Podcast appearances and mentions of Laurence Olivier

Some people refer to Robert Duvall as the American Laurence Olivier. As of May of 2026, Ethan Hawke has over 100 acting credits to his name. Laurence Olivier had 88. This month the pod welcomes its 4th guest host. Frank takes us on a dive of the range that is Maya Hawke's Dada. As always, Rate. Review. Spread the word you friggin terd,

Today, I'm thrilled to announce my interview with veteran actress Patricia Conolly, who has appeared in over 30 Broadway shows. Tune in to hear some of the stories of her legendary career, including acting with Laurence Olivier in THE BROKEN HEART, a note Tom Stoppard gave her during THE COAST OF UTOPIA, playing for Lauren Bacall in WAITING IN THE WINGS, understanding her part in THE HEIRESS, a mystical experience taking over for Geraldine Page in BLITHE SPIRIT, working with the APA company on YOU CAN'T TAKE IT WITH YOU, a kind gesture from Aaron Sorkin during TO KILL A MOCKINGBIRD, what Tony Randall asked her during JUDGMENT AT NUREMBERG, using an accent for THE FRONT PAGE, having dinner with Tennessee Williams, and so much more. Don't miss this in-depth conversation with a true theater legend.

Laurence Olivier and Merle Oberon starred in what 1939 William Wyler directed film?Play. Share. Listen, with the Host of The Claman Countdown on FOX Business and the Everyone Talks To Liz podcast, Liz Claman. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Every theatre kid can tell you that Shakespeare's Tragedy of Macbeth is a cursed play. Some believe that even saying the name of the play in a theatre where it is not being performed can jinx a production. Stories of misfortune, injury, and death haunt productions of Macbeth like the ghost of a slain friend. It has been suggested that the curse of Macbeth goes all the way back to it's first performance in 1606. However, evidence of this is sketchy at best. When did people start believing that there was a hex on Macbeth? Does it date to the 17th century or is something else going on here? Tune-in and find out how an arrow through Laurence Olivier's leg, Shakespeare in drag, and Charlton Heston's flaming thighs all play a role in the story.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tous les Ciné-Buddies au grand complet vont chez le dentiste avec le chef d'oeuvre de John Schlesinger "Marathon Man", 1976, starring Dustin Hoffman, Laurence Olivier, Roy Scheider, Marthe Keller. C'est sans danger. Le nouveau fantastique VideoKast sur lr film de Romain Lehnhoff maintenant sur la chaine abracadaPod/KinoPod de YouTube. Likez, partagez, souscrivez, merci.

Release the Kraken! This week on the 80s Flick Flashback Podcast, Tim Williams and guest co-host Chris McMichen journey back to 1981 to revisit the ultimate mythological masterpiece: Clash of the Titans.Before digital pixels took over, Ray Harryhausen's legendary stop-motion magic brought the gods of Olympus and the monsters of the Styx to life. We're diving deep into our earliest childhood memories of the Kraken, the terrifying (and surprisingly effective) Medusa sequence, and the mechanical owl that everyone—love him or hate him—remembers: Bubo.From the gravitas of Laurence Olivier to the groundbreaking practical effects that defined an era, we explore why this blend of Greek mythology and Hollywood royalty remains a timeless cult classic. We'll also talk about the vintage toy line, the film's massive box office impact, and where it lands on our Rewatchability and Nostalgia Meter today.Chapters00:00 Introduction to Clash of the Titans06:04 Rewatching and Nostalgia11:52 Cast and Characters16:54 Impact and Legacy23:07 Notable Performances and Behind the Scenes28:09 The Enforcer of Many Roles34:13 Trivia and Original Storyline39:20 The Clash of the Titans Sequel45:36 Rewatchability and Nostalgia Meter

We complete our three-part series on Laurence Olivier's Shakespeare adaptations with a discussion of his 1944 version of Henry V.   Listen to the full episode at patreon.com/barnaclecast 

Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. Hoy hace un año: Amplio respaldo político a Ángel Víctor Torres tras anunciar que padece cáncer. El presidente del Gobierno, Pedro Sánchez, lo reconoce como uno de los servidores públicos más brillantes: "Mucho ánimo. Estamos todos contigo”... y hoy hace un año: El 22,6% de los habitantes en Canarias nació fuera de España. Suponen ya 505.075 personas en el archipiélago, la mayoría de ellas provenientes de Venezuela, Cuba, Colombia e Italia. Por continentes, la mayoría (261.422 personas) procede de América, con una nacionalidad predominante: 82.890 venezolanos. Otros 172.717 residentes son europeos (sin contar a los españoles) de los cuales 43.390 son italianos. Otros 47.077 residentes son africanos, de los cuales 29.314 marroquíes. De Asia provienen 23.490 personas, de las cuales 9.213 son chinas. Por último, 369 personas proceden de Oceanía. Hoy se cumplen 1.495 días de guerra entre Rusia y Ucrania. 4 años y 28 días y 25 días de Guerra en Oriente Próximo. Hoy es martes 24 de marzo de 2026. Día Internacional del Derecho a la Verdad en relación con Violaciones Graves de los Derechos Humanos y de la Dignidad de las Víctimas. El Día Internacional del Derecho a la Verdad en relación con las Violaciones de los Derechos Humanos y de la Dignidad de las Víctimas se celebra el 24 de marzo gracias a un decreto de las Naciones Unidas en el año 2010. El objetivo de conmemorar este día, es rendir un homenaje a todas aquellas personas que han sido víctimas de la violación de sus derechos humanos, como son los casos de secuestro, tortura, desaparición y muerte. Este día también se le rinde un homenaje a Monseñor Oscar Arnulfo Romero asesinado en el año 1980 por denunciar abusos de este tipo, en su país, el Salvador. 1933: en Nueva York (Estados Unidos), manifestantes judíos exigen un boicot contra los productos alemanes en respuesta a la persecución a la que son objeto los judíos en la Alemania nazi. 1934.- El Congreso de los Estados Unidos aprueba la ley de independencia de Filipinas. 1949.- Por primera vez una película extranjera obtiene un Oscar de Hollywood. Fue la británica "Hamlet", interpretada por Laurence Olivier. - El tren español Talgo es probado con éxito en Estados Unidos. 1976.- Un golpe militar encabezado por el general Videla derroca a la presidenta argentina, María Estela Martínez de Perón, e implanta una dictadura en el país. 1999: la OTAN inicia la campaña de bombardeos sobre objetivos en Yugoslavia. 2001: en California (Estados Unidos), la empresa Apple presenta la décima versión de su sistema operativo, Mac OS X. 2006: en España, la banda terrorista ETA comienza un alto el fuego permanente. Santos Agapito, Timoteo, Dionisio, Rómulo, Segundo, Simeón y Epigmenio. Trump amplía a 5 días el plazo para reabrir Ormuz y revela conversaciones "muy productivas" con Irán. El responsable antiterrorista de la UE acusa a Irán de desestabilizar. Rusia recauda miles de millones en dos semanas de guerra iraní, según los analistas. El barril de petróleo baja de los 100 dólares y las bolsas suben después de que Trump aplace atacar a energéticas iraníes. Meloni pierde el referéndum de su reforma judicial y tilda el resultado de "ocasión perdida" de modernizar Italia. Juanma Moreno convoca elecciones autonómicas en Andalucía el próximo 17 de mayo. CC ve “insuficiente” el decreto anticrisis para Canarias y pide compensaciones extra. Valido expone que su impacto en una economía como la del archipiélago, "especialmente vulnerable en este contexto bélico, es insuficiente" Patronal y sindicatos respaldan que Canarias pueda tener medidas específicas por la guerra de Irán. El presidente regional, Fernando Clavijo, ha dicho que espera hablar en las próximas horas con la ministra de Hacienda, María Jesús Montero, para matizar que no se trata de una guerra con el Ejecutivo de España sino buscar “justicia” para las islas, para advertir de que el Archipiélago “no va a restar ni un euro de servicios públicos” a los canarios. Canarias vuelve a cambiar la hora este fin de semana con la llegada del horario de verano. En la madrugada sábado al domingo 29 de marzo, los relojes deberán adelantarse una hora en todo el Archipiélago.. El ajuste se producirá a la 01:00 de la madrugada, momento en el que pasará a ser directamente las 02:00, por lo que esa noche tendrá una hora menos. Dos presas de Gran Canaria, en riesgo de rebosar en las próximas horas por la borrasca Therese: el Cabildo pide “máxima precaución” El Cabildo de Gran Canaria alerta del posible desbordamiento de las presas de Fataga y La Sorrueda y pide a la población no exponerse y seguir los consejos de las autoridades, ya que puede haber víctimas mortales si la gente “se toma a broma la borrasca” El plátano de Canarias no levanta cabeza en lo que va de 2026. La fruta expedida al mercado de la Península, el principal destino del género canario pues llega a captar en torno al 90% de la oferta anual, acumula 11 semanas de este año con precios medios con pérdidas para los productores locales, siempre por debajo de los 0,64 euros por kilo para calidades superiores. El 24 de marzo de 1973, Pink Floyd, banda británica de rock progresivo, lanzó el álbum «Dark Side of the Moon», que se ha convertido en el sexto álbum más vendido de todos los tiempos con ventas que superan los 40 millones de copias en todo el mundo. Lo que muchos no saben es que se produjo en los famosos Abbey Road Studios de los Beatles en Londres.

What does it take to write strong sentences? How do you keep writing when the world feels dark? How do you push past self-doubt, build a sustainable writing practice, and trust that your voice is enough? Anne Lamott and Neal Allen share decades of hard-won wisdom from their new book, Good Writing. In the intro, Hachette cancels allegedly AI-written book [The New Publishing Standard]; How Pangram works; Publishing industry insights from Macmillan's CEO [David Perell Podcast]; Photos from Notre Dame and Saint Chapelle; The Black Church; Bones of the Deep coming in April. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why strong verbs are rule number one How Anne and Neal's contrasting styles created a unique call-and-response writing guide Practical advice on finding and trusting your authentic voice across genres Why award-winning novelists typically write for only 90 minutes a day — and what that means for your writing practice How to keep writing during dark and discouraging times without giving up The uncomfortable truth about publication, longevity, and why nobody cares if you write You can find Neal at ShapesOfTruth.com and Anne on Substack. Transcript of the interview with Neal Allen and Anne Lamott Neal Allen is a spiritual coach, former journalist, and author of non-fiction and flash fiction. Anne Lamott is the New York Times bestselling author of memoir, spiritual and creative non-fiction, and literary fiction, including Bird by Bird: Instructions on Writing and Life, which many authors, including me, count as one of the best books on writing out there. Neal and Anne are also married, and their first book together is Good Writing: 36 Ways to Improve Your Sentences Jo: Welcome to the show, Neal and Anne. Anne: Thank you so much, Jo. We're happy to be here. Neal: Hi, Jo. Jo: Let us get straight into the book with rule one, which is use strong verbs. How can we implement that practically in our manuscripts when most of us don't start with the verb? We're thinking of story or we're thinking of message? Neal: Throughout the book, it's pointed out that these are rules for second drafts, right? So you've put it down. You've already got your story down, you've already got your piece down—your email, your text, it doesn't matter what. Then you stop, you pause, you go back to the beginning and you go sentence by sentence and look at them. Anne: I'd like to add that there's a lot in the book, usually on my end of the conversation, that has to do with really using these rules anywhere and everywhere. Whether you're writing a memoir or a grant proposal, I believe these rules apply to getting everything written at any time, in any phase of the work because, from Bird by Bird, I'm all about taking short assignments and writing really godawful first drafts. What is fun about writing is to have spewed out something on the page and then to get to go back right then and just start cleaning it up a bit, straightening it out, probably inevitably shortening it. One place to start is to notice how weak our verbs are. If I say “Jo walked towards us across the lawn,” it doesn't give the reader very much information. But if I say “Jo lurched towards us across the lawn,” or “Jo raced towards us across the lawn,” then right away you've improved the sentence with really two or three quick thoughts about what you actually meant with that verb and a better one. So it really applies to every level and stage of writing, but Neal's right—this is really about going back over your work sentence by sentence and seeing if you can make it stronger and cleaner and clearer. The reason it's rule one is to write strong verbs. Neal: A nice thing about strong verbs is that they often preclude the need for an adjective or an adverb, right? If I say “I trudged,” it's shorter than saying “I walked slowly and depressed.” Jo: Absolutely, and how you answered that question is kind of how the book works, right? Because Neal does an outline of the rule, and then Anne comes in and comments. Maybe you could talk a bit about that process. You are both strong characters, obviously you've been writing a long time. Talk a bit about how you made the book and how that worked as a couple as well. Neal: I'd had these rules collected for a number of years and I had them on my website. When I met Anne, she liked them and would hand them out when she was doing writing sessions. I was intrigued at some point a few years ago and looked around to see whether there was a list like mine out there. I noticed that all the other lists I saw were much shorter. Hemingway had his four rules for rewriting. Elmore Leonard, his eight, which are wonderful. Margaret Atwood has 10. The longest I saw was Martin Amis had, depending on what year it was, 14, 15 or 16—he'd go back and forth with a couple of them. I had 30-some and I wondered, well, 30-some might be enough for a book. I didn't want to write a scolding book like on grammar. I didn't want it to be academic or written like “I'm the expert, I know.” I'll just let my mind range. I'll explain the rule and then let my mind go where it went. Which, by the way, is one of the rules—show then tell. Not “show, don't tell.” It's show, then tell. Let your mind riff after you've explained something to the reader or shown something to the reader. So I wrote the book. It was too short to be published, and I showed it to Anne and I asked her, “What do I do with this?” Anne: I said, “Hey, I know something about writing, Bub,” and I asked if I could contribute my thoughts and retorts and examples and prompts to each of his rules. We were just off and running because his stuff was so solid. Mine is more maybe welcoming and giving encouragement and hope to writers because writing's hard. It's still hard for me. This is my 21st book and I'm only a third of it. Writing's hard, and what we hope is that our conversation can help people understand: a) it's hard for everybody, and b) it'll work if you just keep your butt in the chair and do the best you can, and then go back one day at a time and try to make it a little bit better. Neal: It turned out to be pretty serendipitous because just naturally I'm more of an explainer and Annie is more driving toward catharsis. So the call and response is always: I set out the rule, I explain the rule, and Annie drives it toward catharsis and usefulness. Jo: In some chapters you do disagree in some form. How did that work in the process of writing? Anne: Usually I disagree because Neal might be using words that are too big, or it might be a little bit elitist, I would think. Or of course I would point out that he's completely overeducated, whereas I'm a dropout and so I have a much plainer, more welcoming version of the rules. All of the rules are so strong, but I would feel that the way he explained it was beyond me. So I would come in and try to explain what Neal had been explaining. It was actually really funny and fun. We do come from really different directions. Neal is an explainer. He's like an ATM of information, and I am the class den mother who brings in treats and party favours on everybody's birthday. My message is always: you can really, really do this, I promise, trust me. But you start where you are, you get your butt in the chair, and then Neal comes along and says what has worked for him. He was a journalist forever, so he writes in a very different way than I write. It just turned out that the two of us together kind of make a whole. People have asked us if there were a lot of conflicts or if we really objected to the other person's take. I can tell you, Jo, there wasn't a day when we had only conflict. We were just laughing and we were excited because one of us would remember a great example from literature. We came to believe that these two very distinct voices would form one voice of encouragement for any writer. Jo: That brings us to rule number eight, which is trust your voice. I feel like this is easier when you've been writing a while. We're told to find our voice, but I remember as an early writer when I read Bird by Bird and other books and I was like, “How on earth do I find my voice?” Maybe you could talk about this more for early stage writer. How do you find and trust that voice? Neal: Boy, that is a halt for almost all of us. This follows from any intellectual pursuit that requires lots of practice and repetitions. Malcolm Gladwell's great statement, or discovery, or restatement from somebody else who discovered it, that the human brain requires 10,000 hours of repetitions before something can be allowed to just flow without thought. Flow as if intuitive rather than thinking. I don't think that's any different in writing than it is in basketball or football or anything else—sports, creative pursuits, everyday pursuits. There's just a lot of repetitions required. Some people have the experience that I did, where you're just going along getting better and better, doing it over and over again, learning this, learning that, adding in this, adding in that, moving toward a goal of virtuosity or whatever. And all of a sudden, bang, one day, it all works and your voice emerges. Other people don't have that experience, don't have that one day that it happened or that feeling that it suddenly happened. For some people it takes less than 10,000 hours, but for most people it is a hell of a lot of repetitions. Anne: I think for me, the most important aspect to finding your own voice is noticing how desperately you don't think your voice is good enough and that you want to write like somebody else. I always mention that when I was coming up, at about 20, I wanted to sound like Isabel Allende because I loved her work so much. Or Ann Beattie, who was writing those wonderful short stories in the New Yorker. Or Salinger, who I'd started reading probably at 10 years old. I had to come to the understanding that I can't tell my stories and my truth and my version of life—which is really what writing is—in somebody else's voice. Unless it's a kind of advanced writing exercise to write in the voice of an alcoholic billionaire in Spain. For most of us, it's about finding out that our voice is what people want to hear. It's hard to believe, but it is absolutely true. If you have a story to tell me, Jo, I just want you to tell me your story. I don't want you to try to sound like Virginia Woolf or Margaret Drabble. I want you to be Jo. If it's the written version you're sending me, I can probably go through and help you maintain your voice while making the writing stronger by following certain really basic rules. But spiritually and psychologically, this is just about the most important rule of all because that's why we're here. That's why we are on this side of eternity—to discover who we are and why we're here. Part of that is discovering who, deep down, when all the layers are peeled away, we are, and then how to communicate that to a reader. Without trying to sound more impressive or more brilliant or more ironic than we actually are, our voice is good enough. It's hard to believe. Our voice is what we want you to tell us your stories in. Neal: I distinctly remember the day I found my voice, for odd reasons. I just can remember it, and the first thing I did when this story felt like it had written itself to me was look at it and go, “Crap. That doesn't sound like Faulkner.” Jo: It sounded like you. Anne: Or bad Faulkner. Jo: Do you think we have to find our voice maybe multiple times, depending on genre? For example, I recognised that feeling with one of my novels. It was novel number five. I was like, “Oh, that's my voice.” But then it took me a lot longer to find that in memoir because, well, I think memoir is super hard. Do you think we have to go through these 10,000 hours in different genres? Neal: Not for me. I don't think any differently about how I'm entering into a business letter, a text, a novel, a self-help book, or any of the things that I do. I feel like I just have to turn this switch and let it go, and I can trust myself. So that's interesting. I can imagine you could develop a second voice. I haven't ever needed to. Anne: I would agree that I write my novels and my nonfiction really from a kind of central bus station deep inside of me. One of our rules is write the hard things—write about life and death and loss and grief and relationships and getting old and being here during these incredibly cold, dark times. Because the reader, i.e. me, is just desperate for truth and for real. I started out wanting to sound like John Updike or sound like a New York glitterati male writer, and I can't tell you what is really real in somebody else's voice. I disagree with Malcolm Gladwell. I think it's 10 hours—a little bit different there. But when I'm writing autobiographical spiritual pieces or my novels, I have to kind of settle myself down, like gentling a horse, and find that bus station inside of myself where I'm observing and I'm tugging on the sleeve of the person sitting next to me and saying, “I just saw something really interesting. Do you have a minute?” That's really what writing is. I just saw something or thought of something or imagined something or remembered something really interesting. Do you have a minute? If I'm talking to the person next to me, I'm not going to try to sound like Laurence Olivier or anybody else. I'm just going to tell them my story. The best four or five word great quote is from our screenwriter friend, Randy Mayem Singer, and she said: “Tell me a story. Make me care.” Those six words really transcend all genres. It's just: I can tell you a story my way if you're interested. Got a minute? Jo: You mentioned that, really interesting, you said, “I need to settle myself down,” particularly in these dark times. This is not a political show, and obviously we're all from different countries here and we all have different views of what difficult times are, but we all go through them. When big things in the world make us feel like perhaps what we are doing is not so important, how do we get through that? That “shouldn't I go do something more important than writing a story” feeling? Neal: Everybody is encouraged to be a political scientist nowadays, or to be an ethicist or to be a moralist as their job, and that's kind of ridiculous, right? We've been handed our role. By the time you're 30, you've been handed your role in the world, and that's your productive role. You have certain citizenship requirements, which might include voting or marching or watching the news every day. That's not the rest of your day unless you actually work in parliament as an aide or doing some kind of social policy work. I am not going to let the external world ruin my day. I'm going to keep that to a certain number of minutes of my day that is appropriate to my role in the world. I am perfectly productive in the world. I have lots of things that I do. I work hard. Everybody works hard. There are no lazy people in this world any more—civilisation's too difficult. You want lazy? Go back to 300,000 years of tribal life, where as soon as you had fulfilled your last need for calories for the day, you made it back to camp slowly so you didn't burn calories, and lulled from about 10:00 AM to 2:00 PM. The rest of the day you reclined so you weren't burning calories and gossiped with your fellow tribespeople. None of us is like that now. I'm perfectly productive without having to say I should be more productive and more concerned about the foibles of the species. Anne: Neal does something with his clients, with whom he does this work on taming the inner critic. It's about having them make a list of what they do every day. Rain or shine or catastrophe or peace or war or whatever, you just do it. I wake up, I pray, I put my glasses on. I get a little bit of work done every day. I meditate for 15 minutes every day. I get outside every day because that is the most nourishing, spiritual reset button I can get to. I catch up with my friends. We have a grandson here. We hang out with him. I do certain things every day, and one of them is I get a little bit of work done. Of course what I'd rather do is just stay glued to CNN and have my tiny opinions on every single thing that is happening and how things would be better if they followed my always excellent advice. Instead, what I do is I will meditate for 50 minutes a day and it won't be really beautiful and inspiring—it'll be like a monkey at the mall who's over-caffeinated. I will also get outside. I don't know if I'll get a really good long walk with 10,000 steps in, but I will get outside and I will pay attention. I will breathe in fresh air. I will have moments of wonder. I will also sit down, and I will be doing it after we talk. I'm going to get my own writing done for the day. I really recommend that to writing students: write down what you do every day. And in it, figure out at least one pod—a 45-minute pod—where you can get a little bit of writing done. Something that may serve the writers in your audience is that I make long lists and I encourage all beginning writers to make long lists of every memory and thought and idea that they've had. But mostly memories, often starting very young. Thinking about early holidays and school are great prompts. Make a list of 25 memories you have that you've told people over the years that are meaningful to you. If you remember them, they're meaningful. You may think that they're meaningful because of this or that, but you sit down and you write about them for 45 minutes and you're going to discover that there was a kernel of insight, or even healing, in them that you hadn't known when you set out to write them. I taught writing forever at this bookstore called Book Passage in Marin. We would spend a part of every hour having the writers, the students, explain to me why they weren't getting any writing done, and they were excellent ideas. Any excuse your listeners have about why they're not getting any writing done—believe me, it's a good excuse and I've heard it 10 times. If you are committed to writing, you have to meet us halfway, and that means that you set aside 45 minutes or an hour and a half or whatever you can give me to get a little bit of writing done. Get one passage written—the first or eighth thing on the list of really important memories that you've carried in your pocket all these years. Neal: The typical amount of time that a Booker Prize winner, or a National Book Award winner here in America, spends writing—a novelist—is one to two hours in the morning, getting 45 minutes to an hour and a half of work done, a thousand to 1,500 words. And then they stop. The reason they stop is it's really brain-consuming. To do this is hard work, and it's intellectually vigorous. High-end programmers can work two and a half hours on average before they have to stop because they've used up their brain energy—the blood going to the brain and expending calories and whatever is going on in there. It's not a long time. It's just repetitive time. The Booker Prize winners, they typically work six days a week, not five days a week. An hour and a half a day is about the mean. About 1,200 words is about the mean. Jo: It's interesting because you mentioned what's stopping people from writing, and you also mentioned it's hard work. One of the things I've heard a lot recently is: “This is really hard. I thought writing was meant to be this romantic myth where I would sit down and things would stream into my brain and it would be easy. And if it's not easy and fun, then maybe it's wrong for me.” So maybe you could explain more about the hardness and why hard is still good. Hard doesn't mean it's a bad thing. Neal: The interesting thing about writers is that they are really interested in very complex thinking about sentences. A few things distinguish a writer from a subject matter expert or a plotter—who either writes plots and is interested in the movement of plots, or who is a subject matter expert in something and either novelises it or writes nonfiction. It's that a writer is first concerned about the puzzle of a sentence, second concerned about the flow of a paragraph really, and only thirdly concerned about the subject matter. I don't care what the subject matter is. What I want to concentrate on ultimately is the sentence. And getting a sentence to look right in context requires building sentences upon sentences upon sentences. It's more like painting than it is like writing in that sense. If you look at a painter, once they've put one brushstroke down—and usually it takes them a while to figure out what that brushstroke is, how big it is, how wide it is, how thick it is, how grainy it is—then the second brushstroke becomes a puzzle based on what they just did with the first brushstroke and the remaining canvas. A writer thinks that way about each sentence and realises that each sentence has layers of information in it—diction, colour, rhythm, harmony, melody, plot, all sorts of things are happening. How many of those are taken care of in that sentence? Well, that becomes the interest. It's hard in the sense that to be virtuosic at it, to be really good at it, requires a lot of study and a lot of mistakes. Most of the mistakes are getting rid of clichés and finding your way past them, and that's a long, long process. This isn't something that can be just picked up because you have a talent. You were told at a certain time you were a talented writer, so you can just pick it up. As soon as you get into it, you see that the sentences are demanding a heck of a lot of work. Anne: I would add that I don't find it all that fun and easy—I never find it fun and easy. I've been doing this professionally for 52 years now, since I was 20, when I worked at a magazine. I think that's an illusion. So much of becoming a writer is unlearning what you thought it meant and how it would go. That you would sit alone like Bartleby the Scrivener, hunched over working on your ledger. That was not true at all, because a lot of our book, Good Writing, has to do with the collaboration between you and a writing partner, a writing group or a writing collective, and eventually an editor. It's not about that lonely, hunched-over romantic, Wuthering Heights sense of seriousness. And it's also not giddy. It's not Walt Disney. It's just very real. It's one human sitting down at the desk with paper or at the keyboard, and it is just trying, one day at a time, to write what's on your heart, what's on your mind, what's on your scribbled notes, what you're trying to transcribe from this little bit of a flicker of an idea about something that you've always meant to tell on paper. And then writing it. Some parts of the day's work will be pulling teeth. The secret of writing—and I write about this a lot in Bird by Bird, I write a lot about it in Good Writing—is you just don't give up. Because you wanted to be a writer when you grew up. What that means is that you write a little bit every day and you read about writing. You read good books on writing. You read Stephen King. You read William Zinsser. You read all the Paris Review interviews of writers at work. You enter into the writing life because it's a calling, like a monk to a monastery. You've gotten into the water, it's a little cold at first, and you stay in it. And it starts to be something that is so fulfilling, if maybe not fun. It's fulfilling. You will feel this rare excitement that you're doing what you have put off for so long, or that you're re-entering it in a new way with a different sense of commitment and maybe a little bit more wisdom and probably a lot more stories to tell. Jo: I did want to ask Anne, because coming back to Bird by Bird, many writers listening will have read it. I've also read over the years about your son and your faith. These are really personal things that you have shared. It feels like we live in this age of judgement and cancellation, and writing what you call our truths can be very difficult. People are afraid. What would you say to them? And obviously also rule 33 is “write hard stuff”, so I guess that gets into it too. How do we do this? Anne: A lot of people don't have the calling to write personal stuff or autobiographical stuff or stuff about spiritual or emotional or psychological healing. They want to write about England in the 1300s. I've always told my writing students to write what they would love to come upon, because then they're creating it. If they love to read historical romances, or they love to read journals—I have to say, I read every single journal of Virginia Woolf's in my early twenties, and I read every single volume of her letters in my early twenties. It was thrilling to be in that intimate, umbilical connection to a writer that I loved so much, and into the world of Bloomsbury, and into the world of England between the wars. People may not want to write like I write, and I would assume they don't. My calling is that I love to write about real life and I use my immediate experiences of daily living and my family and my husband and our animals and my nation and my recovery and my church. All of that is the stuff that I love to come upon in other people's work, and so I write it. Neal writes differently. He is a journalist and a novelist, and he is writing a lot in a much more sociological way than I am. He is writing with this font of knowledge about socioeconomic and historical understanding of the world. Yet he's just raggedy old Neal Allen, but he loves to come upon different stuff than I love to come upon. Does that answer your question? Neal: I think one thing to notice is that the whole bully-victim cycle that we are promoting and living in now—and it's a cycle because if somebody claims that they have been bullied, then their only defence is to become a bully themselves. The victims become the bullies. It just gets worse and worse. It's the old revenge story. What I've noticed when I think about it is the authors who I respect the most tend to be humanists. Humanists tend not to be cancelled, and I've never felt a great danger. Of course, I watch my words in certain ways that are fashionable—you can't use this word any more, and all of that. But in terms of ideas, humanists embrace the world in a funny, different kind of way than people who chase after conflict, chase after separation of people from each other, tribalism, all of that. When I look back, my heroes were always humanists. Some of them might be cancelled now, but just for the weirdest reasons—like Henry Miller or Mark Twain might be cancelled for very strange reasons. These are absolute humanists who love everybody in the world in a certain kind of odd way. Virginia Woolf is the most incredible humanist in the world. She's not going to be cancelled. Jo: She cancelled herself. Neal: There we go. Jo: As we come towards the end, I do want to return to something—you've both talked about calling and you've been handed your role, and this sort of “we are writers now.” Both of you have had great longevity in the career, and I've been doing this now 20 years. I've noticed so many people who leave the writing life, so I wondered what tips you had on making it long term. How do we do this long term, assuming we are feeling a calling? People have to balance the money side, they're balancing book marketing, which is always a nightmare for all of us, and the writing. Any tips for longevity? Neal: I have no idea. I have lived outside of the writing life, just kind of using it as a secondary skill, for half of my life. I left journalism because it didn't pay well enough to support a family of six. I moved into the corporate world. I loved the corporate world. I didn't have any problem with it, but it wasn't the writing world. When I came out of the corporate world, I first went into “tame your inner critic” sessions with people—executive coaching, other kinds of coaching. Only lately, only in the last 10 years, have I really resumed my writing career. I think maintaining a writing career, like anything in the arts, is incredibly difficult financially. It just will be. Annie will tell you—you were, what, 15 years into your career before you had your first home office? Anne: Yes. Neal: Right. Anne: More than that. I was 20 years in before I had a door I could close to keep the Huns out—i.e. my child. Here's the thing: nobody cares if you write, if you hate it, or if you've given up. It might be that you would find your creative soul, your imaginative, creative life force at ecstatic dancing on Saturdays in the town park, which we offer here in our tiny town. It might be that you're a painter. My best friend started painting several years ago and she's incredible. If you want to write, the horrible thing is that you just have to keep setting aside a pod. I keep using the word pod because that's how I get any work done at all—an hour. Now, Neal and I can both tell you, and Neal alluded to this: you set aside an hour and that will give you maybe 40 minutes of actual writing. And we'll give the Booker Prize winners 40 minutes of actual writing. You have two hours and that gives you an hour and 15 minutes. That's how it works. If you care and if you long to be a writer, to immerse yourself in the writing life—I hate to sound like a Nike ad, and I don't know if you have this in England—but you just do it. One thing that gets in everybody's way is this fantasy of getting published and how if they get published, it will be like the world has stamped “validated” on their parking ticket and their self-esteem will now be much, much better and more consistently excellent than it ever was before. We can tell you: we've got this book that's out, brand new, and it makes you much more insecure and much more anxious than you were before it got published. Because how's it going to do? Is it going to get reviewed? There are very, very few places reviewing books any more. Carol Shields, who wrote an incredible book 30 years ago called The Stone Diaries. She was teaching large, large writing retreats, a thousand people at a time, and she would tell them that five to 10 of them will be published. Getting published means that you get your book out and you have one week to make it. You have one week in the bookstores for it to get noticed. And there are 180,000 hardback books published in America every year in general interest. So you write a novel that's about a small town. You have great dreams that it's going to be an Oprah book and that this is going to happen and it will lead to a second contract, and then you can start investing in diamonds or buy a set of fish forks. It doesn't happen. My first book that made any money at all for me was my fifth book. It was a journal of my son's first year called Operating Instructions, and it was the first time that I didn't have to have a second job. I was 38, and I had been writing—and writing full time—since I was 20 and publishing since I was 26. If the carrot that is enticing you to get any new work done is publication and finding an agent and getting published, it's not going to happen for you. I can just promise you that. If your dream is to become a writer and to become a member of the writing community and to write—and it will be discouraging—but if you want to write, you just keep pushing back your sleeves. You don't get up. You sit down and you keep your butt in the chair. If your work is really good, it may get published. If your work is excellent, it may not. But that can't be what gets you to commit to being a writer when you grow up. Jo: Fantastic. So where can people find Good Writing and all your books and everything you both do online? Neal: On March 17th the book comes out. You can get it online, anywhere online. It's published by Penguin Avery. March 17th, it gets released. Anne: As we said, it'll be in the bookstores for a while. Neal: It'll be in the bookstores in America. You might have to go online in Great Britain at first. Jo: Oh yes, it's definitely there. And what about your websites as well? Anne: I don't have a website. Neal: I have a modest website at ShapesOfTruth.com. That tells you about my other books also. Anne: I'm at Substack, Anne Lamott. I'm on Facebook, Anne Lamott. I'm kind of all over the place. But this is kind of terrifying: 80% of books bought in America are bought at Amazon on cell phones. Jo: Yes, absolutely. Actually, I was going to ask—have you recorded the audiobook as a pair? Anne: Yes, we have. It's available if you go—I hate to always be plugging Amazon, but it's so easy. If you go to Amazon, it'll give you a choice of hardback or audio or Kindle. Neal: And if you don't want to go to Amazon and want to find another place to buy it that you feel more comfortable with, go to Penguin Random House and just put in “Good Writing, Anne Lamott.” I think it'll take you to a splash page that gives you a choice of a half dozen online places to order it. Jo: Brilliant. Well, thanks so much, both of you, for your time. This has been brilliant. Anne: Oh, Jo, thank you. Pleasure and an honour. Thank you for having us. Neal: Thank you, Jo. As you can see, we really get turned on talking about this! Anne: Yes, we do.The post Strong Verbs And Hard Truths. Good Writing With Anne Lamott and Neal Allen first appeared on The Creative Penn.

durée : 01:28:53 - Une heure et plus, un compositeur : William Walton - par : Aurélie Moreau - D'abord enfant terrible de la musique anglaise dans les années 1920, William Walton compose ensuite pour les films de Laurence Olivier, écrit symphonies et concertos pour Heifetz ou Piatigorsky, avant de se retirer avec son épouse Susana à Ischia, où ils créent les jardins de La Mortella. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Moor! Moor! Moor! The Better Than the Movie gang is hanging out where it's wily and windy, and they've brought along filmmaker and labor organizer Paige Gresty to talk about it. The subject is Emerald Fennell's "WUTHERING HEIGHTS" (complete with quotation marks) and its purported source novel, WUTHERING HEIGHTS (no quotation marks) by Emily Brontë. (Justin also watched the 1939 version with Laurence Olivier and Merle Oberon, so there's an eensy weensy bit of talk about that movie too.) Is Fennell's film horny? Is it kinky? Is it subversive? Is it flashy? Is it any good? Well, I guess we'll find out.   Hosted by Justin Remer, Allan Traylor, and Tyler Austin. Produced by Justin Remer.  Recorded at the LAPL Octavia Lab.  Check out the "Better Than the Movie" audiobook playlist on Libro.fm - https://libro.fm/playlists/skylight-better-than-the-movie Opening music: "Optimism (Instrumental)" by Duck the Piano Wire   Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band  

Send a textWelcome to our 115th episode!  All you lit snobs and library weirdos out there, have we got a treat in store!  This time on Fabulous Film & Friends we will be discussing not one, not two, not three but up to SEVEN filmed adaptations of Emilie Bronte's classic 1847 tale of love, passion, class struggle, family trauma, REVENGE! And haunted winds ripping through the northern English moors. WUTHERING HEIGHTS! I'm your host, Gino Caputi and I'm joined by my kid sis the English Literature Major and Wuthering Heights MEGA FAN, Roseanne Caputi and  we will endeavor to find the truest and best filmed adaptation of the novel, starting from the 1939 William Wyler directed Laurence Olivier Merle Oberon venture  all the way up to the current 2026 Emerald Fennel reimagining starring Margot Robbie and Jacob Elordi.  For the first time on this podcast we're breaking with my iron clad rules and tradition and including a version produced for television.  So we have the aforementioned 1939 production directed by William Wyler and starring Laurence Olivier as Heathcliff, Merle Oberon as Catherine and David Niven as Edgar LintonNow I watched this one but Roseanne didn't, big chicken that she is, the 1958 Dupont Show of the Week Presentation starring Richard Burton as Heathcliff, Rosemary Harris as Catherine and Denholm Eliot as Edgar Linton  Then we jump ahead 12 years to a earthy yet still mod 1970 adaptation directed by Robert Fuest and starring Anna Calder-Marshall, Timothy Dalton as Heathcliff and Ian Ogilvy as Linton 22 years later we get the somewhat perfunctory production directed by Peter Kominsky and starring Juliet Binoche as Catherine, Ralph Fiennes as Heathcliff and Simon Shepherd as Edgar Linton Then 7 years after that we get the stellar TV version directed by Coky Giedroyc and starring Tom Hardy as Heathcliff, Charlotte Riley as Catherine and Andrew Lincoln as Edgar Linton 2 years after that there's the peculiar movie version directed by Andrea Arnold where the focus is on the younger versions of the characters starring Solomon Glave and James Howson as Heathcliff, Shannon Beer and Kaya Scodelario as Catherine and James Northcote as Edgar Linton And that brings up to 2026's Emerald Fennal version starring Margot Robbie as Catherine, Jacob Elordy as Heathcliff and Shazad Latif as Edgar Linton. Before we dive in, the synopsis: Young brooding Heathcliffe, a gypsy adopted by Thomas Earnshaw-- patriarch of Wuthering Heights, falls in love with his wild-eyed and passionate adoptive sister Catherine. Though Catherine and Heathcliff are soulmates, Catherine in turn marries foppish wealthy Edgar Linton. When Healthcliff leaves the Heights and returns a wealthy man, all hell breaks loose on the Northen English moors.  Which filmed version truly captures the essence of Emily Bronte's classic novel?Find out!Watch the podcast on youtube:https://youtu.be/kMrbmMZcejY

Send a textAn 80s fantasy adventure with scorpions, gorgons and gratuitous boobs. A recipe for the best Saturday night ever.  Laurence Olivier is here for some credibility and Ursula Andress is here for two more things.  The nostalgia hits harder than the Kraken as the boys end the episode talking about their other favorite early HBO movies that seemed to be on every day, all the time.

On episode 141 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter discuss the first film in their Powell and Pressburger series, 49th Parallel aka The Invaders (1942). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to break down, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. Known as the most influential director duo of all time, and the greatest British filmmakers not named Hitchcock, Michael Powell and Emeric Pressburger were a powerhouse team in their era, creating some of the richest films of their time that have aged impeccably. But you don't have to tell the Director Watch hosts this because they've covered these filmmakers before on a previous series, on their old show. That was during the pandemic, and now they have had time to settle on their motion pictures, and seen them multiple times, and thought it would be a wonderful chance to go back and review these films under a now familiar lens. In the first entry into their series, they take a look at their 1941 war picture (released in 1942 in the U.S.), where the duo subverts the expectations of the audience, and force us to examine a group of "protagonists" that were rather unconventional at the time; a group of Nazis on the run, attempting to cross into the then-neutral United States. Ryan and Jay breakdown their thoughts on the film, their vast respect for Powell and Pressburger, their use of the Germans as the main characters, the propaganda within films during the war, and the amazing talents of Leslie Howard, Laurence Olivier, Anton Walbrook; the latter who will be mentioned much more throughout this series. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h54m. The guys will be back next week to begin their series on the films of Michael Powell and Emeric Pressburger with a review of their next film, The Life and Death of Colonel Blimp. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it.  Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

When Emily Brontë published “Wuthering Heights,” in 1847, critics were baffled, alarmed, and mostly unimpressed. James Lorimer, writing in the North British Review, promised that the novel would “never be generally read.” Nearly two centuries later, it's regarded as one of the great works of English literature. In a live taping of Critics at Large at the 92nd Street Y, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the staying power of the original text and the countless adaptations it's inspired, from the 1939 film featuring Laurence Olivier to Andrea Arnold's 2011 version. The most recent attempt comes from the director Emerald Fennell, whose new “Wuthering Heights,” starring Margot Robbie and Jacob Elordi, reads as a romantic fever dream. The movie has been polarizing in part for the way it excises some of the weirder and wilder aspects of its source material. But what's discarded—or emphasized—can also be revealing. “It's an audacious proposition to adapt a great novel … I don't think it needs to be faithful, necessarily,” Fry says. “The adaptation itself becomes a portrait of the time in which it's made.”Read, watch, and listen with the critics:“Wuthering Heights,” by Emily BrontëKate Bush's “Wuthering Heights”Emerald Fennell's “Wuthering Heights” (2026)“Emerald Fennell's ‘Wuthering Heights' Never Plumbs the Depths,” by Justin Chang (The New Yorker)“Barbie” (2023)“Saltburn” (2023)“Promising Young Woman” (2020)“Jane Eyre,” by Charlotte Brontë“The Communist Manifesto,” by Friedrich Engels and Karl Marx (1848)Peter Kosminsky's “Wuthering Heights” (1992)William Wyler's “Wuthering Heights” (1939)Andrea Arnold's “Wuthering Heights” (2011)“All the King's Men,” by Robert Penn Warren“I Love L.A.” (2025–)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

Candace Owens releases a trailer for her new series attacking Erika Kirk, the widow of Charlie Kirk; we prepare for President Trump's State of the Union address; and we analyze the top global box office hit, Wuthering Heights – and explore what its perversity means for our civilization. Ep. 2374 - - - Click here to join the member-exclusive portion of my show: https://dwplus.watch/BenShapiroMemberExclusive - - - Facts Don't Care About Your Feelings - - - Today's Sponsors: Balance of Nature - Go to https://BalanceofNature.com and order the Whole Health System supplements as a preferred customer today! ExpressVPN - Go to https://expressvpn.com/ben and find out how you can get 4 months of ExpressVPN free! Kalshi - Visit https://kalshi.com/shapiro to see live prediction markets and sign up today to trade on the outcomes that matter most to you. - - -

Belated but better late than never: Ticket Stubs officially kicks off 2026 with a double feature of icy, unnerving thrillers. This time around, we pair Otto Preminger's paranoid vanishing act Bunny Lake Is Missing (1965) with David Fincher's bleak, meticulous adaptation of The Girl with the Dragon Tattoo (2011). Across decades and continents, both films ask the same quietly terrifying question: what happens when no one believes you? Join us as we unravel questions of identity, credibility, obsession, and the cold machinery of institutions that would rather look away than look closer. Before the mystery deepens, our Blue Plate Special returns with the usual cinematic smorgasbord. We share thoughts on new releases Send Help and Crime 101, take time to remember the lives and careers of Catherine O'Hara and Bud Cort, and hear Levi's early-stage reflections on diving into David Foster Wallace's Infinite Jest. We also offer what are almost certainly already-outdated predictions for Super Bowl 60—because what's a new year without at least one confidently incorrect take? Whether you're here for missing children, hackers with dragons tattooed on their backs, or just the comfortable chaos of our opening chatter, we're glad to be starting 2026 with you. As always, please like, subscribe, rate, and review us on Apple Podcasts, Spotify, YouTube, and wherever else you listen! Got thoughts or questions? Email us at huffmanbrothersproductions@gmail.com.

This week, Dana is joined by Amy Nicholson, Los Angeles Times film critic and host of the podcast Unspooled, as well as Jamelle Bouie, New York Times columnist and host of the podcast Unclear and Present Danger. They discuss love affairs, lustful, glamorous, and interspecies.First up, it's the lustful as they take up Emerald Fennell's bodice-ripping adaptation of “Wuthering Heights.” Starring Margot Robbie and Jacob Elordi as the doomed duo Cathy and Heathcliff, the adaptation promises an over-the-top, camp spin on the Gothic tale but does it offer enough depravity to really deliver?Next, it's on to the glamorous with the Ryan Murphy-produced, CK One-scented limited series Love Story: JFK Jr. and Carolyn Bessette about the tragic love story of the political scion and New York fashion It Girl.Finally, they discuss all the interspecies hijinks and backstage chaos in the delightful revival of The Muppet Show.In an exclusive bonus episode for Slate Plus subscribers, the trio of cinephiles celebrate recent reporting that movie theaters are cool again.EndorsementsJamelle: William Wyler's 1939 version of Wuthering Heights starring Laurence Olivier— and while you're visiting the Criterion Channel, check out their collection Mervyn LeRoy's Pre-Code Films.Amy: Gore Verbinski's new film Good Luck, Have Fun, Don't Die, in theaters now.Dana: The patient, observant documentaries of the recently deceased filmmaker Frederick Wiseman, several of which are available to stream on Kanopy. ----Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

This week, Dana is joined by Amy Nicholson, Los Angeles Times film critic and host of the podcast Unspooled, as well as Jamelle Bouie, New York Times columnist and host of the podcast Unclear and Present Danger. They discuss love affairs, lustful, glamorous, and interspecies.First up, it's the lustful as they take up Emerald Fennell's bodice-ripping adaptation of “Wuthering Heights.” Starring Margot Robbie and Jacob Elordi as the doomed duo Cathy and Heathcliff, the adaptation promises an over-the-top, camp spin on the Gothic tale but does it offer enough depravity to really deliver?Next, it's on to the glamorous with the Ryan Murphy-produced, CK One-scented limited series Love Story: JFK Jr. and Carolyn Bessette about the tragic love story of the political scion and New York fashion It Girl.Finally, they discuss all the interspecies hijinks and backstage chaos in the delightful revival of The Muppet Show.In an exclusive bonus episode for Slate Plus subscribers, the trio of cinephiles celebrate recent reporting that movie theaters are cool again.EndorsementsJamelle: William Wyler's 1939 version of Wuthering Heights starring Laurence Olivier— and while you're visiting the Criterion Channel, check out their collection Mervyn LeRoy's Pre-Code Films.Amy: Gore Verbinski's new film Good Luck, Have Fun, Don't Die, in theaters now.Dana: The patient, observant documentaries of the recently deceased filmmaker Frederick Wiseman, several of which are available to stream on Kanopy. ----Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

Greek mythology has a way of cycling back. Every generation seems to take a turn with these stories, reshaping them to fit the tools and tastes of the moment. With a new version of The Odyssey directed by Christopher Nolan on the horizon, it feels like a good time to revisit a few earlier attempts. Not the definitive versions. Just four films that each capture a different moment in how the myths were staged.Jason and the ArgonautsDirected by Don Chaffey and brought to life by the stop motion work of Ray Harryhausen, this remains the standard for mythological adventure on film.The skeleton fight is still the showcase. Harryhausen animated seven sword fighting skeletons by hand, frame by frame, matching choreography that had already been filmed with live actors. It took months to complete just a few minutes of screen time. The patience shows. The movement has weight and timing that still feels precise.There is also Talos, the bronze giant, who creaks to life in a way that feels mechanical and ancient at the same time. No digital polish. Just careful craft. The film was not a major hit in 1963, but it built its reputation through television airings and revival screenings. Filmmakers like Steven Spielberg and Peter Jackson have pointed to it as an influence.Clash of the TitansNearly twenty years later, Harryhausen returned for what would be his final feature. Released in 1981, the same summer as Raiders of the Lost Ark, it feels like a bridge between eras.Medusa is the standout. Instead of legs she has a serpentine body, and the sequence plays almost like a horror film, full of shadow and flickering light. Harryhausen again handled the creature effects himself, at a time when optical and early digital techniques were starting to change the industry.The cast gives the film a formal tone. Laurence Olivier plays Zeus and Maggie Smith appears as Thetis. There is also Bubo, the small mechanical owl added after the success of Star Wars. Even at the time some viewers were unsure about that addition. It says a lot about where fantasy films were headed in the early 1980s.HerculesDirected by Luigi Cozzi and starring Lou Ferrigno, this version of Hercules leans into spectacle in a way that is sometimes baffling and sometimes charming.Ferrigno had already been known for playing the Hulk on television, so casting him as Hercules made sense on a physical level. The film itself mixes Greek myth with science fiction imagery, including cosmic visuals and creatures that feel closer to Italian fantasy cinema than to Homer.It was part of a cycle of sword and sandal films in the early 1980s, many of them international co productions designed for global markets. The effects are uneven, but there is sincerity here. It commits to its vision without irony.The OdysseyDirected by Andrei Konchalovsky and starring Armand Assante, this two part television adaptation aired in 1997 as an event production.The format allows it to cover more of the journey than most feature films attempt. The Cyclops sequence and the Sirens episode stand out, helped by visual effects that were ambitious for network television at the time. The production won an Emmy for visual effects and reflects a brief period when large scale myth adaptations were being mounted for prime time audiences.Watching it now, you can see both its limits and its effort. It wants to treat the source material seriously, without reducing it to spectacle alone.Taken together, these films show how the same source material can shift with the era. Stop motion craft in the 1960s. Transitional fantasy in the early 1980s. International genre filmmaking. Large scale television in the 1990s.When Nolan releases his Odyssey, it will enter a long line of attempts to translate these myths into something contemporary. Revisiting these earlier versions is a way to see how each generation solved the same problem with different tools.They are worth tracking down. Not because they are perfect, but because each one reflects a moment when someone decided these ancient stories were still worth staging carefully.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

It's Awards Season yet again. Here on the Holmes Movies Podcast that means, it is time for the Alternative Oscars episodes! AKA the Anders and Adam-emy Awards: Each episode for this series we pick a different year in Oscars history and attempt to correct the record, stripping the undeserving of their garlands while recognising those who were cruelly overlooked.This time, we will be casting our eye back to… the 51st Academy Awards. The event celebrated all the films released in the year of 1978. The event was held at the Dorothy Chandler Pavilion in Los Angeles, California on April 9th 1979. The host was the legendary Johnny Carson.It was a bittersweet ceremony as it was the last public ceremony of The Duke himself John Wayne, who would pass away a few months later from cancer. He was there to announce and give the award for Best Picture. It was also the year when Laurence Olivier was awarded with an Honorary Oscar for his achievements and contribution to screen acting and the art of film. The 51st Academy Awards was the ceremony where Michael Cimino's film The Deer Hunter won big. It was awarded Best Picture and Best Director along with Best Supporting Actor for Christopher Walken. Along with Heaven Can Wait from Warren Beatty and Buck Henry, The Deer Hunter got the most nominations. Did The Deer Hunter deserve Best Picture? And what is up with the person dressing up in a full duck costume? Listen to this episode and see how we would have done things. Be sure to check out our Monument Valley Film on our YouTube Channel.Anders's screenwriter work can also be seen at work in the horror, car chase thriller Delivery Run, co-written with & directed by Joey Palmroos. The film has been released digitally and also in select cinemas in the US and the UK. In Finland it was released on Apple TV after finishing its limited cinema run and was the Number 1 film for multiple weeks. You can read a review about it here on the Fangoria website. The film is now available to watch in the other Nordic territories like Sweden, Oslo and of course Denmark. If you live in Denmark, you can watch the movie here on Apple TV by clicking this link.Follow us on our Instagram page. For obvious reasons, we are no longer on Twitter. You won't find us there. Perhaps we will make a BlueSky account, so keep an eye out for that.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic.Check out our blog and read Anders's recent review on David Lynch's brilliant film Mulholland Drive. Hosted on Acast. See acast.com/privacy for more information.

Boris and Rey kick back and watch the 1985 action flick The Wild Geese II, a bizarre movie that makes Rudolf Hess into a lovable grandpa (played by Laurence Olivier). --- Subscribe to https://patreon.org/tenepod https://bsky.app/profile/tenepod.bsky.social https://x.com/tenepod

The Boys From Brazil (1978) on The Atomic Cinema Experiment. This is a sci fi movie podcast. The Boys From Brazil is directed by Franklin J. Schaffner and stars Gregory Peck, Laurence Olivier, James Mason patreon: https://www.patreon.com/mildfuzztv all links: https://linktr.ee/mildfuzz discord: https://discord.gg/8fbyCehMTy Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.com

Send us a textJoin director and former child actor Moosie Drier, and author, Jonathan Rosen, as they chat with legendary actor John Rubinstein!John discusses growing up as the son of famous pianist, Arthur Rubinstein, starring on Broadway with Ben Vereen in Pippin, winning the Tony for Children of a Lesser God, his movies, including The Boys from Brazil with Gregory Peck, Laurence Olivier, and James Mason, appearing in TV shows such as Family, & Crazy Like a Fox, and much more!Support the show

Send us a textJoin director and former child actor Moosie Drier, and author, Jonathan Rosen, as they chat with legendary actor John Rubinstein!John discusses growing up as the son of famous pianist, Arthur Rubinstein, starring on Broadway with Ben Vereen in Pippin, winning the Tony for Children of a Lesser God, his movies, including The Boys from Brazil with Gregory Peck, Laurence Olivier, and James Mason, appearing in TV shows such as Family, & Crazy Like a Fox, and much more!Support the show

She was born into show business royalty, made her film debut at just 11 weeks old, and grew up surrounded by legends like Noel Coward, Vivien Leigh, Laurence Olivier, and more. On this episode of Still Here Hollywood, Steve Kmetko sits down with the luminous Juliet Mills, the beloved star of Nanny and the Professor, to trace a life and career that spans West End theater, Broadway, classic television, and unforgettable Hollywood collaborators. Juliet shares how her family and upbringing shaped her worldview, why gratitude became one of her guiding principles, and what it was really like stepping into the spotlight as “Nanny” during a time when television was far more “tea and nightgowns” than romance and realism. She also looks back on the global success of the show, her bond with co-star Richard Long, and why she believes the series might have lasted longer if the on-screen relationship had been allowed to evolve. Plus, Juliet tells behind-the-scenes stories from her career highlights, including working with Billy Wilder and Jack Lemmon on Avanti! (yes, the role that required her to gain 35 pounds, a true acting challenge if spaghetti is involved). She also opens up about love, marriage, and fate, as her husband Maxwell Caulfield joins the conversation for a charming, honest look at how their relationship began during The Elephant Man, with a cameo appearance from Natalie Wood in the origin story. If you grew up with Nanny and the Professor, love classic Hollywood, or just want to hear a joyful, thoughtful conversation with an icon who's still full of wonder, this one's for you. Support the show and get episodes early, behind-the-scenes extras, and more at patreon.com/stillherehollywood Show Credits Host/Producer: Steve Kmetko All things technical: Justin Zangerle Executive Producer: Jim Lichtenstein Music by: Brian Sanyshyn Transcription:  Mushtaq Hussain   https://stillherehollywood.com http://patreon.com/stillherehollywood Suggest Guests at: stillherehollywood@gmail.com Advertise on Still Here Hollywood: jim@stillherenetwork.com Publicist: Maggie Perlich: maggie@numbertwelvemarketing.com   Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

This content was originally released on 12/09/20 Hey y'all, It's the end of the road (for now, at least) for the 1995 BBC/A&E miniseries adaptation of Pride and Prejudice, and we have thoughts. Consider this our farewell to Colin's calves (also for now—those calves are forever). Next week, it's Laurence Olivier and Greer Garson's turn! Lots of love, Allison, Julie, and Janine

Alfred Hitchcock's Rebecca (1940) is a haunting blend of romance, mystery, and psychological suspense. In this in-depth review, Chris and Gerry explore Hitchcock's only Best Picture winner, adapted from Daphne du Maurier's classic novel. We'll break down the film's gothic atmosphere, unforgettable performances by Joan Fontaine, Laurence Olivier, and Judith Anderson, and the powerful themes of obsession, identity and control. Is Rebecca Hitchcock's most unsettling film? Join the discussion and revisit one of Hollywood's greatest classic thrillers. If you enjoy classic cinema, Hitchcock films, and Golden Age Hollywood, be sure to like, comment, and subscribe!

Send us a textWoHos! Q-Balls!This week we look at the bonkers Otto Preminger 1965 joint, BUNNY LAKE IS MISSING. Quinn and I had a lovely chat! Gerry Entriken: WoHo Outro ThemeSupport the showOpening Theme "Bucket" by Gerry EntrikenClosing Theme "Mop" by Gerry Entriken Interstitial Musicalso by Gerry Entriken. We love you, Gerry!Subscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline

La Órbita de Endor vuelve a recuperar el cine de Alfred Hitchcock, en esta ocasión con una película de suspense total como es REBECA (Rebecca – 1940), su primera película de Hollywood con un siempre cumplidor Laurence Olivier, acompañado de la sensibilidad de Joan Fontaine y la terrible interpretación de Judith Anderson como la pérfida ama de llaves. Una película con un supuesto personaje principal cuyo nombre no llega a saberse nunca y cuya auténtica protagonista, que da nombre al título, no sale en pantalla ni un solo segundo. Hoy, junto al Coronel Kurtz, Abraham Hithorso y Antonio Runa se darán todos los datos de producción, la historia del rodaje y se analizará la película de principio a fin. Lo clásico vuelve a LODE, gracias por escucharnos. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

La Órbita de Endor vuelve a recuperar el cine de Alfred Hitchcock, en esta ocasión con una película de suspense total como es REBECA (Rebecca – 1940), su primera película de Hollywood con un siempre cumplidor Laurence Olivier, acompañado de la sensibilidad de Joan Fontaine y la terrible interpretación de Judith Anderson como la pérfida ama de llaves. Una película con un supuesto personaje principal cuyo nombre no llega a saberse nunca y cuya auténtica protagonista, que da nombre al título, no sale en pantalla ni un solo segundo. Hoy, junto al Coronel Kurtz, Abraham Hithorso y Antonio Runa se darán todos los datos de producción, la historia del rodaje y se analizará la película de principio a fin. Lo clásico vuelve a LODE, gracias por escucharnos.

We need a win this week and all signs point to Sleuth, a mystery thriller from 1972, being just the win we need, what with it starring Legendary British actor Laurence Olivier and a young British National Treasure Michael Caine as well as directed by the guy who made All About Eve! Come and see … Continue reading "470: Sleuth [1972] Movie Discussion"

GGACP celebrates the birthday (November 19th) of 4-time guest and friend of the podcast, the legendary Dick Cavett, by presenting this ENCORE of a fascinating interview from 2019. In this episode, Dick shares delightful (and hilarious) anecdotes about Jack Benny, Stan Laurel, Truman Capote and Walter Winchell (among others) and looks back on  memorable sit-downs with Orson Welles, John Lennon, George Harrison and Laurence Olivier. Also in this episode: Peter Lorre fails the audition, Lily Tomlin storms off the set, Bob Hope comes to Lincoln, Nebraska and Jack Paar sabotages “Fat Jack” Leonard. PLUS: Oskar Homolka! “Chuckles Bites the Dust”! The return of Richard Loo! Johnny Carson disses Jerry Lewis! And Dick introduces “An Evening with Groucho”! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sir Anthony Hopkins (We Did Ok, Kid, The Silence of the Lambs, The Father) is an Academy, Emmy, and BAFTA Award-winning actor. Anthony joins the Armchair Expert to discuss feeling othered and playing the role of the dummy in school, how growing up during a war shaped him, and a chance invitation at the YMCA that changed the trajectory of his life. Anthony and Dax talk about booking his first role the same day James Dean was killed, the advice Laurence Olivier offered after seeing him perform onstage, and doing screen tests with Katherine Hepburn and Peter O'Toole. Anthony explains the mythology behind his first table read for The Silence of the Lambs, his journey to sobriety, and why “We Did Ok, Kid” is a sentiment applicable to everything that's happened in his life.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dana and Tom with 5x Club member, Peterson W. Hill (Co-Host of the War Starts at Midnight podcast) discuss Spartacus (1960) for its 65th Anniversary: directed by Stanley Kubrick, written by Dalton Trumbo, Cinematography by Russell Metty, Music by Alex North, starring Kirk Douglas, Jean Simmons, Tony Curtis, Laurence Olivier, Charles Laughton, and Peter Ustinov.Plot Summary: Spartacus tells the story of a slave in ancient Rome who refuses to accept a life of cruelty and injustice. Born into slavery, Spartacus is forced to fight as a gladiator for the entertainment of wealthy Romans. However, his strength, courage, and sense of dignity inspire other slaves to follow him when he leads a massive revolt, freeing thousands of men, women, and children. Spartacus dreams of escaping Rome's control and living freely. However, the Roman army is powerful and relentless. Despite many victories, Spartacus and his followers cannot escape Rome's reach. In the end, Spartacus is captured and crucified, but his spirit of resistance lives on. The film shows how his fight for freedom challenged the might of an empire and became a symbol of courage against oppression.Chapters:00:00 Introduction, Cast, and Background for Sparatacus03:24 Relationship(s) to Spartacus09:00 Kirk Douglas' Crowning Achievement?15:59 Plot Summary for Spartacus17:04 What is Spartacus About?21:54 Where is Spartacus in the Kubrick Rankings?26:16 Did You Know?31:39 First Break32:28 What's Happening with Peterson?38:19 The Cinema Legacy Poll - #79-7150:50 Best Performance(s)01:05:45 Best Scene(s)01:14:59 Second Break01:15:45 Best/Funniest Lines01:18:07 The Stanley Rubric - Legacy01:25:43 The Stanley Rubric - Impact/Significance01:32:12 The Stanley Rubric - Novelty01:37:53 The Stanley Rubric - Classicness01:42:10 The Stanley Rubric - Rewatchability01:45:11 The Stanley Rubric - Audience Score and Final Total01:47:20 Remaining Questions for Spartacus01:52:21 Thank You Peterson and Final Thoughts02:01:53 CreditsGuest:Peterson W. Hill - Co-Host of the War Starts at Midnight podcast@petersonwhill on IG, Letterboxd, and TwitterPrevious Guest on Gone Girl (2014), Parasite (2019), Fight Club (1999), Ben-Hur (1959), Up in the Air (2009), The Shop Around the Corner (1940),

One of Shakespeare's most classic works, “Hamlet” has been performed through the centuries and with notable figures playing him such as Laurence Olivier, Daniel Day Lewis, Mel Gibson and Richard Burton. Now Chicago's very own Daniel Kyri (Darren Ritter on Chicago Fire) tackles the role in a very different format. The production is now in […]

RHLSTP Book Club #153 - Young Once - Richard chats with a Young One who has decided to embrace his Young Oneness, even though we may not be the young ones very long, Nigel Planer about his fantastic autobiography Young Once - A Life Less Heavy. They chat about how Neil and Nicholas Craig emerged from Nigel's real life experiences, why the American Young Ones helped to give birth to a major part of the Simpsons, seeing Laurence Olivier's dancing feet beneath the curtain and sitting next to Spike Milligan, how doing Evita ended up in counting the number of times Nigel put on his trousers and why We Will Rock You's multiple performances were more happily accepted, how his book is a love story to both his wife and the people he has worked with over the years, how a surprising number of the Young Ones went to public school, the Comic Strip reunion where Nigel sweated over the bill and the incredible experience of working on Yellowbeard. Plus having a scientist dad who wants to see what all the fuss about cannabis is about!Buy Nigel's book here https://uk.bookshop.org/p/books/young-once-a-life-less-heavy-nigel-planer/01d5586cc630e3dfSUPPORT THE SHOW!Watch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITE See details of the RHLSTP TOUR DATES Buy DVDs and books from GO FASTER STRIPE Hosted on Acast. See acast.com/privacy for more information.

Our Special Subject for September 2025 led us to watch a couple of wartime British films starring Laurence Olivier and his amazing accents: Québécois in Powell and Pressburger's The 49th Parallel (1941), which opposes a Platonic Idea of Canada to Nazi ideology, and Russian in Anthony Asquith's The Demi-Paradise (1943), an alarmingly Soviet-friendly use of the romantic comedy genre to promote cross-cultural understanding. The accents may lack technical accuracy (much like the films' depictions of various cultures), but the ideas on display are worth grappling with and the presentation entertaining, while Olivier himself is rivetingly eccentric and weirdly endearing. Other notable players include FOP Penelope Dudley-Ward, Margaret Rutherford, Glynis Johns, Leslie Howard, Felix Aylmer and Powell/Pressburger regulars Eric Portman and Anton Walbrook.  Time Codes: 0h 00m 25s:    The 49th Parallel (1941) [dir. Michael Powell] 0h 43m 38s:    THE DEMI-PARADISE (1943) [dir. Antohny Asquith] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join!  st drop us a line if you'd like to join! 

Some people prefer comedy podcasts, others prefer history podcasts, I prefer both comedy and history podcasts. That's right this week we're talking about Spartacus and ancient Rome! This week we're watching 1960''s Spartacus, this movie stars Kirk Douglas, Jean Simmons, Laurence Olivier, Tony Curtis and was directed by Stanley Kubrick. We discuss the real history behind the movie and Spartacus' rebellion. Come take a stand with us! LIKE AND SUBSCRIBE PLEASE! We are proud to announce our NEW Patreon is available: https://www.patreon.com/reviewinghistory We hope you sign up and enjoy the fun we're having over there. Please give us a rating and a review on ApplePodcasts or Spotify. It helps potential sponsors find the show! Sign up for @Riversidefm: www.riverside.fm/?via=reviewi... Sign up for @BetterHelp: betterhelp.com/reviewinghistory Email Us: Reviewinghistorypod@gmail.com Follow Us: www.facebook.com/reviewinghistory twitter.com/rviewhistorypod letterboxd.com/antg4836/ letterboxd.com/spfats/ letterboxd.com/BrianRuppert/ letterboxd.com/brianruppert/list…eviewing-history/ twitter.com/Brianruppert #comedy #history #podcast #comedypodcast #historypodcast #rome #romanhistory #spartacus #ancientrome #stanleykubrick #kirkdouglas #60s #cinema #movies #moviereview #filmcriticisms #moviehistory #hackthemovies #redlettermedia #rlm #historybuff #tellemstevedave #tesd

Welcome back to Morgan Hasn't Seen with Jeannine Brice & Morgan Robinson!!Taking a look at an eclectic selection of movies from a specific era that isn't quite old enough to feature on the main show all September long; Jeannine has curated a series focussed on THE LATE 1970s!Kicking things off is a strange mix of uncomfortably affecting, political, dark low sci-fi, and a slightly campy 70s evil child exploitation movie, featuring a stellar cast and a fascinating lead performance as Jeannine and Morgan talk Franklin J. Schaffner's adaptation of Ira Levin's THE BOYS FROM BRAZIL (1978) starring Gregory Peck as an exiled Nazi scientist attempting to clone Hitler in the present day, Laurence Olivier as the Nazi hunter investigating him, and featuring James Mason, Lilli Palmer, Rosemary Harris & Steve Guttenberg!Our YouTube Channel for all our regular videos:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Donate:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IT'S A WONDERFUL PODCAST STORE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/g9design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sub to the feed and download now on all major podcast platforms and be sure to rate, review and SHARE AROUND!!Keep up with us on (X) Twitter:Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Morgan:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jeannine:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Keep being wonderful!!

Send us a textGeorge Feltenstein joins host Tim Millard to announce the September Blu-ray releases from Warner Archive. The lineup includes five films from various eras, all receiving meticulous 4K restorations that dramatically improve their visual and audio quality.• Beast of the City (1932): Jean Harlow's breakout film as a leading lady, an MGM attempt at Warner-style gangster pictures, with a new master from 4K scans of preservation elements• The Beggar's Opera (1953): Technicolor British film starring Laurence Olivier in a singing role, based on a 1728 operetta that later inspired Brecht's "Threepenny Opera"• Black Samson (1974): Fan-favorite blaxploitation film with a musical score by Alan Toussaint, scanned from original camera negative• I Died a Thousand Times (1955): CinemaScope remake of "High Sierra" starring Jack Palance and Shelley Winters• Touché Turtle and Dum-Dum: Complete series of 52 Hanna-Barbera cartoons, never before released in its entiretyAlso announced are three multi-film Blu-ray collections coming September 2nd: a six-film Errol Flynn collection, a four-film Greta Garbo collection, and a four-film 1950s sci-fi collection, all offering excellent value at approximately $10 per film.PURCHASE LINKS:Touche Turtle and Dum Dum: The Complete Series Blu-rayTHE BEAST OF THE CITY (1932) Blu-rayI Died A Thousand Times Blu-rayThe Beggar's Opera Blu-rayBlack Samson Blu-rayErrol Flynn 6-Film CollectionGreta Garbo - 4 Film Collection50's SCI-FI - 4 Film CollectionThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

This week on the Forgotten Filmcast, Todd is joined by first-time guest Donnie Roberts from Cage's Kiss to look at a film featuring a classic film duo...Burt Lancaster and Kirk Douglas. Laurence Olivier comes along for the ride in 1959's The Devil's Disciple. Spoiler, it's not a horror movie...rather, it's a Revolutionary War drama. We also have our movie recommendations and our trivia game.

We decided to brush up on our Hamlet knowledge in the only way we know how -- by watching a movie from the forties! We watch and discuss Laurence Olivier's Hamlet from 1948.Listen to the full episode at patreon.com/barnaclecast

Award-winning actor Fiona Shaw has starred in Killing Eve, Bad Sisters, Fleabag, True Detective: Night Country, Echo Valley and even as Aunt Petunia in Harry Potter, among many other things. She's won and been nominated for several Laurence Olivier awards for her work on stage and she's even directed opera. Now starring in a new film adaptation of Deborah Levy's novel, Hot Milk, Fiona plays Rose, who goes to Almería, Spain with her daughter, Sofia, played by the brilliant Emma Mackey, to try to find a cure for Rose's mysterious paralysis at an experimental clinic. Fiona joins Nuala McGovern live in the studio to discuss it.The Scottish Parliament is looking for opinions on a proposed bill which would change the laws on prostitution in the country. It targets those who buy sexual services by creating a new criminal offence of paying for a sexual act. If passed, it would criminalise those buying sex, while decriminalising those selling it. The woman behind the bill, MSP Ash Regan, speaks to Woman's Hour about why she wants the change, and responds to criticisms that it could make sex work less safe. Today government ministers have launched a review of UK parental leave and pay to reset the system and speaking yesterday the Education Secretary Bridget Phillipson said people were scared of having children because of the high costs and she wanted “more young people to have children, if they so choose”. But getting to become a parent can sometimes require ongoing fertility treatment meaning time away from work. And Fertility Matters at Work are calling for those undergoing this support to have the legal right to take time off for their appointments. They've published a report on it and the author Becky Kearns joins Nuala. She's the co-founder and CEO of Fertility Matters at Work. A new production of Eugene O'Neill's A Moon for the Misbegotten, starring Ruth Wilson, is on at the Almeida theatre in London. Nuala is joined by multi award-winning director Rebecca Frecknall to discuss the central character Josie, and why the father-daughter relationship at the heart of the play spoke to her. Women's cricket in England has been through trials and tribulations recently. The team lost 16-0 to Australia in the Women's Ashes at the start of this year, and were knocked out of the T20 World Cup at the end of last year. But in June, after the appointment of a new coach and captain, had a clean sweep in their T20 series against the West Indies. Now they're facing India in a series of T20 matches, and suffered a defeat in their first match. Player, commentator and podcast host Melissa Story shares her thoughts on the team's performance, as well as what's happening in women's cricket on a local level. Presenter: Nuala McGovern Producer: Emma Pearce

The Ringer's Bill Simmons and Chris Ryan have one question for you: Is it safe? The guys sit down in the dentist chair to revisit the 1976 crime thriller ‘Marathon Man,' starring Dustin Hoffman, Laurence Olivier, and Roy Scheider. Producers: Craig Horlbeck, Jack Sanders, and Ronak Nair This episode is sponsored by State Farm®. A State Farm agent can help you choose the coverage you need. Like a good neighbor, State Farm is there.® Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - completes Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act 5, Scene 2, Part 2, the tragedy resolves itself in a number of deaths. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: https://fireandwaterpodcast.com Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with a clip from that film, starring Ray Fearon; the 1980 Hamlet, starring Derek Jacobi; and the 1996 Hamlet, starring Kenneth Branagh. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Derek Jacobi, Nicholas Farrel, and Julie Christie; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier; Hamlet 1980 by Rodney Bennett, starring Patrick Stewart and Derek Jacobi; Hamlet 1990 by Franco Zeffirelli, starring Stephen Dillane; Hamlet 2000 by Michael Almereyda, starring Liev Schreiber and Robert MacNeil; Hamlet 2007 by Alexander Fodor, starring Katie Reddin-Clancy; "She'll Never Know" by Marillion; Hamlet 2009 by Gregory Doran, starring Patrick Stewart; In a Bleak Midwinter by Kenneth Branagh, starring Michael Maloney; and "Le duel", "La mort d'Hamlet" and "Le rideau tombe" by Johnny Hallyday. Leave a comment, I love to read!

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act 5, Scene 2, Part 1, Hamlet is presented with a friendly contest that's likely a trap, but he's ready for whatever comes next. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with a clip from that film, starring Ray Fearon; the 1980 Hamlet, starring Derek Jacobi; and the 1996 Hamlet, starring Kenneth Branagh. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Kenneth Branagh and Robin Williams; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier; Hamlet 1980 by Rodney Bennett, starring Peter Gale and Derek Jacobi; Hamlet 1990 by Franco Zeffirelli, starring Mel Gibson; Hamlet 2000 by Michael Almereyda, starring Ethan Hawke; "Coming" by Goldie; Hamlet 2007 by Alexander Fodor, starring Max Davis and William Belchambers; and Hamlet 2009 by Gregory Doran, starring Ryan Gage and David Tennant. Leave a comment, I love to read!

Front Row Classics is taking a look at the only Best Picture winning film from Alfred Hitchcock's canon. Brandon is joined by Peter Martin to discuss 1940's Rebecca. The film remains a favorite due to its gothic atmosphere and stellar performances. Brandon and Peter discuss the similarities and differences from Daphne du Maurier's novel along with the battle of wills between Hitchcock and producer David O. Selznick. The two also praise the performances of Laurence Olivier, Joan Fontaine and Judith Anderson.

GGACP celebrates May's National Dental Care Month by revisiting this discussion of a favorite Gilbert and Frank movie, the classic 1976 thriller "Marathon Man." In this mini-episode: Roy Scheider finds trouble, Dustin Hoffman relies on "the Method," Laurence Olivier attracts a crowd and Danny Kaye comes aboard as a "special consultant"?? PLUS: Frank introduces Gil to "Road to Perdition"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act 5, Scene 1, Part 2, Ophelia's funeral is interrupted by boys leaping into her grave. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: https://fireandwaterpodcast.com Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with a clip from that film, starring Ray Fearon; the 1980 Hamlet, starring Derek Jacobi; and the 1996 Hamlet, starring Kenneth Branagh. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Michael Maloney and Kenneth Branagh; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier and Basil Sydney; Hamlet 1980 by Rodney Bennett, starring Patrick Stewart; Hamlet 1990 by Franco Zeffirelli, starring Nathaniel Parker and Mel Gibson; Hamlet 2000 by Michael Almereyda, starring Liev Schreiber and Ethan Hawke; Hamlet 2007 by Alexander Fodor, starring Jason Wing and Alexander Fodor; Hamlet 2009 by Gregory Doran, starring Patrick Stewart and David Tennant; and "Je l'aimais/Il est fou" by Johnny Hallyday. Leave a comment, I love to read!