Podcasts about Last Emperor

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Is Donald Trump right for once? Is this the deal to end all deals? And could anyone else have pulled it off?On Free State today, Donald Trump's role as the last American emperor is examined.Is his Gaza peace deal an example of how his ego and self interest drive people to achieve things normal politicians couldn't? Is this his great legacy or will it fall apart because like so many things in Trump world, it isn't built to last? Hosted on Acast. See acast.com/privacy for more information.

This week Peter & Mike review Uprising: Curse of the Last Emperor. Next week we will have a related design discussion about 3 to 5 X games. _________________________ YouTube - www.youtube.com/channel/UCrOtGhui_jdLdoQNI7PU4Pg X - @onestopcoopshop Discord - discord.gg/p4jX8AF Merch: one-stop-co-op-shop.creator-spring.com/ Donate to One Stop Co-op Shop - www.patreon.com/onestop Email - onestopcoopshop@gmail.com

Folge 142: Uprising - Curse of the Last Emperor

In dieser Episode des Brettspiel-News-Podcasts begrüßen wir Dirk, einen der Autoren von "Uprising". Gemeinsam mit Ben und Sarah tauchen wir tief in die Entstehungsgeschichte dieses Brettspiels ein, das sowohl Herausforderungen in einem kooperativen Setting bietet. Dirk teilt seine persönlichen Eindrücke und Erfahrungen, die zur Konzepterstellung des Spiels führten, und offenbarte, wie das Crowdfunding, das sich als solider Weg für neue Brettspielprojekte erwiesen hat, eine zentrale Rolle in der Entwicklung spielte. Wir beginnen mit der Frage, was den Anstoß für die Erstellung eines eigenen Spiels gegeben hat. Dirk erzählt von seiner Leidenschaft für Crowdfunding, inspiriert von einem TED-Talk, der seine Sichtweise auf die Unterstützung von Communities veränderte. Es wird klar, dass seine Motivation, ein Spiel zu entwickeln, nicht nur aus dem Wunsch heraus entstand, etwas unternehmerisches zu schaffen, sondern auch aus einer tiefen Überzeugung heraus, dass es Menschen gibt, die innovative Ideen unterstützen möchten, selbst wenn diese nicht den traditionellen Marktstandards entsprechen. Dirk erläutert, dass sie, zusammen mit seinem Co-Autor Cornelius, die Vision hatten, das „beste Spiel der Welt“ zu erschaffen und dabei die Freiheit hatten, kreative Risiken einzugehen, die ein traditioneller Verlag möglicherweise nicht gewagt hätte. Ein weiterer wichtiger Punkt in der Diskussion ist die Transformation von einem kompetitiven zu einem kooperativen Spiel. Dirk schildert, wie die Spieleentwickler nach mehreren Testspielen feststellten, dass der Konkurrenzkampf zwischen den Spielern nicht nur zu Spannungen führte, sondern auch den Spaß minderte. Diese Erkenntnis war entscheidend, um den Fokus auf das kooperative Gameplay zu legen, welches sowohl Herausforderungen bietet als auch den Teamgeist fördert. Dirk spricht leidenschaftlich darüber, wie das Abenteuerspiel das Gefühl der Zusammengehörigkeit stärkt und Teil des Erfolgsrezepts darstellt. Wir tauchen auch in die Entwicklung der Charaktere und deren Eigenschaften ein. Dirk erklärt, dass der Spieler die Rolle eines Helden übernimmt und die Möglichkeit hat, eine eigene Figur zu gestalten, die sowohl Stärken als auch Schwächen hat. Dies fördert eine tiefere Verbindung zum Spiel, das nicht nur strategisches Denken erfordert, sondern auch den persönlichen Ausdruck des Spielers. Ein zentrales Thema ist auch die Community, die eine tragende Rolle im Entwicklungsprozess spielt. Dirk hebt hervor, wie wichtig das Feedback von Spielern war, um das Spiel weiter zu verbessern und anzupassen, was zu innovativen Mechanismen wie dem „True Solo Modus“ und einer „Legendary Big Box“ führt. Die Vorfreude auf die kommende Kickstarter-Kampagne wird ebenso spürbar, in der die Community nicht nur eingeladen wird, das Spiel zu unterstützen, sondern auch aktiv daran teilzunehmen, tätige Vorschläge zu unterbreiten und Teil des kreativen Prozesses zu sein. Zusammenfassend bringt Dirk in dieser Episode nicht nur die Entwicklung von "Uprising" auf den Punkt, sondern teilt auch wertvolle Einblicke in die Herausforderungen und Freuden des Spieleschaffens. Es wird klar, dass "Uprising" nicht nur ein Spiel ist, sondern auch eine Community und ein Projekt der Leidenschaft, das die Werte des Zusammenspiels und der Unterstützung verkörpert. Die Episode endet mit einem Aufruf an die Zuhörer, sich der Grundspielbasis anzunehmen und sich auf das kommende Abenteuer zu freuen.Hier geht es zur BIG BOX Kampagne des SpielsDas Spiel hat übrigens eine Bewertung von 8,4 auf Boardgamegeek.com erhaltenEuer FeedbackIhr habt Feedback zu dem Podcast und Themen- oder Gastwünsche? Schreibt uns an podcast@brettspiel-news.de oder auf Facebook oder Instagram. Außerdem könnt ihr auf unserem Discord Server vorbeischauen und den Podcast auch auf Youtube anhören.

Cʹest un peu le film de tous les superlatifs, une sorte de Ben Hur chinois, avec des centaines de collaborateurs, un casting international, 20ʹ000 figurants, 9'000 costumes, un tournage historique au cœur de la Cité interdite à Pékin. Bernardo Bertolucci est en effet le premier occidental à pouvoir tourner dans ce palais. Ce film, cʹest le Dernier empereur,  L'ultimo imperatore, The Last Emperor, sorti en 1987. Un film dont la beauté des images ne change rien au tragique de lʹhistoire de ce dernier empereur de Chine, Pu Yi. Un homme ballotté par le destin, empereur à 3 ans, renversé par la Chine communiste, partant en exil, pour être récupéré par les Japonais et proclamé empereur fantoche du Mandchoukouo. Il est arrêté et emprisonné par les soviétique en 1945, pour être rééduqué dans une prison chinoise pendant 9 ans avant dʹêtre finalement libéré et de finir sa vie comme jardinier. Le dernier empereur de Chine meurt des suites dʹun cancer à 61 ans. Et cʹest ce destin exceptionnel que Bernardo Bertolucci porte à lʹécran avec des moyens faramineux, une reconstitution historique fascinante retraçant toute lʹhistoire de cet homme déchu, ce pantin des événements. Le réalisateur qualifie le film de cheminement de la décadence et du pourrissement dʹune dynastie jusquʹà la rééducation dʹun homme. Le film rencontre un vrai succès critique et public. Il est couronné par 9 Oscars, dont ceux des Meilleur film et Meilleur réalisateur, du César du Meilleur film étranger, de Baftas et de Donatellos. Ne tardons plus, commençons notre réflexion sur les apparences du pouvoir et la réalité de lʹimpuissance, sur les prisons dorées, sur un chatoyant théâtre dʹombre, sur cette fresque de lʹhistoire de la Chine du XXe siècle. REFERENCES Edward Behr, Pu Yi, le Dernier Empereur, Robert Lafont Pu Yi, Jʹétais empereur de Chine, biographie, traduction Jeanne-Marie Gaillard-Paquet, Jʹai Lu, 1999 Première, Le dernier empereur, un défi spectaculaire, Bertolucci raconte, décembre 1987. Fabien S. Gérard, journal de tournage : Le Dernier Empereur de Bernardo Bertolucci, Cahiers du cinéma, 1987 La voix de Pu Yi https://www.youtube.com/watch?v=lIMIWjV6Mck

This Bits and Pieces episode blows from here to there—just like Typhoon Danas, which recently battered John's beloved Chiayi. It's a little chaotic, a little wild. We jump from Belgium to Yemen to 1950s Taipei, where we meet Pierre Ryckmans, a young scholar who arrived in Taiwan on a cargo ship and ended up learning brushwork from the cousin of China's last emperor—a famously tedious teacher who refused to leave his studio to tutor Madame Chiang Kai-shek after she took up painting at 53. We wrap things up with the Generalissimo himself, who, despite a full-hour audience, somehow managed to leave absolutely no impression on Ryckmans, a man who would become a giant in the world of sinology.PLEASE – leave a review, follow & "like" on social media. Thanks!

Vulture and New York Magazine film critic Bilge Ebiri returns to discuss Bernardo Bertolucci's stunning mood piece Little Buddha, a rich and evocative story of an American family who travel to Bhutan after learning their son may be the reincarnation of the spiritual leader of a group of Tibetan Buddhist monks. The film also chronicles chapters in the life of Siddartha (played by Keanu Reeves) who rejects his life of sheltered privilege after learning of human suffering in order to seek a path of spiritual enlightenment. Exhibiting Berolucci's customary visual richness - emboldened by breathtaking images from Academy Award-winning cinematographer Vittorio Storaro - and an otherworldly emotional frankness, Little Buddha conjures the sensation and grandeur of a personal spiritual awakening. We discuss the career of Bertolucci and his "Eastern Trilogy" beginning with 1987's Best Picture winner The Last Emperor, in which Bertolucci's fascination with the spiritual and cultural practices of the Asian continent became a personal endeavor into a deeper understanding of his own artistic ethos. Then we unpack the splendid uncannines of Little Buddha and how Bertolucci's directorial mastery allows for a film of constant settling and de-escalation to feel thrilling and proulsive through it's evocation of a preternatural emotionality. Finally, we discuss the west's fascination with the Tibetan independence movement in the 1990s and the American films it inspired during the decade.   Follow Bilge Ebiri on TwitterOrder Little Buddha on 4K or Blu-ray from Kino LorberGet access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

A trip to China, a meeting with the boy emperor, and a terrifying dragon. In this episode, we examine Season 1, Episode 10 of The Mummy: The Animated Series, titled The Boy Who Would Be King.Email: mummymoviepodcast@gmail.comPatreon: https://patreon.com/MummyMoviePodcast?Bibliography:Bracken, G., & Orum, A. (2019). Forbidden City, The. The Wiley Blackwell Encyclopedia of Urban and Regional Studies, 1-6.Chunhua, Y. A. N. G. (2015). China's Emperor Culture in Subtitle Translation: A Case Study of The Last Emperor. Cross-Cultural Communication, 11(3), 73-77.Zhang, Q. (2015). An introduction to Chinese history and culture. Heidelberg: Springer. Hosted on Acast. See acast.com/privacy for more information.

Kill Along to Get Along: Bernardo Bertolucci's The Conformist Does Life Imitate Art or Does Art Predict and Comment on Life?  Regardless of Bernardo Bertolucci's reputation - admitted questionable actions in the realization of art - the Italian filmmaker is regarded as one of the great Auteurs of Cinema. Films from 1900 (1976) thru the Oscar-winning The Last Emperor (1987), and the controversial (artistically and production-wise) Last Tango in Paris (1972), have explored the human eperience through Sexuality, Social Taboos, Class Conflict, and - in his directorial debut 1970s The Conformist, Politics. Lensed by the great Italian cinematographer Vittorio Storaro, The Conformist may have some of the most beautiful images ever captured in Cinema while telling a story of Political Ideology,  Conformity, and the rise of Fascism.  Questions rise in this 1970 film that have surprisingly presented themselves again over fifty years later. This is a difficult film in viewing, however it is incredibly important in what it has to say and how it says it. Take a listen and let us know what you think. Agree or Disagree, the Point is the Conversation. Let us know what you think - gondoramos@yahoo.com. Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

"Boomer Computer Safety PSA" v. "Guy Exclusively on the Wrong Side of History."

The week on the show, we welcome back our music sponsor and artist in residence, DASEIN, using John's crap audio to discuss Spielberg's 2nd of 4 (at least) WWII epics, “Empire of The Sun.”  The random year generator spun 1987, a year we visited to discuss Bertolucci's “The Last Emperor”, but we still gave you some set-up of what was happening around the world to add context to why in the hell two movies about empires set in China were two of the biggest movies of 1987. Dave also opens the show discussing Bong Joon Ho's “Mickey 17” in a mini-review where he states whether this movie can hang with previous episode features “Parasite” and “Memories of Murder”. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 7:14 “Mickey 17” mini-review; 14:26 Gripes; 19:47 1987 Year in Review; 50:41 Films of 1987: “Empire of the Sun”; 1:47:16 What You Been Watching?; 1:57:31 Next Week's Movie Announcement Additional Cast/Crew:  Robert Pattinson, Steven Yeun, Michael Monroe, Christian Bale, John Malkovich, Joe Pantoliano, Ben Stiller, Miranda Richardson, John Williams, Kathleen Kennedy. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Disney, Amazon Prime, Warner Brothers, Warner Media, Looney Toons, Disney's Snow White, San Francisco, Los Angeles, The Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir. 

This month we take a short break from the second series for an interview which AJ conducted with actor Constantine Gregory who played one of the two Russians in Russian Roulette: Ivan Ilyich Kusnetsov. American-born Constantine shares details of his Russian ancestry, his friendship with Richard Marner, and highlights from his career as both an actor and as a dialogue coach on films such as The Last Emperor and Conspiracy with Kenneth Branagh.  We are grateful to Constantine for sharing his memories wth us. If you enjoyed the interview and would like to show your appreciation for his contribution, then please consider donating to his chosen charity: Turning Tides: https://www.turning-tides.org.uk/ which seeks to end local homelessness in the UK.  If you would like to contact us then please email us on, or send a voicenote to: secretarmypod@gmail.com or send us a message on Bluesky: AJ is on secretarmypod.bsky.social while Andy can be found at andypodding.bsky.social. AJ is also still on Twitter at @secretarmypod. We'd love to hear from you, especially your takes on the Series 2 episodes Not According to Plan and Scorpion which are currently in preparation. Thank you! Next Time: Lucky Piece

The Bloody Awesome Movie Podcast The Bloody Awesome Movie Podcast This week, we review Flight Risk, discuss Sundance Buzz in Concessions of a Cinephile, and more! The Bloody Awesome Movie Podcast delivers a spoiler-free review of a film, usually a new release with some exceptions, every week. Then Matt Hudson (@wiwt_uk) from What I Watched Tonight and Jonathan Berk (@berkreviews) from disappointment media will introduce a variety of movies or pop-culture-related topics in a series of segments. Review of Flight Risk Director, writer, and cast provided by Letterboxd.com IMDb.com Synopsis: A U.S. Marshal escorts a government witness to trial after he is accused of getting involved with a mob boss, only to discover that the pilot who is transporting them is also a hitman that had been sent to assassinate the informant. After they subdue him, they're forced to fly together after discovering that there are others attempting to eliminate them. RATINGS: 21% RT critic 62% RT audience 38 Metascore 5.7 IMDb user score 2.3 Letterboxd Where to watch? Theaters Concessions of a Cinephile In this segment, we switch to movie-motivated conversations of a large variety that could include headlines, trailers, top five lists, best of, competitions, etc… Topic: Sundance Buzz coming out of the festival Letterbox article Deadline article Letterboxd List Media Consumption Movies, TV, Video Games, Music, Podcasts (not ours), etc that we use to pass the time Matt's consumption The Baby in the Basket, The Damned Jon's consumption The Last Emperor, 12 Years a Slave, The Thomas Crown Affair (1968), Dark Match, Anastasia, Analyze That Severance S2E2 Anastasia the Musical (local theater production)

Hate him, love him or just don't know about The Last Emperor of Melnibone, we talk about him till our gums get sore! #Elric #TTRPG #Fantasy --- Support this podcast: https://podcasters.spotify.com/pod/show/thedicearescreaming/support

December 2, 1908. In a lavish enthronement ceremony, two-year-old Puyi becomes the Emperor of China, a title he will subsequently abdicate on three separate occasions. This episode originally aired in 2022.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Trey and Blaine had a good discussion about this biopic, and most of that discussion survived our technical problems.Support this show http://supporter.acast.com/99-years-100-films. Hosted on Acast. See acast.com/privacy for more information.

Though he was named Emperor of China at age 3, the life of Pu Yi doesn't turn out as planned. Join me as I discuss the Best Picture Oscar winner from 1987: The Last Emperor

Helen and Gavin chat about Satisfactory, Only Murders in the Building, and The Substance, and it's Week 30 of the list of Oscar Best Picture Winners from 1987 and 1988; Platoon, and The Last Emperor.

In 1864, a young Austrian archduke by the name of Maximilian crossed the Atlantic to assume a faraway throne. He had been lured into the voyage by a duplicitous Napoleon III (the nephew of Napoleon Bonaparte). Keen to spread his own interests abroad, the French emperor had promised Maximilian a hero's welcome. Instead, he walked into a bloody guerrilla war. With a head full of impractical ideals - and a penchant for pomp and butterflies - the new 'emperor' was singularly ill-equipped for what lay in store. In this episode we are looking at this barely known, barely believable episode - a bloody tragedy of operatic proportions, the effects of which would be felt into the twentieth century and beyond. To discuss his life is today's guest, Edward Shawcross, author of “The Last Emperor of Mexico: The Dramatic Story of the Habsburg Archduke Who Created a Kingdom in the New WorldSee omnystudio.com/listener for privacy information.

Dion, Irv, and Jon take their favorite number 87, and go back in time to rank their favorite movies from the year 1987. Apologies to the box office as Three Men and a Baby, Fatal Attraction, and Beverly Hills Cop II were cut from the list and they were the top-grossing movies released in that year. The Oscar-winning picture from that year, The Last Emperor was also cut from the list. Apologies should also be offered to those who love their "chick-flicks" as Dirty Dancing and Can't Buy Me Love also miss the list. What movie do you enjoy the most from this list: Full Metal Jacket, The Princess Bride, Predator, Spaceballs, The Untouchables, Lethal Weapon, Planes, Trains, and Automobiles? Follow us on X (formerly Twitter) and Instagram @ThatsaGoodPoin1 Theme: Protofunk by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4247-protofunk License: http://creativecommons.org/licenses/by/4.0/

In 1908, a two-year-old boy named Puyi was installed as the 11th Emperor of the Qing Dynasty in China. His life would prove to be radically different from that of any other Chinese emperor who came before him. He would see the end of Imperial China, become a puppet ruler for those who wished legitimacy, wind up in prison, and finally live out his final days as a commoner.  His personal story can be seen as a microcosm of the history of China during the 20th century.  Learn more about Puyi, the last Emperor of China, on this episode of Everything Everywhere Daily.  Sponsors Sign up at butcherbox.com/daily and use code daily to get chicken breast, salmon or ground beef FREE in every order for a year plus $20 off your first order! Subscribe to the podcast!  https://link.chtbl.com/EverythingEverywhere?sid=ShowNotes -------------------------------- Executive Producer: Charles Daniel Associate Producers: Ben Long & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

For our 250th episode this week, the boys headed to Peking to discuss the Bernardo Bertolucci masterpiece ‘The Last Emperor.'  The random year generator spun 1987, and we set up the film year, noted some world events, and then discussed how great it is to no longer have fantastic films set in Chinese spoken in English. John, with full CoVid immunity, also caught ‘Beetlejuice Beetlejuice' and gave us a spoiler-free mini-review.  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 1:25 250th Episod8:58 “Beetlejuice Beetlejuice” mini review;16:16 Gripes; 20:54 1987 Year in Review; 40:58 Films of 1987: The Last Emperor; 1:21:36 What You Been Watching?; 1:33:10 Next Week's Movie Announcement Additional Cast/Crew: Enzo Ungari, Mark Peploe, John Lone, Joan Chen, Peter O'Toole, Hans Zimmer, David Byrne, Ruocheng Ting, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, Richard Vuu, Tsou Tijger, Tao Wu, Guang Fan, Henry Kyi, Puyi, Vittorio Storaro, Cong Su, Gabriella Cristiani, Ferdinando Scarfiotti, Jeremy Thomas. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: SAG-AFTRA, The Emmys, iPhones, Peking, Mao Zedong, The Forbidden City, Queensland, Australia, Melbourne, Sydney, Sisu, Auckland, New Zealand, Wilhelm Yell, Wilhelm Scream, Prince Charles, King Charles, John Wayne, Charleton Heston, Preparation H. 

On this episode of Oscars Playback, experts and editors Joyce Eng and Christopher Rosen head back to 1988 to celebrate the 60th annual Academy Awards when "The Last Emperor" won Best Picture and eight other awards in a clean sweep of its nominations, Eddie Murphy spoke truth to power about the Oscars' failure to recognize Black artists, and a contentious writers' strike kept the scripted material to a minimum. Joyce and Chris also celebrate the best films of 1987 -- "Predator" and "Adventures in Babysitting" (sorry to the other great films!) -- and wonder if Glenn Close should've won Best Actress over Cher. Email us at slugfests@goldderby.com. Make your predictions at https://www.goldderby.com. Love what you hear? Leave us a great review at your favorite podcast provider. Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 9 you will learn everything you need to know about the society and economy of Roman Hispania, the political history of the Late Roman Empire before the barbarian migrations, and the significant transformations that occurred in the transition from Classical Antiquity to Late Antiquity, including the Christianization of Hispania. SUPPORT NEW HISTORY OF SPAIN: Patreon: https://patreon.com/newhistoryspain  Ko-Fi: https://ko-fi.com/newhistoryspain  PayPal: https://paypal.me/lahistoriaespana  Bitcoin donation: bc1q64qs58s5c5kp5amhw5hn7vp9fvtekeq96sf4au Ethereum donation: 0xE3C423625953eCDAA8e57D34f5Ce027dd1902374 Join the DISCORD: https://discord.gg/jUvtdRKxUC  Or follow the show for updates on Twitter/X: https://x.com/newhistoryspain  OTHER SERVICES: My English to Spanish translation service: https://www.fiverr.com/s/Ke8yP4b  Join my course to learn how to use AI in your academic research and writing: https://www.udemy.com/course/ai-for-scholars/?referralCode=22121D97D0B1CECE5ECC YOUTUBE CHANNEL: https://www.youtube.com/@newhistoryspain Apple Podcasts:  https://podcasts.apple.com/us/podcast/new-history-of-spain/id1749528700 Spotify: https://open.spotify.com/show/7hstfgSYFfFPXhjps08IYi  TIMESTAMPS: 00:00 Hook 00:31 Society of Roman Hispania 05:31 Economy of Roman Hispania 09:36 The Crisis of the Third Century 14:06 Diocletian and the Political Regime of the Dominate 16:42 The Christianization of Hispania 25:51 Transformations from Classical Antiquity to Late Antiquity 33:23 Constantine and the Legalization of Christianity 37:15 Theodosius, the Last Emperor of the Two Parts of the Roman Empire 40:12 The Verdict: Questions about the Late Roman Empire 41:12 Outro

The best ad for mixing was "Leave the door open!" Glenn talked about mixing at the Power Station and Sigma Sound, recording Madonna, Springsteen, U2, Talking Heads, Ziggy Marley, the birth of remixing, and renewing Fame Studios in Muscle Shoals. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Glenn Rosenstein a Multi Grammy-winning producer, engineer, and mixer who began his music career at the legendary Power Station Recording Studio in NYC, assisting alongside some of the best producers, engineers as well as at New York's historic Sigma Sound Studios where Glenn became a mixer and remix engineer, creating work for such artists as U2, Madonna, Talking Heads, The Ramones, Ziggy Marley, Lisa Lisa & Cult Jam, James Brown, Miles Davis and many others. Glenn's music production & mixes continue to be highly visible & diverse, from Whitney Woerz, Carly Simon and Earl “Chinna” Smith to James Taylor, Black Uhuru, Wes Sheffield and Bif Naked. He produced Benedictines Of Mary project for Decca/Universal which was Billboard Magazine's #1 Classical release for the 2012 to 2013 holiday season. As a producer, mixer, & engineer, Glenn's projects have won 3 Grammy Awards, 5 Grammy nominations, an Oscar and a Golden Globe Award. His work is responsible for record sales well in excess of 300 million units. His music production & mixing credits for film & television include The Sopranos, Celebrity Circus, The Last Emperor, Blown Away, Married To The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy The Vampire Slayer. As both songwriter & producer, Glenn's work with reggae artist Snow led to a chart-topping single in Canada. In addition, Glenn has overseen production of a landmark multi-DVD project for Saturday Night Live‘s 25th Anniversary, producing the surround remixes and audio for 60 unique music performances, as well as 60 musical comedic sketches. This project features the live performances of Mariah Carey, Sting, Aretha Franklin, Metallica, Nirvana, Paul McCartney, Snoop Doggy Dog, Paul Simon, Alanis Morissette, James Brown and Bruce Springsteen, to name just a few. Glenn has also partnered in the renovation and restoration of the historic Fame Recording Studios in Muscle Shoals AL, where he maintains a residence and studio and where we join you today.  And last but not least I consider Glenn a longtime friend and mentor here in Nashville. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7hJRXvS4M6FURuZurWyWth?si=3bd7089aa93e4e1b If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/457

This is our 70th BPC Episode! Wow. Wild stuff as we are here to talk about this Bernardo Bertolucci film that took home the big crown in 1987. Kieran B and Jay Dowski return to join Kieran B in a conversation about THE LAST EMPEROR. Lots of conflicting points of views on this one, we hope you enjoy the conversation! As always please rate and review! Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Artie B: @heyyyitssme Chris G: @chrisgallant17 Joey R: @joey0314 Grant Z: @Grant_Zep Jay Dowski: @JayDowski Grant's Art on Instagram: @exit28studios Chris G's Art on Instagram: @popvultureart Some of our friends: Cinemusts: @cinemusts 1001 by 1: @1001by1 Below Freezing: @BelowFreezing32 Revisionist Almanac: @RevAlmanac Greatest Movie of All Time Podcast:@gmoatpodcast Shea Cinema: @sheacinema

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director's story can unfold, as does a cinematographer. We learn what Hans is really doing when he's procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands. - This episode is sponsored by the Dallas Film Commission & Godox

This week we seek revenge when we review Monkey Man. We also discuss American Fiction, Ready Player One, The Last Emperor, Get Shorty, Anyone But You, and No Hard Feelings. All while drinking Zombie. A HARD SELTZER by Noble Ale Works, out of Anaheim, California. Intro and Beer Selection 0:00-9:37 Monkey Man Review 9:37-30:16 Nano Reviews 30:16-47:10 Outro 47:10-49:23 Subscribe to our Patreon for premium episodes! Like us on Facebook! Follow us on Apple Podcasts! Follow us on Spotify! Follow us on  Podbean! Follow us on Instagram! Follow us on TikTok! You can buy individual premium episodes on our Bandcamp! Send your questions and comments to sudsandcinemapodcast@gmail.com Logo and Artwork by @djmikeholiday

In this episode we discuss the sixtieth Best Picture winner, The Last Emperor, the big six-decade milestone for the Academy, the lackluster ceremony and poor performance by host Chevy Chase, the predictability of a historical epic winning Best Picture, and Bernardo Bertolucci's experience making The Last Emperor in The Forbidden City.  -- Instagram: https://www.instagram.com/thanktheacademypodcast X: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/thank-the-academy/support

Join us in this episode of Strictly Reel, where Chris and Richie discuss the latest film news including James Bond rumors and upcoming bad Horror film reimaginings like the Poohniverse or Untitled Steamboat Willie film. Along the way, we also explore our recently watched films over the last week.Lastly, we dive deep into the 60th Academy Award Best Picture winner The Last Emperor (1987) during our Best Picture Breakdown. Throughout this segment we dissect its themes, technical feats, visual prowess, and cultural significance. Tune-in for an engaging discussion that combines cinema analysis with our personal thoughts and review!Episode Chapters:(00:00-01:25) - Opening Credits(01:26-13:51) - Film News - James Bond Rumors, Bad Horror Reimaginings, & more(13:52-27:29) - Recently Watched Films(27:30-01:28:04) - The Last Emperor (1987) Breakdown(01:28:05-01:29:32) - Closing Credits

Will and Douglas are back with not just a new episode but the first Speaking to the Dead series. We look at the eventful life of Pu Yi the last Emperor of China. In this first episode, the background to his life and his selection as Emperor are discussed.

Producer Jeremy Thomas remembers the making of 1987's legendary film THE LAST EMPEROR. Jeremy was a young indie producer with an eager spirit and a history of ingenuity when iconic director Bernardo Bertolucci approached him about making a film about the last Emperor of China. Jeremy knew it would be a feat to accomplish such an undertaking, but instead of shying away from the challenge, he leaned in and got the support of the Chinese government. A true international collobration, the film's authenticity is evident and it remains a classic.Become a supporter of this podcast: https://www.spreaker.com/podcast/hollywood-gold--5670584/support.

Our first Best Picture winner in this year's Oscar Month, The Last Emperor, went 9 for 9 at the awards that year. John Lone, Joan Chen and Peter O'Toole are all solid in the starring roles, but there's something fairly soulless and even a little opaque about this spectacular production...especially for a Bernardo Bertolucci film. Bertolucci and his team were the rare Western filmmakers to be allowed to shoot in The Forbidden City in China, as they told a story about a sheltered child surrounded by devious sycophants. Puyi might be a royal, but his comfortable life is spent in effectively a prison. The biggest problem we couldn't get past with this film, though, is that this was what the Oscars told us was the pinnacle of 1987 filmmaking, even though Broadcast News, Moonstruck, Robocop, Predator and Lethal Weapon were all out that year. So don't you dare try to leave the 575th edition of Have You Ever Seen---not until you get kicked out---as we marvel and moan in equal measure about The Last Emperor. Well, Actually: Maggie Han was born in Rhode Island, but her parents were South Korean. Also, Licence To Kill was released in 1989, not 1987. They can't get Sparkplug Coffee in China, but people in America and Canada can. And if you use our "HYES" promo code, you'll save 20%. Go to "sparkplug.coffee/hyes". Drop us a line via email (haveyoueverseenpodcast@gmail.com) and/or follow us on Twi-X (@moviefiend51 and @bevellisellis) and also look for Bev on Threads (@bevellisellis). Rate, review, subscribe, do all those things on your app, but also hunt us down on the web via YouTube. We post all our shows there. The destination in your browser is @hyesellis.

Good riddance! Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, and Google Play!

Best and Least Fav. Shows covered last year. The Last Emperor of the US What is White Torture?   https://www.healthline.com/health/mental-health/what-causes-deja-vu#when-to-be-concerned https://emperornortontrust.org/emperor/life https://www.theguardian.com/world/2012/mar/12/bradley-manning-cruel-inhuman-treatment-un   Feedback : blackgirlcouch@gmail.com  (audio/written) Twitter: BlackGirl_Couch   Tumblr: slowlandrogynousmiracle    

Tenochtitlan, once the glittering jewel at the heart of the mighty Aztec Empire, has fallen. Hernán Cortés stands triumphant, the master of this New Spain. Or so it seems. For the last Aztec emperor, Cuauhtemoc, is still alive and well. And in the jungles of Mexico and Honduras, a dark and bloody story is only just beginning … In the final episode of this astonishing journey, Dominic and Tom discuss the aftermath of the fall of Tenochtitlan, the fates of Cuauhtemoc, Cortés and Malinche, the experiences of the local population and the story of Mexico in the decades after the Spanish conquest. As this mighty epic draws to a close, they also explore the Black Legend of Spanish imperialism, and discuss the long-term repercussions of the conquest and its status in the context of world history and politics today. *Dominic's book The Fall of the Aztecs is available now from bookshops across the UK - the perfect Christmas present!* *The Rest Is History Live Tour 2023*: Tom and Dominic are back on tour this autumn! See them live in New Zealand and Australia! Buy your tickets here: restishistorypod.com Twitter:  @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

A series of featurettes outlining David's soundtracks and collaborations throughout the Talking Heads-era. I touch on everything from the beloved The Catherine Wheel, through the esteemed Knee Plays and The Last Emperor, to the surprisingly personal The Forest. The Catherine Wheel His wife refused Cloud Chamber My big hands (Fall through the cracks) Big Business What a day that was Big blue plymouth (Eyes wide open) The Knee Plays Tree (Today is an important occassion) The sound of business Things to do (I've tried) In the future The Last Emperor The Last Emperor (Main Theme) Picking a bride The Forest Ur Dura Europus Ava Live cover: The FutureSee omnystudio.com/listener for privacy information.

The eleventh episode of our season on the awesome movie year of 1987 features the Academy Awards Best Picture winner, Bernardo Bertolucci's The Last Emperor. Directed and co-written by Bernardo Bertolucci and starring John Lone, Joan Chen, Peter O'Toole and Ying Ruocheng, The Last Emperor was nominated for nine Oscars and won them all.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/the-last-emperor-1987), Sheila Benson in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1987-11-20-ca-15017-story.html), and Pauline Kael in The New Yorker.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring our producer David Rosen's pick, Sam Raimi's Evil Dead 2.

The tenth episode of our season on the awesome movie year of 1987 features a special Halloween selection, Joel Schumacher's The Lost Boys. Directed by Joel Schumacher and starring Jason Patric, Corey Haim, Kiefer Sutherland, Dianne Wiest, Jami Gertz and Corey Feldman, The Lost Boys had a major influence on the development of the vampire genre.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/the-lost-boys-1987), Caryn James in The New York Times (https://www.nytimes.com/1987/07/31/movies/film-the-lost-boys.html), and Michael Wilmington in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1987-07-31-ca-188-story.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring the Academy Awards Best Picture winner, Bernardo Bertolucci's The Last Emperor.

Frédéric Tcheng is a French-born filmmaker based in Brooklyn, New York. His films have premiered in Venice, Toronto, Sundance, Telluride, CPH:Dox and Tribeca. His most recent film INVISIBLE BEAUTY was co-directed with trailblazer activist Bethann Hardison and released by Magnolia Pictures. In 2019, Frédéric directed the documentary HALSTON, a CNN Films production and Amazon Original. His award-winning directorial debut DIOR AND I was released in 2015 by The Orchard. Previously, Frédéric had served as the co-director of the 2011 acclaimed documentary DIANA VREELAND: THE EYE HAS TO TRAVEL, which the New York Times called “dizzily enjoyable.” He also co-produced and co-edited VALENTINO: THE LAST EMPEROR, the 2009 hit documentary shortlisted for the Best Documentary Oscar. Frédéric has served as a filmmaking mentor for Queer Art, a non-profit LGBTQ+ arts organization. He holds an engineering degree from France and an MFA in filmmaking from Columbia University.   https://www.instagram.com/invisiblebeautyfilm/ https://www.chonacas.com/

DJ Science delivers an electrifying mix of raw raps from DITC and Last Emperor, hard as nails funk by the Putbacks, slow burning soul from Hugh Masekela, and a pair of Hiero blends to mark 30 years of "93 Til Infinity". Plus a beautiful ode to hip-hop from Ken-C, jazzy lyricism from Jim Sharp and Marlon Craft, and in the pocket perfection from the "Crown Prince Of Dance" Rufus Thomas. View the full playlist for this show at https://www.wefunkradio.com/show/1170 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

With a historic event for Bellator MMA this Saturday, they are putting their best foot forward in the heads up battle with the UFC, which includes the final fight of Fedor Emelianenko's legendary career, along with the sendoff "The Last Emperor" will receive. On an all-new edition of Heck of a Morning, MMA Fighting's Mike Heck discusses Saturday's doubleheader, and explains why Bellator 290 is far better than UFC Vegas 68 on paper. Additionally, listener questions include Bellator president Scott Coker's announcement of a host of MMA legends attending the event to honor Emelianenko following his heavyweight title fight with Ryan Bader, the hopes of seeing more things like that to remember the history of the sport, Bloody Elbow's future, whether or not UFC 284 is getting enough promotion, Islam Makhachev vs. Alexander Volkanovski, how Kamaru Usman matches up with Leon Edwards ahead of UFC 286, and much more. You can listen live to Heck of a Morning Tuesdays, Thursdays, and Fridays at 10 a.m. ET on the MMA Fighting Twitter Spaces. Follow Mike Heck: @MikeHeck_JR Subscribe: http://goo.gl/dYpsgH Check out our full video catalog: http://goo.gl/u8VvLi Visit our playlists: http://goo.gl/eFhsvM Like MMAF on Facebook: http://goo.gl/uhdg7Z Follow on Twitter: http://goo.gl/nOATUI Read More: http://www.mmafighting.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

For the final time in an over two-decade legendary career, Fedor Emelianenko will make the walk to compete in an MMA fight. On an all-new edition of Between the Links, the panel will discuss the swan song for "The Last Emperor" when he faces Ryan Bader for the heavyweight title in the main event of Bellator 290, and the fight card as a whole which will serve as the Bellator debut on CBS. Additionally, topics include Dana White's big announcement this past Friday regarding UFC 287, including Alex Pereira vs. Israel Adesanya 2 in the headliner, along with Gilbert Burns vs. Jorge Masvidal at the April 8 event, Max Holloway's return to the octagon against Arnold Allen at the UFC's April 15 event, this Saturday's UFC Vegas6 8 card headlined by Derrick Lewis vs. Serghei Spivac, and more. Host Mike Heck will be joined by MMA Fighting's Jed Meshew and Eric "New York Ric" Jackman. Follow Mike Heck: @MikeHeck_JR Follow Jed Meshew: @JedKMeshew Follow New York Ric: @NewYorkRic Subscribe: http://goo.gl/dYpsgH Check out our full video catalog: http://goo.gl/u8VvLi Visit our playlists: http://goo.gl/eFhsvM Like MMAF on Facebook: http://goo.gl/uhdg7Z Follow on Twitter: http://goo.gl/nOATUI Read More: http://www.mmafighting.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fedor Emelianenko has the opportunity to have one of the best retirement stories in the history of MMA as he will challenge for the Bellator heavyweight championship this Saturday. Ahead of Emelianenko's final fight against Ryan Bader in the main event of Bellator 290, MMA Fighting's Mike Heck, Alexander K. Lee, and Jed Meshew preview the matchup and discuss why "The Last Emperor" could get it done in his swan song, Johnny Eblen's opportunity to boost his star potential against Anatoly Tokov in the co-main event, the super fun main card opener between Sabah Homasi and Brennan Ward, the impact of being on CBS, and more. Additionally, the panel previews UFC Vegas 68 headlined by a heavyweight tilt between Derrick Lewis and Serghei Spivac, what is at stake for "The Black Beast," the return of Doo Ho Choi for the first time since 2019, Tatsuro Taira's potential, and Laura Sanko's UFC color commentary debut. Follow Mike Heck: @MikeHeck_JR Follow Alexander K. Lee: @AlexanderKLee Follow Jed Meshew: @JedKMeshew Subscribe: http://goo.gl/dYpsgH Check out our full video catalog: http://goo.gl/u8VvLi Visit our playlists: http://goo.gl/eFhsvM Like MMAF on Facebook: http://goo.gl/uhdg7Z Follow on Twitter: http://goo.gl/nOATUI Read More: http://www.mmafighting.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

DAMN! They Were Good celebrates the careers of the most exciting and influential fighters in MMA history, and on the second episode of 2023, the MMA Fighting crew remembers the best of Fedor Emelianenko as he prepares for the final fight of his legendary career. Starting his career in 2000, Emelianenko rose to prominence in Pride Fighting Championships, claiming the heavyweight championship, and the title of "Baddest Man on the Planet" in 2003, a title he held until his loss to Fabricio Werdum in 2010. In 2017, Emelianenko moved to Bellator MMA where, after a 23-year career, he fights for the final time this Saturday, in a rematch with Ryan Bader. In honor of Fedor's impending retirement, host Jed Meshew is joined by MMAFighting's Shaheen Al-Shatti, Alexander K. Lee, and E. Casey Leydon to remember their favorite moments of the GOAT's career. Follow Jed Meshew @JedKMeshew Follow Shaun Al-Shatti @ShaunAlShatti Follow Alexander K. Lee @AlexanderKLee Follow E. Casey Leydon @ekc Subscribe: http://goo.gl/dYpsgH Check out our full video catalog: http://goo.gl/u8VvLi Visit our playlists: http://goo.gl/eFhsvM Like MMAF on Facebook: http://goo.gl/uhdg7Z Follow on Twitter: http://goo.gl/nOATUI Read More: http://www.mmafighting.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are led to believe that Saturday's Bellator 290 will include the last fight for The Last Emperor. The 46-year-old Fedor Emelianenko will do the damn thing one more time in a rematch against Ryan Bader. Do we really believe this will be it for him? That's hard to say. If we had our druthers would Fedor's swan song be a rematch with Bader? Nah, not really. But this man was once a phenomenon and he might still be the greatest heavyweight of all time. We guess that means he gets to write his own ticket. Plus, yet more layoffs in the MMA media world and Derrick Lewis finally meets up with Sergey Spivak. Learn more about your ad choices. Visit megaphone.fm/adchoices