's in a world where my organization of my own experience is not following the rules that are sort of being dictated to me about how my experience is supposed to be organized. And that's sort of his predicament. So that's a thing that they like. And then there's a wonderful passage about how I keep trying to free myself from the social forces oppressing me. And I take away this noose that's around my neck. And as I'm doing it, I realize my hand is attached to a noose and it's pulling me. Like I'm the one who's doing, I'm the one who's suffocating myself all along when I'm trying to free myself from social forces, it's me who's doing the oppressing. Anyway, so those are some passages that we talk about that they like. They like it a lot. They have a lot less trouble making something of it than I had expected that they would.Henry: Is this because he, is he well-suited to the age of social media and phones and fragmented personalities and you're always 16 different people? Is it that kind of thing?Agnes: Partly it's the short texts. I mean, as I said, meeting a problem, right? And so, yeah. So like they like Nietzsche too, probably for the same reason, right? I mean, anything where the-Henry: The aphorism.Agnes: Yeah, exactly. Like no joke. You know, it's not the era for War and Peace. It's the era for the Nietzschean aphorism.Henry: This is so depressing. I thought this wasn't true.Agnes: Yeah, I think it's true. I like, I had a conversation with a student in my office yesterday about this and about how like just his own struggles with reading and how all his friends have the same problem. And, you know, I have made some suggestions and I think maybe I need to push them harder in terms of, you know, just university creating device-free spaces and then people having like, I think we have to view it the way we view exercise. Like none of us would exercise if we didn't force ourselves to exercise. And we use strategies to do it. Like, you know, you have a friend and you're going to go together or, you know, you make a habit of it or whatever. I mean, like, I think we just have to approach reading the same way. Just let's accept that we're in an environment that's hostile to reading and make it a priority and organize things to make it possible rather than just like pretending that there isn't a problem. But yeah, there is. And it's hard for us to see. So you're not as old as me, but I'm old enough that all of my reading habits were formed in a world without all of this, right? So of course it's way easier for me. Even I get distracted, but, you know, for me spending a couple of hours in the evening reading, that's like a thing I can do. But like a lot of people, okay, I was at a like tech, in a little tech world conference in California. And it was early in the morning and my husband wasn't awake yet. So I was just, and it was one of these conferences where there's like a little group room and then you have your own, like we had like a hotel room type room, but like then I would had to be in the room with my husband who was sleeping. I couldn't turn the light on. So it was early. I woke up at four. So I went to the group room just to read. And I'm sitting there reading and someone came up to me and they were like, I can't believe you're just sitting there like reading. I don't think I've seen someone read a book in, you know, he's like ever or something, maybe. I mean, he's a half my age. Like he's like, that's just not a thing that people do. And it was like, he's like, it's so on brand that you're reading, you know? But it's like, it's, I think it's just, it's much harder for people who have grown up with all of this stuff that is in some way hostile to the world of reading. Yeah, it's much harder for them than for us. And we should be reorganizing things to make it easier.Henry: Yeah, I get that. I'm just, I'm alarmed that they can't read, like the depth of Ivan Ilyich. It's like, I don't know, it's like 50 pages or.Agnes: Yeah, for one class, no.Henry: It's very short. It's very short.Agnes: That's not short. 50 pages is not short.Henry: It's an hour or two hours of reading.Agnes: It's like, yeah, between two and three. They also read slower because they don't read as much.Henry: Okay, but you know what I'm like…Agnes: Yeah, right, three hours of reading is a lot to assign for a class. Especially if, in my case, I always also assign philosophy. So it's not the only thing I'm assigning.Henry: Sure, sure, but they read the philosophy.Agnes: Same problem. I mean, it's not like some different problem, right? Same problem, and in fact, they are a little bit more inclined to read the fiction than the philosophy, but the point is the total number of pages is kind of what matters. And from that point of view, philosophy is at an advantage because we compress a lot into very few pages. So, but you know, and again, it's like, it's a matter of like, it's probably not of the level. So I can, you know, I can be more sure that in an upper level class, students will do the reading, but I'm also a little bit more inclined to assign literature in the lower level classes because I'm warming people up to philosophy. So, yeah, I mean, but I think it is alarming, like it should be alarming.Henry: Now, one of the exciting things about Open Socrates, which most people listening to this would have read my review, so you know that I strongly recommend that you all read it now, but it is all about dialogue, like real dialogue. And can we find some, you know, I don't want to say like, oh, can we find some optimism? But like, people are just going to be reading less, more phones, all this talk about we're going back to an oral culture. I don't think that's the right way to phrase it or frame it or whatever, but there's much more opportunity for dialogue these days like this than there used to be. How can Open Socrates, how can people use that book as a way of saying, I want more, you know, intellectual life, but I don't want to read long books? I don't want to turn this into like, give us your five bullet points, self-help Socrates summary, but what can we, this is a very timely book in that sense.Agnes: Yeah, I kind of had thought about it that way, but yeah, I mean, it's a book that says, intellectual life in its sort of most foundational and fundamental form is social, it's a social life, because the kinds of intellectual inquiries that are the most important to us are ones that we can't really conduct on our own. I do think that, I think that some, there is some way in which, like as you're saying, novels can help us a little bit sort of simulate that kind of interaction, at least some of the time, or at least put a question on the table. I sort of agree that that's possible. I think that in terms of social encounters doing it, there are also other difficulties though. Like, so it's, we're not that close to a Socratic world, just giving up on reading doesn't immediately put us into a Socratic world, let's put it that way. And for one thing, I think that there really is a difference between face-to-face interaction, on the one hand, where let's even include Zoom, okay, or phone as face-to-face in an extended sense, and then texting, on the other hand, where text interaction, where like texting back and forth would be, fall under texting, so would social media, Twitter, et cetera, that's sort of- Email. Email, exactly. And I'm becoming more, when I first started working on this book, I thought, well, look, the thing that Socrates cares about is like, when he says that philosophy is like, you know, when he rejects written texts, and he's like, no, what I want to talk back, I'm like, well, the crucial thing is that they can respond, whether they respond by writing you something down or whether they respond by making a sound doesn't matter. And I agree that it doesn't matter whether they make a sound, like for instance, if they respond in sign language, that would be fine. But I think it matters that there is very little lag time between the responses, and you never get really short lag time in anything but what I'm calling face-to-face interaction.Henry: Right, there's always the possibility of what to forestall on text. Yeah. Whereas I can only sit here for like 10 seconds before I just have to like speak.Agnes: Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Henry: So this, I do have a really, I'm really interested in this point. Your book doesn't contain scientific information, sociological studies. It's good old-fashioned philosophy, which I loved, but if you had turned it into more of a, this is the things you're telling me now, right? Oh, scientists have said this, and sociologists have said that. It could have been a different sort of book and maybe been, in some shallow way, more persuasive to more people, right? So you clearly made a choice about what you wanted to do. Talk me through why.Agnes: I think that it's maybe the answer here is less deep than you would want. I think that my book was based on the reading I was doing in order to write it, and I wasn't, at the time, asking myself the kinds of questions that scientists could answer. Coming off of the writing of it, I started to ask myself this question. So for instance, that's why I did all this reading in sociology, psychology, that's what I'm doing now is trying to learn. Why is it that we're not having philosophical conversations all the time? It's a real question for me. Why are we not having the conversations that I want us to be having? That's an empirical question, at least in part, because it's like, well, what kinds of conversations are we having? And then I have to sort of read up on that and learn about how conversation works. And it's surprising to me, like the amount of stuff we know, and that it's not what I thought. And so I'm not, maybe I'm a little bit less hostile than most philosophers, just as I'm less hostile to fiction, but I'm also less hostile to sort of empirical work. I mean, there's plenty of philosophers who are very open to the very specific kind of empirical work that is the overlap with their specialization. But for me, it's more like, well, depending on what question I ask, there's just like, who is ready with answers to the question? And I will like, you know, kind of like a mercenary, I will go to those people. And I mean, one thing I was surprised to learn, I'm very interested in conversation and in how it works and in what are the goals of conversation. And of course I started with philosophical stuff on it, you know, Grice and Searle, speech act theory, et cetera. And what I found is that that literature does not even realize that it's not about conversation. I mean, Grice, like the theory of conversational implicature and you know, Grice's logic on conversation, it's like if you thought that making a public service announcement was a kind of conversation, then it would be a theory of conversation. But the way that philosophers fundamentally understand speech is that like, you know, speakers issue utterances and then somebody has to interpret that utterance. The fact that that second person gets to talk too is not like part of the picture. It's not essential to the picture. But if you ask a sociologist, what is the smallest unit of conversation? They are not going to say an assertion. They're going to say something like greeting, greeting or question answer or command obeying or, right? Conversation is like, there's two people who get to talk, not just one person. That seems like the most obvious thing, but it's not really represented in the philosophical literature. So I'm like, okay, I guess I got to say goodbye philosophers. Let me go to the people who are actually talking about conversation. You know, I of course then read, my immediate thought was to read in psychology, which I did. Psychology is a bit shallow. They just don't get to theorize. It's very accessible. It's got lots of data, but it's kind of shallow. And then I'm like, okay, the people who really are grappling with the kind of deep structure of conversation are sociologists. And so that's what I've been reading a lot of in the past, like whatever, two months or so. But I just wasn't asking myself these questions when I wrote the book. And I think the kinds of questions that I was asking were in fact, the kinds of questions that get answered or at least get addressed in philosophical texts. And so those were the texts that I refer to.Henry: So all the sociology you've read, is it, how is it changing what you think about this? Is it giving you some kind of answer?Agnes: It's not changing any, my view, but any of the claims in the book, that is the exact reason that you brought out. But it is making me, it's making me realize how little I understand in a sort of concrete way, what like our modern predicament is. That is, where are we right now? Like what's happening right now? Is the question I ask myself. And I get a lot of, especially in interviews about this book, I get a lot of like, well, given where things are right now, is Socrates very timely? Or how can Socrates help or whatever? And I'm like, I don't think we know where things are right now. That is that given that, where is it? Where is it that we are? And so part of what this kind of sociology stuff is making me realize is like, that's a much harder question than it appears. And even where do we draw the lines? Like, when did now start happening? Like my instinct is like, one answer is like around 1900 is when now started happening. And, and so like, so I guess I'm interested both at the very micro level, how does the conversational interaction work? What are the ways in which I am deciding in this very conversation, I'm deciding what's allowed to be in and what's not allowed to be in the conversation, right? By the moves I'm making, and you're doing the same. How are we doing that? How are we orchestrating, manipulating this conversation so as to dictate what's in it and what's out of it in ways that are like below the surface that we're not noticing, that we either that we are doing it or that we're doing it ourselves. Neither of us is noticing, but we're doing that. So that's at the micro level. And then at the macro level is the question about when did now start happening? And what are the big shifts in like the human experience? And, are we at a point somehow in human history where culture like as a mechanism of coordination is a little bit falling apart and then what's going to come next? That's like a kind of question that I have to put in that kind of vague way. So maybe the right thing to say is that reading all these sociology texts has like, has given me a sets of questions to ask. And maybe what I'm trying to do is, it's like, what my book does is it describes a kind of ideal. And it describes that ideal, you know, using the power of reason to see what would it take to sort of set us straight? What is the straightened version of the crooked thing that we're already doing? And I think that that's right, but that's not at all the same thing as asking the question like, what's our next step? How do we get there from here? That's the question I'm asking now. But part of trying to answer the question, how do we get there from here is like, where are we now? And where are we both very, very locally in an interaction, what are we doing? And then in a big picture way, where are we? What is the big, what is like, you know, in the Taylor Swift sense, what era are we in? And, you know, I guess I still feel like we are, we are living in the world of Fernando Pessoa, Robert Musso, Virginia Woolf, James Joyce, Hermann Bruch, Franz Kafka, like that set of writers, like around 1900-ish set of writers who didn't all know each other or anything, didn't coordinate, but they all, there was this like primal scream moment where they were like, what the hell is going on? What has happened to humanity? Where are the rules? Like, who are we supposed to be? I mean, of all of those, I would pull out Musso as like the paradigm example. So this is me, I guess, taking inspiration from literature again, where I feel like, okay, there's something there about we're lost. There's an expression of, there's a thought we're lost. And I'm trying to understand, okay, how did we get lost? And are we still in that state of being lost? I think yes. And let's get a clear, once we get very clear on how lost we are, we'll already start to be found. Cause that's sort of what it is to, you know, once you understand why you're lost, like that's situating yourself.Henry: Those writers are a long time ago.Agnes: Yeah, I said around 1900.Henry: Yeah, but you don't, you don't, but there's nothing more recent that like expresses, like that's a very long now.Agnes: Yeah. Well, yes, I agree. So I say, when did now start happening? I think it started happening around 1900. So I think-Henry: So are we stuck?Agnes: Yeah, kind of. I think, so here's like a very, he's like a very simple part of history that must be too simple because history is not, is like, it's very mildly not my strong suit. I can't really understand history. But it's like, there is this set of writers and they don't really tell stories. It's not their thing, right? They're not into plot, but they are issuing this warning or proclamation or crisis, like flashing thing. And then what happens? What happens after that? Well, World War I happens, right? And then, you know, not very long after that, we got World War II and especially World War II, the result of that is kind of, oh no, actually we know what good and bad are. It's like fighting Nazis, that's bad. And, you know, so we got it all settled. And, but it's like, it's like we push something under the rug, I guess. And I think we haven't dealt with it. We haven't dealt with this crisis moment. And so, you know, I think I could say something very similar about Knausgaard or something that is, I think he's kind of saying the same thing and his novel has a novel, whatever you want to call it, the, you know, I'm talking about the later one. That's the kind of weird sort of horror quadrilogy or something. It has this feeling of like trying to express a sense of being lost. So there's more recent stuff that, a lot of it's autofiction, the genre of autofiction has that same character. So yeah, like maybe there is some big progress that's been made since then, but if there is, then it has passed me by.Henry: Agnes: Callard, thank you very much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Discover a profound meditation on life, purpose, and legacy with Movie Mistrial as we explore Akira Kurosawa's timeless masterpiece, Ikiru.Ikiru is a deeply moving exploration of mortality and the human spirit, anchored by Takashi Shimura's heartbreaking and nuanced performance. Kurosawa's direction masterfully conveys the transformation of a man searching for meaning in his final days, creating a film that inspires reflection and resonates across generations.While Ikiru is celebrated for its profound themes and emotional depth, some viewers may find its deliberate pacing and introspective nature demanding, requiring patience to fully appreciate its layered storytelling.Join us for an inspiring discussion as we delve into the enduring legacy of Ikiru and its powerful message about finding purpose in the face of mortality.Connect with us and share your thoughts:Facebook: http://tiny.cc/MistrialFBInstagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:Emily Dickinson's fasciclesSusan HoweCharles DickensOur first AMA: Pt. 1 & Pt 2Dave EggersRobert Penn WarrenHumboldt's Gift by Saul BellowEdwin Arlington RobinsonWalt WhitmanHeinrich von KleistElena FerranteFear and Loathing in Las Vegas by Hunter S. ThompsonThe Secret Agent: A Simple Tale by Joseph ConradFrederick SeidelAnthony HechtHAL 9000Merve EmreThe Anxiety of Influence: A Theory of Poetry by Harold BloomSecret show: Bob DylanCormac McCarthyCormac McCarthy's Secret Muse Breaks Her Silence After Half a Century by Vincenzo BarneyJohn BerrymanTimothée ChalametHart CraneEp 80: The Marathon, ft. SkyzooEp 23: Rhymes Without Beats, ft. James NguyenCharles HarpurBanjo PatersonA. D. HopeTenebrae by Geoffrey HillAnimal Liberation by Peter SingerEating Animals by Jonathan Safran FoerThe Omnivore's Dilemma by Michael PollanRed Meat Republic by Joshua SpechtFast Food Nation by Eric SchlosserDeadpool & Wolverine (2024)Past Lives (2023)Ikiru (1952)Ep 178: All the Supposedly Wonderful Poetry, ft. Jonathan FarmerJeanne Dielman (1975)Inside Out 2 (2024)Centuries by Joel BrouwerMatthew's movie list: Acute Misfortune (2018)A Glitch in the Matrix (2021)American Honey (2016)Boiling Point (2021)How to Blow Up a Pipeline (2022)Ghost in the Shell (1995)Mope (2020)Nope (2022)The Shining (1980) Sicario (2015)Frequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Chris Childers– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith

Moody Movies: Winter Light (1963), Dune (1984), American Movie (1999), Ikiru (1952), The Ghost of Yotsuya (1959)Welcome back to Moody Movie Club! In this episode, feel the chill of cinema, watch their final feature film from a favourite director's filmography, reflect on the inaccessibility of a career in the movies, celebrate how far ahead Japanese cinema was from the rest of us, and get a lil' ghosty in 35mm. Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University. 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

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Life 24x a Second: Cinema, Selfhood, and Society (Oxford UP, 2023) highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world. Life 24x a Second makes the case for cinema as a life force in uplifting and widely relatable ways. Walker zeroes in on films that offer hope in relation to the Black Lives Matter movement (Imitation of Life, 1959, and BlacKkKlansman, 2018); contemporary feminism (Nobody Knows, 2004); rite-of-passage experiences of mortality and mourning (Ikiru, 1952, and A Star Is Born, 2018), and first-love grief (Call Me by Your Name, 2017, and Portrait of a Lady on Fire, 2019). Life 24x a Second invites readers to reflect on their own unique film-to-person encounters along with connecting them to others who love cinematic lessons for living well. Peter C. Kunze is an assistant professor of communication at Tulane University.

In this week's episode of Kermode On Film you can hear the second half of the MK3D show recorded on 5th December 2022 —the 75th MK3D show live at the BFI Southbank.Mark is joined by screenwriter Tony Kushner to talk about his collaboration with Steven Spielberg on The Fabelmans. Tony reflects on the deeply personal nature of the film and the process of working with Spielberg to bring this autobiographical story to life. And he talks about his guilty pleasure – it's a true Hollywood Classic!Actress Aimee Lou Wood and producer Stephen Woolley talk to Mark about their film Living, in which Aimee stars. Stephen shares how this remake of Akira Kurosawa's Ikiru came to fruition, and Aimee discusses working with the brilliant Bill Nighy.You can hear the first half of this MK3D show on last week's Kermode On Film.If you've enjoyed this podcast, remember to like, subscribe, and tell your friends. And if you want to experience MK3D live, head over to the BFI website for tickets to our next show.———————The opening title sequence of Kermode on Film uses quotes from:- Mary Poppins, directed by Robert Stevenson and distributed by Walt Disney Motion Pictures – quote featuring Julie Andrews.-Nope, written, directed and produced by Jordan Peele, and distributed by Universal Studios – quote featuring Keke Palmer.-Withnail & I, written and directed by Bruce Robinson, and distributed by HandMade Films – quote featuring Richard E Grant.-The Exorcist, written by William Peter Blatty and directed by William Friedkin, distributed by Warner Brothers – quote featuring Ellen Burstyn and Linda Blair.We love these films. We urge you to seek them out, and watch them, again and again. They are masterpieces!Kermode on Film is an HLA Agency production.This episode was edited by Alex Archbold Jones.© HLA AgencyHosted on Acast. See acast.com/privacy for more information.#markkermode #kermodeonfilm #MK3D #BFI #TonyKushner #StevenSpielberg #TheFabelmans #RobertAldrich #BetteDavis #JoanCrawford #WhateverHappenedToBabyJane #AimeeLouWood #StephenWoolley #BillNighy #Living #AkiraKurosawa #Ikuru #TheirFinest #OliverHermanus Hosted on Acast. See acast.com/privacy for more information.

This week's episode of Kermode On Film takes us to Christmas 2022, and a special milestone —the 75th MK3D show, recorded live at the BFI Southbank on Monday 5 December 2022You can hear the first half of that MK3D show on this podcast.Mark welcomes a great lineup of guests, starting with director Hassan Nazer, who talks about his award-winning, aptly named film Winners. Hassan also shares stories of his Iranian heritage, the films that influenced him, and his journey to becoming a filmmaker in the UK.Next, Mark talks to Mark Jenkin and Mary Woodvine about their Cornish folk horror Enys Men, and about the BFI season that Mark Jenkin curated: “The Cinematic DNA of Enys Men”.And finally, Mark is joined by Oscar-winning director Edward Berger, to discuss his powerful remake of All Quiet on the Western Front. Edward talks about what drew him to retelling this classic, about his connection to the original novel, and the challenges of depicting visceral scenes on screen.In next week's episode, you'll hear the next half of the show, featuring screenwriter Tony Kushner, who talks about his collaboration with Steven Spielberg on The Fabelmans, and Aimee Lou Wood and Stephen Woolley who talk about Living, the remake of Akira Kurosawa's Ikiru.If you've enjoyed this podcast, remember to like, subscribe, and tell your friends.And if you want to experience MK3D live, head over to the BFI website for tickets to our next show.———————The opening title sequence of Kermode on Film uses quotes from:- Mary Poppins, directed by Robert Stevenson and distributed by Walt Disney Motion Pictures – quote featuring Julie Andrews.-Nope, written, directed and produced by Jordan Peele, and distributed by Universal Studios – quote featuring Keke Palmer.-Withnail & I, written and directed by Bruce Robinson, and distributed by HandMade Films – quote featuring Richard E Grant.-The Exorcist, written by William Peter Blatty and directed by William Friedkin, distributed by Warner Brothers – quote featuring Ellen Burstyn and Linda Blair.We love these films. We urge you to seek them out, and watch them, again and again. They are masterpieces!———————Kermode on Film is an HLA Agency production.This episode was edited by Alex Archbold Jones.© HLA AgencyHosted on Acast. See acast.com/privacy for more information.#MarkKermode #KermodeonFilm #MK3D #BFI #MarkJenkin #MaryWoodvine #EnysMen #HassanNazer #Winners #EdwardBerger #AllQuietOnTheWesternFront #AbbasKiarostami #AndWhereIsTheFriendsHouse #MajidMajidi #ChildrenOfHeaven #LawrenceGordonClark #Stigma #BBCGhostStories #NottingHill #JuliaRoberts Hosted on Acast. See acast.com/privacy for more information.

In this episode- recorded back in late 2022- Kieran and I return to the 1950s with a discussion on 'Ikiru' from director Akira Kurosawa. And if you've never seen this film, it's a masterpiece. A solid gold classic. This episode was recorded as a Patreon exclusive episode (over at https://www.patreon.com/ErrP) but now it's free to listen to, for your audio entertainment. Enjoy!

In one of the saddest episodes of the show (besides Episode 105), Alex and Jonathan look at films in which the protagonists struggle to navigate circumstances outside of their control with three tragedy classics: Ikiru (1952), Grave of the Fireflies (1988), and Titanic (1997). We discuss Aristotle's conception of the reversal of fortune – known as peripety, how storytellers expose (or impose) meaning in tragedy, and why it's important to watch sad movies in the first place. Skip to: (15:00) – Ikiru (34:49) – Grave of the Fireflies (56:58) – Titanic (1:27:23) – Overall (1:47:53) – Coming Attractions Coming Attractions: Tokyo Twilight (1957) In the Mood for Love (2000) RRR (2022) For more information, visit the blog: https://thefilmlings.com/2024/10/04/tragedies-of-fate/ Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

Ikiru, Akira Kurosawa ‘gem' from 1952, follows a dying bureaucrat searching for something of value in his life before succumbing to cancer. At times both tremendously sad and undeniably life-affirming, Ikiru is critical of the system of meaningless admin work and the people who populate it. Clint, Cal and Alex sift through mountains of paperwork to discuss subtle camera moves in emotional megamontages, the intricate and invisible blocking that sets Kurosawa apart and the best Frank Capra movie that he never made.  Meanwhile, Dan's algorithm is absolutely WRECKING the vibe in this bar with its rendition of Gondola No Uta. CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Director of Photography, Jamie Parslow and Technical Producers, Marhyan Franzen and Amir Rakib. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. CineFix Top 100 is available on all your podcast networks including: Spotify https://open.spotify.com/show/02lznfKZ2gCnBwFoTgKlYr Apple Podcasts https://podcasts.apple.com/us/podcast/cinefix-top-100/id1693413490 Amazon Music https://music.amazon.com/podcasts/80256cff-2174-4d69-a9c7-8b565e96e39b Learn more about your ad choices. Visit megaphone.fm/adchoices

Akira Kurosawa, John Ford and John Ford brought the GOODS to American audiences in 1956. Connect with us: Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/ Brad on Letterboxd: https://letterboxd.com/bradgaroon/ Jake on Letterboxd: https://letterboxd.com/jake_ziegler/ Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

In this episode of the Movie Amigos Podcast, the Movie Amigos talk about movies, since that's the name of the podcast. There's Barbie, there's Oppenheimer, and other surprises too! Also, there's some movie trivia. We like movies and we're amigos. Join us and be our movie amigos. Instagram: https://www.instagram.com/movieamigospodcast/ Find us wherever you listen to podcasts! Letterboxd profiles: Gila https://letterboxd.com/gilasantos1/ Josh https://letterboxd.com/joshman972/ Juve https://letterboxd.com/mrfalcon/ Movies mentioned this episode: Roar (1981) Citizen Kane (1941) Finding Jesus (2020) Finding Jesus 2 (2021) Finding Nemo (2003) Barbie (2023) Oppenheimer (2023) The Creator (2023) I, Robot (2004) Dual (2022) Fast X / Fast & Furious 10 (2023) Fast Five / Fast & Furious 5 (2011) Fast & Furious 6 / Furious 6 (2013) The Fast and the Furious: Tokyo Drift (2006) Trainspotting (1996) The Transporter (2002) Retribution (2023) 2 Fast 2 Furious (2003) The Fast and the Furious (2001) Fast & Furious / Fast & Furious 4 (2009) F8 / The Fate of the Furious (2017) F9 / Fast & Furious 9: The Fast Saga (2021) The Artifice Girl (2022) Your Name / 君の名は。 (2016) Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train / 劇場版 鬼滅の刃 無限列車編 (2020) One Piece Film: Red (2022) Spirited Away / 千と千尋の神隠し (2001) Princess Mononoke / もののけ姫 (1997) Star Wars: Episode III – Revenge of the Sith (2005) Star Wars: Episode VI – Return of the Jedi (1983) Star Wars: Episode VII – The Force Awakens (2015) Star Wars: Episode IV - A New Hope (1977) Black Panther: Wakanda Forever (2022) Over the Hedge (2006) The Flash (2023) The Fifth Element (1997) Parasite / 기생충 (2019) Memories of Murder / 살인의 추억 (2003) Barking Dogs Never Bite / 플란다스의 개 (2000) Twilight (2008) The Twilight Saga: New Moon (2009) Pitch Perfect (2012) 101 Dalmatians (1961) 102 Dalmatians (2000) Nosferatu: A Symphony of Horror (1922) Mein Kampf (1960) Birth of a Nation (1915) Transformers (2007) Triumph of the Will (1935) The Cabinet of Dr. Caligari (1920) La La Land (2016) Singin' in the Rain (1952) The Prince of Egypt (1998) The Sound of Music (1965) Taxi Driver (1976) Casablanca (1942) Gone with the Wind (1939) Children of Paradise / Les Enfants du Paradis (1945) Back to the Future (1985) Hustlers (2019) E.T. the Extra-Terrestrial (1982) Captain Marvel (2019) 21 Jump Street (2012) Forbidden Planet (1956) The Invisible Boy (1957) Zathura: A Space Adventure (2005) Ikiru / 生きる (1952) Seven Samurai / 七人の侍 (1954) Ran / 乱 (1985) Rashomon / 羅生門 (1950) The Shining (1980) Jaws (1975) Dumb and Dumber (1994) The Mother (2023) Mission: Impossible - Dead Reckoning Part One (2023) Intro music by: Avalerion Music Outro music by: Don General For any inquiries: Email us at movieamigospodcast@gmail.com

COMPRA TUS PLAYERAS AQUÍ: https://www.instagram.com/p/C7p-Kk0Oxu2/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== No olvides seguirnos en Instagram y Tik Tok! https://www.instagram.com/cineparatod... https://www.tiktok.com/@cineparatodos... Redes personales. Gerry: Twitter: https://x.com/el_lyndon?s=2 Instagram: https://www.instagram.com/lyndon_phot... Letterboxd: https://boxd.it/12ZBh Lyndon YouTube: https://youtube.com/@Jerrylyndon?si=w... Miguel: Twitter: https://x.com/portalmike?s=21 Instagram: https://www.instagram.com/maps_2208?i... Letterboxd: https://boxd.it/198Zf Axel: Twitter: https://x.com/axldario21?s=21 Instagram: https://www.instagram.com/axlchalico2... Letterboxd: https://boxd.it/3Q9cn Tocayo: Twitter: https://x.com/gerry_movie?s=21 Instagram: https://www.instagram.com/gerry021?igsh=Z3JzMDE2djhoc2Y0&utm_source=qr Letterboxd: https://boxd.it/GLUZ Lista oficial de películas mencionadas en ZoomF7: https://boxd.it/pxHDi Lista de películas que marcaron al Tocayo: 10: Spiderman (2002) 9: Monsters Inc 8: Volver al Futuro 7: Taxi Driver 6: Birdman (00:00): Bienvenida (00:32): Merch Cine Para Todos (02:38): Películas que nos marcaron (04:05): La Tierra antes del Tiempo (11:12): Space Jam (17:33): Umberto D (21:37): Children of Men (26:28): Scream (30:02): Solo con tu pareja (34:03): El Ángel Exterminador (39:50): Godzilla (1998) (43:04): Drive (47:42): The Birds (54:04): El Planeta del Tesoro (57:12): Ikiru (01:00:20): Shin Godzilla (01:07:52): Avengers Endgame (01:11:44): Evil Dead 2 (01:12:49): Despedida #cineparatodos #ZoomF7

In this episode, Colin and Sean take their combined 30 years of life experience to teach you how to live, based on all they learned from Akira's Ikiru. They take the discussion of foreign films as an opportunity to revel in American cultural supremacy, with this week's film not dissuading Sean from saying that the Japanese can't make dramas, which he finds “creepy.” Colin surprisingly doesn't claim he watched only foreign films as a child and has just recently gotten into American cinema. Is he losing his edge? Diving into the deep and rashy waters of Ikiru, the duo unpacks the different stages of Kanji's life and what they tell us. Is it all about partying? Is it all about young women? Or, in the end, is it really about making a bunch of drunk bureaucrats say your name? Find out what this whole life thing is all about in this episode. Outstanding questions: * What language is The Double Life of Veronique in? * Which department actually handles water? * Is Sean getting arrested by Comcast? Email swing sets and mustaches to: realfilmflampod@gmail.com

Godzilla X Kong: The New Empire. Who paid for lunch with Adnan and Dan Le Batard? Adnan talks to authors Alain Silver and James Ursini about their book, Double Indemnity and the Rise of Film Noir. Is Adnan spending too much at movie theaters? Ikiru. Learn more about your ad choices. Visit megaphone.fm/adchoices

Godzilla X Kong: The New Empire. Who paid for lunch with Adnan and Dan Le Batard? Adnan talks to authors Alain Silver and James Ursini about their book, Double Indemnity and the Rise of Film Noir. Is Adnan spending too much at movie theaters? Ikiru. Learn more about your ad choices. Visit megaphone.fm/adchoices

What a great actor in a great film. Enjoy. --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-levine/support

In this episode, Ian Buckley joins the show to discuss Red Beard, one of Kurosawa's most renowned films. With a lot of similar themes to Kurosawa's earlier film, Ikiru, it's also got some other stuff that we have fun discussing. And the film is notable for Kurosawa going to excess with detail and creating a rift between him and star Toshiro Mifune.Hosted by Perry ConstantineGuest-Starring Ian BuckleyListen to Ian on We Are Starfleet and Illumination Above All.JapanOnFilm.comThreadsBlueskyInstagramFacebookDiscordWe Made This on TwitterWe Made This Network

EPISODE #409-- Guest star Alexis Simpson returns to talk about Albert Brooks' comedy masterpiece, DEFENDING YOUR LIFE from 1991. It stars Meryl Streep and Rip Torn. It's everything you want in a motion picture.  We also talk the IKIRU remake LIVING (2022), Netflix's THE KEEPERS, and Akira Kurosawa's underrated Russian production, DERSU UZALA (1975). A good week for good movies. Support your local unions! UAW, SAG-AFTRA, and WGA strong! Donate to the cause at Patreon.com/Quality. Follow the show on Twitter @AQualityInterruption, and James on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!

Even for a sad-man-movie podcast, Akira Kurosawa's "Ikiru" from 1952 is really, really sad! But that doesn't mean we didn't have a good time talking about it.In this episode, Riddy and Tom talk about the continuing relevance of this Japanese classic; saddest karaoke songs; $3,850 hedonistic binges; the similarities between "Ikiru" and "Parks and Recreation"; Immaculate Grids; personal public works projects; and hats!Surprise, everybody! Tom finally relented and you can now follow us on Instagram @cheerupbuddypod.Want to contact the show? Email us at cheerupbuddypod@gmail.com. Hosted on Acast. See acast.com/privacy for more information.

Un niño de 12 años debe lidiar con numerosos cambios en su vida tras la muerte de su madre, entre ellos las constantes visitas de una garza en su nuevo hogar. El nuevo largometraje de Miyazaki marca su retorno a la animación y a Studio Ghibli tras haber anunciado su retiro hace una década, y lo hace con una historia que supera las expectativas de sus seguidores y fanáticos. Ya disponible en salas de cine.

This week on The Searchers, Kevin, Ben and Chris discuss the latest film from legendary director Hayao Miyazaki, How Do You Live? Unfortunately it was re-titled by GKids to "The Boy and the Heron," which the three of us agree was a dumb move by the distributor. We meditate over why Miyazaki chose this as his potential last film, and why it was something that pulled him from retirement. Historical trends, modern Japanese culture, personal reflection, the gorgeous animation, and the comparison to other animated works are thoughtfully discussed. Were we over-hyped? Or is this the best Studio Ghibli film of all time? Listen and find out. Submit your mailbags to us at thesearcherspodcast@gmail.com. Thank you. Please rate us a 5/5, and review us on Apple, Spotify, or wherever you listen to us. Follow us on Letterboxd.com if you'd like to see what we've recently watched. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/  

Akira Kurosawa's somber film, Ikiru, ponders the meaning of life and death. A businessman with terminal cancer navigates his way through bureaucracy and family dynamics while trying to figure out the best way to use his remaining time. This is a film to return to every so often as it will take on different meaning for you in different points of your life. Thank you Michael for commissioning this podcast! You can get your very own custom commissioned podcast by visiting https://support.baldmove.com/. Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook Leave Us A Review on Apple Podcasts

MIXOLOGIE, mardi, jeudi et samedi de 19h à 20h sur Art District Radio. Serge Mariani nous fait partager sa playlist Mixologie Vol. 30 Une quantité impressionnante d'Oscars a distingué cette année le film  « Everything, Everywhere, All at Once », dont la véritable star est « le multivers », autrement dit cette idée selon laquelle tout est possible à tout  moment dans des mondes parallèles au nôtre. Mais quel, et où, est « notre monde » ?… Donnant ma langue au chat de Schrödinger, je vais tenter de confirmer, avec cette nouvelle Mixologie, que le jazz est naturellement multiversel. Mais vous le saviez déjà, n'est-ce pas ? Nouvelle démonstration au fil des 16 titres de cette playlist, 30ème de la série. Bonne dégustation ! 1/ CHARLES KIENY / Race for Hope / album Crozphonics (2023) / 02.50 2/ BENOIT CRAUSTE & ITIBERE ZWARG / Belleville / album Enredo (à  paraître automne 2023) / 04.00 3/ BOBO STENSON / You Shall Plant a Tree (var.) / album Sphere (2023) /  3.55 4/ EDWARD SIMON / Tierra Movida / album Femininas (2023) / 04.20 5/ CHRISTOPHE IMBS / Knockout (Part 2) / album Soft Power (2023) /  01.40 6/ IKIRU / Danse de Travers n°2 / album Ikiru plays Satie (2023) / 3.30 7/ PITCH BLACK PROCESS / Pattern / album PBP (2023) / 02.50  8/ JACQUES SCHWARTZ-BART / Sun Salutation / album Harlem Suite  (2022) / 04.20 9/ KEITH JARRETT / Book of Ways 5 / album Book of Ways (rec. 1986,  issue 2002 / reissue 2023) / 2.55 10/ MARK DRESSER / Epitine / album Tines of Change (2023) / 02.00 11/ MARTIN HAYES & THE COMMON GROUND ENSEMBLE / Garrett  Barry's Jig / album Peggy's Dream (2023) / 03.35 12/ SENEM DIYICI / Bahar Vakti / album Nara (2022) / 05.10 13/ PHIL REPTIL / Guru / album Eponyme (2023) / 03.45 14/ ROMAIN DUGELAY / Teckal / album Chimères (2023) / 02.45 15/ FUENSANTA / Noche / album Principio del Fuego (2023) / 04.00 16/ PAPANOSH / Nord Michigan / album A Very Big Lunch (2023) / 04.50

Ransom: Akira Kurosawa's High & Low There are no shortage of names that define our undersrtanding and foster our enjoyment of Cinema. Scorsese, Fellini, Bergman, Leone, Eisenstein, Spielberg, Chaplin, Keaton, Lumet, Ford, Hawks . . . the list could run for pages (and fortunately for us it does). There is a name that cannot be left off . . . Best known for his Jidaigeki - Historical (Action) Dramas - including Seven Samurai, Yojimbo, Rashomon, Throne of Blood, and The Hidden Fortress (to name a few), Kurosawa was a master at the modern drama, as well. Ikiru, The Bad Sleep Well, Drunken Angel, Stray Dog are a few of his modern explorations of Japanese life after the war. A masterpiece (rarely discussed and criminally underseen) is 1963's High & Low. Adapted from Ed McBain's 87th Precinct series of crime novels, High & Low is a beautiflly nuanced and brilliantly tension-guided police procedural. Re-teaming in their fifteenth (of sixteen) collaborations, Kurosawa and Toshiro Mifune come together to tell one of the greatest films in both mens' filmographies. This is an incredible film that Mr. Chavez and I are thrilled to bring to you. Take a listen and let us introduce you (or remind you if you are already familiar with) this wonderul film.  Let us know what you think - gondoramos@yahoo.com As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. The holidays are coming an we could use the help. Stop being cheap bastards and give what you can. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos  

Bob and Brad pit all 32 films from Season Seven against each other in a Madness-style bracket. As the stakes get higher and the decisions tougher, our hosts aren't just debating over films; they're sampling and reviewing three exceptional bourbons from Barrell Craft Spirits: Foundation, A Tale of Two Islands, and Amburana Finished. So, sit back, pour yourself a glass, and join us as we embark on this fiery abyss of movie battles and bourbon bliss. -- From the suspenseful twists of "Dial M for Murder" to the timeless humanity of "Ikiru," each film brings its own flavor to the screen. Like the complex notes of Barrell Craft Spirits' Foundation, the Round of 32 offers a foundation of film critique that sets the stage for all the discussions to come. Films face off, opinions clash, and sometimes, only the flip of the fabled "Coin of Destiny" can cut through the tension. When the intensity of film matchups needs a counterbalance, the smooth and exotic notes of "A Tale of Two Islands" bourbon give our hosts a momentary respite—a tasting experience as unique as the films they're dissecting. But the journey doesn't end there. As we move into the Round of 16, the Amburana Finished bourbon—with its bold, innovative finish—mirrors the innovative spirit of the remaining films, each a testament to the director's bold vision and unique style. In this episode, you're not just a listener; you're part of a passionate community of film lovers and whiskey enthusiasts. So, whether you're nodding in agreement or shaking your head in disbelief, you're right where you belong. Film & Whiskey Podcast. New episodes every Tuesday. Theme music: "New Shoes" by Blue Wednesday Loping Sting by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1200014 Artist: http://incompetech.com/ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Send in a voice message: https://podcasters.spotify.com/pod/show/filmwhiskey/message Support this podcast: https://podcasters.spotify.com/pod/show/filmwhiskey/support

#100 on the "best" list brings us to this 1952 mortality tale from Akira Kurosawa.Support us at our podcasting network, Podcastio Podcastius at https://www.patreon.com/podcastiopodcastius.  You'll get early episodes of this and out other podcasts, along with a live chat here and there.Speaking of our other podcasts - seriously, you could only listen to various other configurations of us:Luke Loves Pokemon: https://lukelovespkmn.transistor.fm/Time Enough Podcast (Twilight Zone): https://timeenoughpodcast.transistor.fm/Game Game Show (a game show gaming games): https://gamegameshow.transistor.fm/Occult Disney: https://occultdisney.transistor.fm/Imprisoned in Prison (concerning 1960's UK TV series, "The Prisoner"): https://imprisonedinprison.transistor.fm/And Matt makes music here:https://rovingsagemedia.bandcamp.com/Coming Soon:April 13: - 2001: A Space TravestyApril 20 - MApril 27 - Ballistic: Ecks vs. SeverMay 4 - North By Northwest

On the 37th episode of The Cinematic Odyssey, Max and Tristen discuss their opinions on one of cinema's towering achievements, from the late cinematic titan, pioneer, and master, Akira Kurosawa. Ikiru, translated to english as "To Live" follows an old man in the final days of his life where he attempts to right the wrongs of his past and salvage the previous wasted decades of his life mired in monotony, boredom, disdain, and lovelessness. We talk about the various technical achievements that Kurosawa showcases, the towering performance of Takashi Shimura, and the philosophy behind the message of the film. 

Bob and Brad score director Akira Kurosawa using their trusty five-point metric when it comes to his films "Rashomon," "Seven Samurai," "Ran," "Ikiru," and "High and Low." Then, they try three premium whiskeys from the World Whiskey Society. 0:00 - Scoring Christopher Nolan 19:05 - World Whiskey Society review Film & Whiskey Podcast. New episodes every Tuesday. Theme music: "New Shoes" by Blue Wednesday Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Send in a voice message: https://podcasters.spotify.com/pod/show/filmwhiskey/message Support this podcast: https://podcasters.spotify.com/pod/show/filmwhiskey/support

In this exciting episode of Film & Whiskey, Bob, Brad, and special guest Zach Johnston, the UPROXX Drinks editor, dive deep into the world of Akira Kurosawa's 1952 drama, Ikiru. With its recent 2022 remake titled "LIVING" starring Bill Nighy, the hosts ponder whether this could be the game-changing Kurosawa film for Brad. The trio then shifts gears to indulge their senses with Mossburn Island Blended Malt Scotch, a whisky imbued with a distinct peat smoke essence. Timestamps: (0:00) Intro (12:55) Brad Explains (15:00) Performances, Themes (37:15) Mossburn Island Blended Malt Scotch Whisky Review (45:00) Two Facts and a Falsehood (50:50) Final Analysis (1:04:20) Let's Make it a Double and Final Scores Akira Kurosawa, a name synonymous with Japanese cinema, graced the film industry with his classic, "Ikiru" in 1952. This film, a poignant exploration of life, death, and the human condition, stands as a testament to Kurosawa's unparalleled storytelling and cinematography prowess. In "Ikiru", the narrative weaves through intricate character development, presenting a plot that resonates across generations. The movie's recent 2022 adaptation, "LIVING", brings this timeless tale to a new audience, begging the question - will it be enough to convert the skeptical Brad into a Kurosawa aficionado? Diving into the Mossburn Island's Blended Malt Scotch review, the hosts unravel the layers of this whisky. With a flavor profile rich in peat smoke, it offers a tasting experience that sparks lively discussions, notes, and even some movie-whiskey pairing debates. As the episode progresses, the hosts engage in a spirited game of "Two Facts and a Falsehood", challenging listeners to discern fact from fiction. The episode concludes with a final analysis on the essence of "Ikiru", followed by the much-anticipated segment, "Let's Make it a Double and Final Scores". For fans of classic films and whiskey enthusiasts alike, this episode offers a harmonious blend of movie discussion and whiskey tasting, wrapped up in the warm camaraderie of the hosts. Whether you're here for insights into the world of Akira Kurosawa, the nuanced notes of Mossburn Island's Blended Malt Scotch, or both - you're in for a treat. Film & Whiskey Podcast. New episodes every Tuesday. Theme music: "New Shoes" by Blue Wednesday Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Send in a voice message: https://podcasters.spotify.com/pod/show/filmwhiskey/message Support this podcast: https://podcasters.spotify.com/pod/show/filmwhiskey/support

Jason and Ryan are cashing in on their 2023 New Year's resolutions and following through with a look at foreign and silent films - and the experience is immensely rewarding! Take some time to give these movies a watch before you tune in to a fascinating and fruitful discussion. We know you'll be glad you did!The Deep Question: You start a movie theater…what are the first five movies you show?This Week's Features:Ikiru (1952)The Phantom Carriage (1921)

In what is turning out to be a very existential few months for the podcast, this month we take a close look at Akira Kurosawa's IKIRU, in which we follow a lifelong civil servant played by Kurosawa regular Takashi Shimura as he comes to terms with his impending death, and maybe, just maybe figures out what the point of all of this is. And in the third act, Kurosawa, ever the keen observer of humanity, gives us a glimpse of the man's legacy to those left behind. And so, can the living ever really learn what the dead have to teach us? Subscribe on Spotify, Apple Podcasts, or Android. Follow us on Facebook and Instagram and Twitter. Visit our site: shutupwatchthis.wordpress.com Send your feedback to shutupwatchthis@gmail.com Please consider leaving a review or a star rating on iTunes, so other folks can find us. © 2023 Ashley Carr & Dave Wilson

You don't get to over 125,000 Letterboxd followers without making a few enemies… unless you're David Ehrlich! IndieWire's chief film critic joins Slim and Mitchell to discuss mortality across existential masterpieces and Apatow-produced rom-coms. As we make our way through his four favorite films (Ikiru, Forgetting Sarah Marshall, Mishima: A Life in Four Chapters, Titanic) we hit a range of topics including: the pressure of David's yearly video countdowns, how the canon has changed in “the age of Letterboxd”, stealing your mom's credit card to buy movies, finding meaning in small and invisible acts, Forgetting Sarah Marshall's controversial marketing campaign and how it's more quotable than Casablanca, Paul Schrader's hot dog stains, Mishima as “the most Schrader” movie, David's alleged personal connection to Titanic and the meditative quality of the DVD menu. PLUS: Find out which of David's children is his favorite! Chapters: Opening credits (00:00:00) Ikiru (00:07:07) Forgetting Sarah Marshall (00:17:10) Mishima: A Life in Four Chapters (00:27:47) Titanic (00:45:00) Cannes 2023 talk (00:55:50) Closing credits (00:59:58) Credits: Recorded in Newark DE, Philadelphia PA and Brooklyn NY. Edited by Slim. Theme music: “Vampiros Danceoteque” by Moniker. Editorial producer: Brian Formo. Production manager: Sophie Shin. The Letterboxd Show and Weekend Watchlist are TAPEDECK productions. Lists & Links: List of movies mentioned IndieWire's Greatest Romantic Comedies of All-time “Most Fans Per Viewer” Letterboxd list “The Masculine Urge To Ruin Your Own Life” by Janice Reviews mentioned: George Carmi & Chris's Ikiru reviews Jake Cole & Joe's Mishima: A Life in Four Chapters reviews Wood's Titanic review

2022 was definitely the everything bagel of movie years. No less an authority than Stephen Spielberg anointed Tom Cruise as the savior of movies this summer, which made sense given the success of "Top Gun: Maverick". Then came the fall, and excellent movies were released…and no one showed up. And even when they did, as with the $2.2 billion dollar gross accumulated by James Cameron's "Dances with Smurfs Part Deux", the movies barely seemed to make a dent in the cultural landscape. It didn't help that so many of our beloved directors released crappy movies: Aronofsky with the odious "The Whale", Russell with his how-could-it possibly-go-wrong-with-that-cast disaster "Amsterdam", Alex Garland with the puzzling (and not in an interesting way) "Men", Iñarritú inadvertently reminding us how brilliant both "Roma" and "8 ½" are with "Bardo", and the literal crapfest (elephant, in this case) that was "Babylon". Sometimes, it felt like 2022 was a living, breathing argument against the auteur theory. Yet there were some very good spots too, including not one but two really interesting portrait-of-the-filmmaker-as-a-young-man movies with "Fabelmans" and "Armageddon Time". The scene of the year? Cate Blanchett as Lydia Tar (née Linda Tarr of Staten Island!) arguing with one of her students about the pointlessness of cancelling Bach in Todd Fields' most welcome return. "Everything Everywhere" became the only film in history to win three acting Oscars and Best Picture. Underappreciated gems like "The Menu" and (sorry, John and Michael) "Don't Worry Darling", and even appreciated ones like "Aftersun" wormed their way into our brains and didn't let go, though I will never look at s'mores the same way again. And we even had a solid Oscars ceremony, with powerhouse performances by Rihanna and Lady Gaga and nearly an epic battle between Malala and Cocaine Bear. Plus, we got perhaps the most sublime moment in American film this century: David Lynch playing John Ford in a Spielberg film. That glorious scene almost took away the sour taste of the “Look, I'm doing Bergman!” montage of film history that ended "Babylon" not nearly soon enough. And while we liked "EO" better when it was "Au Hasard Balthasar", and "Living" better when it was "Ikiru", and we thought that the Siegfried Sassoon biopic "Benediction" was a better World War I film than "All Quiet", there were definitely some tasty tidbits to be found on that everything bagel. An up and down year, but to paraphrase the wondrous Lashana Lynch as Miss Honey in Matilda, it wasn't much, but it was enough for us.

In which our intrepid trio attempt to figure out the meaning of our podcast lives as we discuss this 1952 Akira Kurosawa classic.  Yay/Nay (2:16) Home • Winners Take All • Shazam: Fury of the Gods •  Main Review (15:32) Outro/B-Roll (47:34) Email: firsttimewatchers@gmail.com Twitter: @1sttimewatchers Back Catalogue: firsttimewatchers.podbean.com Donate: Patreon.com/firsttimewatchers Buy stuff: zazzle.com/firsttimewatchers Member: largeassmovieblogs.com/

Our “Eat the Rich” mini-series concludes with a high-concept final course and an exciting special guest. Soleil Ho—writer, podcaster, and San Francisco Chronicle restaurant critic—joins our discussion of Mark Mylod's 2022 comedy thriller The Menu, starring Anya Taylor-Joy, Ralph Fiennes, and Hong Chau.Links Mentioned:The willow's inn article: “The Island Is Idyllic. As a Workplace, It's Toxic.”Harvest of shame from 1960: https://youtu.be/yJTVF_dya7ETime Stamps:43:45 - What's your Freq Out?Soleil on the novel Nona the Ninth by Tamsyn MuitAnita on the novel Under the Whispering Door by TJ KluneKat on the film Ikiru (1952) directed by Akira KurosawaFind Soleil:https://soleilho.comtwitter.com/hooleilhttps://www.sfchronicle.com/author/soleil-ho/Find Anita:twitter.com/anitasarkeesianFind Kat:twitter.com/kat_ex_machinaFind Us:Join our PatreonOur WebsiteSubscribe to FFR on Apple PodcastsTwitterInstagramtwitch.tv/femfreq

The Nobel Prize-winning author grew up adoring the films of Akira Kurosawa — but he also didn't hesitate to make major changes when adapting Kurosawa's Ikiru into Living, which has now earned both him and star Bill Nighy their first Oscar nominations. Follow us on Twitter and Instagram @vfawardsinsider Email us at littlegoldmen@vf.com Follow our hosts: @kateyrich, @rilaws, @beccamford, @davidcanfield97  Our editor and producer is Brett Fuchs.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Robert Gottlieb has been working in publishing since 1955. The list of authors he's edited include Joseph Heller, Toni Morrison, John Le Carré, Katharine Graham, Bill Clinton, Nora Ephron and Michael Crichton. The documentary Turn Every Page, by his daughter Lizzie Gottlieb, examines his decades-long editing relationship with Power Broker author Robert Caro. Terry Gross spoke with both Lizzie and Robert Gottlieb. Also, John Powers reviews the British drama Living, adapted by Kazuo Ishiguro from Akira Kurosawa's classic 1952 film Ikiru.

"Living" has had one of the most extended lives of any film this awards season, premiering all the way back at Sundance and then going on to also screen at Venice, Telluride and TIFF before opening in limited release a few days ago from Sony Pictures Classics. A remake of Akira Kurosawa's classic film "Ikiru," the film stars Bill Nighy in a rare showcase leading role for the respected British actor, which has generated Oscar buzz for his performance and Nobel Prize-winning writer Kazuo Ishiguro's screenplay. Ishiguro and director Oliver Hermanus were kind enough to spend some time with us talking about their work on the film, which you can listen to down below. Thank you, and enjoy!   Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Episode 169 of CinemAddicts has Anderson Cowan and Bruce Purkey reviewing the grey donkey feature EO (23:08). Eric Holmes and Bruce discuss the Vicky Krieps headlined Corsage (17:14), and Anderson shares his thoughts on Amsterdam.  I review the new Netflix feature The Pale Blue Eye (32:38) which features Christian Bale's latest collaboration with Scott Cooper (Out of the Furnace, Hostiles). Last but not least, Bruce and I review Living (11:10) which stars Bill Nighy and is a remake of Akira Kurosawa's Ikiru.Anderson and I will cover the year 1946 for our CinemAddicts Patreon episode for January 2023. Subscribe to our Deepest Dream YouTube ChannelLike Our CinemAddicts Facebook PageFollow CinemAddicts on InstagramFor daily movie recommendations and weekly giveaways, join our CinemAddicts Facebook Group!Atty's Antiques is on Facebook MarketplaceCheck out Anderson and Mike Carano's Clever Kind Productions for your production needs!For access to our bonus episodes, subscribe to our CinemAddicts Patreon. For the month of December, we spotlight the year 1967!!For CinemAddicts questions, comments email us at ourcinemaddicts@gmail.com!Rate/review CinemAddicts on Apple Podcasts!HAVE A CHAT WITH ANDY HERELinks to the promised CCP shorts are below.THE COLD COCKLE SHORTSRULES OF REDUCTIONMORMOANTHE CULT OF CARANOSubscribe to Anderson's Channel HereGROUPERS TRAILERPlease Give Groupers a Rotten Tomatoes Audience Score HerePlease Rate It on IMDB HereStarfleet Leadership Academy - Leadership Through Star TrekLeadership development told through the lens of Star TrekListen on: Apple Podcasts SpotifySupport the show

We discuss death, bureaucracy, and postwar Japan in Akira Kurosawa's masterpiece IKIRU (1952). PLUS: Everything you always wanted to know about Toronto's political culture (and upcoming municipal election) but were afraid to ask!Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.