Podcasts about Manohla Dargis

Merriam-Webster's Word of the Day for March 16, 2026 is: putative • PYOO-tuh-tiv • adjective Putative is a formal word used to describe something that is generally believed, supposed, or assumed to be something specified. It is always used before a noun. // The group's putative leader was conspicuously absent from the meeting. See the entry > Examples: "... the painting is swept up in questions of identity, provenance, authenticity and putative value." — Manohla Dargis, The New York Times, 31 Oct. 2025 Did you know? There's no need to make assumptions about the root behind putative—we know it comes from a form of the Latin verb putare, which means "to consider" or "to think." Putative is a rather formal word that has been part of English since the 15th century. Like apparent, presumed, and ostensible, it leaves room for a smidgen of doubt: a putative ally will very probably be there for you, and a putative successor is very likely to be the next one in charge, but life offers no guarantees in either case.

Jessie Buckley is nominated for best actress at the Oscars this weekend, for her performance in the movie “Hamnet.” She plays the wife of William Shakespeare — and a grieving mother — as the couple confronts the loss of their only son. The role has already won her a Golden Globe, a BAFTA and an Actor Award. In a conversation on “The Sunday Daily,” The Times's chief movie critic, Manohla Dargis, said it would be a major upset if Buckley did not also win an Academy Award. Ahead of the ceremony, we're bringing you our conversation with Buckley from last year. “When I was filming ‘Hamnet,' I deeply wanted to become a mother,” Buckley said. “And it was such a gift to move through this woman and her motherhood and her love and her loss before I became a mother myself.” On this episode of “Modern Love,” Buckley describes how she was able to access the vulnerability she portrayed onscreen. And she talks about how her life has changed since having her own child. Plus, she reads the Modern Love essay “The Wrong Kind of Inheritance” by Victoria Dougherty. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today on “The Sunday Daily,” The Times's chief movie critic, Manohla Dargis, talks with the “Daily” host Michael Barbaro about this year's batch of Oscar nominees, which — according to her — are uncommonly good. They discuss the performances that Dargis believes deserve to win, the dark horses that might pull off upsets, and the ambitious films that give her hope for Hollywood's future.   On Today's Episode: Manohla Dargis, Chief Film Critic for The New York Times.   Background Reading: ‘Hamnet' | Anatomy of a Scene Delroy Lindo on ‘Sinners,' Speaking Up and the Power of Affirmation   Photo: A24; Warner Bros. Pictures; Sabrina Lantos/Sony Pictures Classics Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This bonus episode for our season on the awesome movie year of 2014 features Richard Linklater's Boyhood. Written and directed by Richard Linklater and starring Ellar Coltrane, Patricia Arquette, Ethan Hawke and Lorelei Linklater, Boyhood was filmed over the course of 12 years.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/07/11/movies/movie-review-linklaters-boyhood-is-a-model-of-cinematic-realism.html), Mick LaSalle in the San Francisco Chronicle (https://www.sfgate.com/movies/article/Boyhood-review-boundaries-of-cinema-pushed-5628295.php), and Marjorie Baumgarten in The Austin Chronicle (https://www.austinchronicle.com/events/film/2014-07-18/boyhood/).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen:

(cw: language) Dave and Alonso are joined by three friends of the show to talk about the state of film criticism, moviegoing, and other topics. To get this show ad-free, join our Patreon: https://patreon.com/LinoleumKnife  Subscribe to Dave's magazine at https://sluggish.ghost.io Manohla picks Sirat Robert picks My Undesirable Friends: Part I - Last Air in Moscow Peter picks The Oslo Trilogy: Dreams Alonso picks Eephus Dave picks 7 Walks with Mark Brown

The finale of our season on the awesome movie year of 2014 features our audience choice poll winner, Liam Neeson thriller A Walk Among the Tombstones. Written and directed by Scott Frank (from the novel by Lawrence Block) and starring Liam Neeson, Dan Stevens, Brian “Astro” Bradley, Boyd Holbrook and David Harbour, A Walk Among the Tombstones defeated two other Liam Neeson thrillers in our audience choice poll for 2014.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/09/19/movies/a-walk-among-the-tombstones-adapts-lawrence-blocks-novel.html), Frank Scheck in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-reviews/a-walk-tombstones-film-review-2-731871/), and Ann Hornaday in The Washington Post.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces...

The thirteenth episode of our season on the awesome movie year of 2014 features our cult classic pick, Doug Liman's Edge of Tomorrow. Directed by Doug Liman and starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson and Noah Taylor, Edge of Tomorrow is based on the Japanese novel All You Need Is Kill by Hiroshi Sakurazaka.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/06/06/movies/tom-cruise-battles-invaders-in-edge-of-tomorrow.html), Ty Burr in The Boston Globe, and Todd McCarthy in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-reviews/edge-tomorrow-film-review-706507/).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at

We talk Frederick Wiseman's In Jackson Heights (2015) with film critic Manohla Dargis.0:00: intro115:05: chat w/Dargiswisemanpodcast@gmail.com

The eleventh episode of our season on the awesome movie year of 2014 features the Academy Awards Best Picture winner, Alejandro González Iñárritu's Birdman. Directed and co-written by Alejandro González Iñárritu and starring Michael Keaton, Edward Norton, Emma Stone, Naomi Watts, Zach Galifianakis and Andrea Riseborough, Birdman was nominated for nine Oscars and won four, including Best Picture.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/10/17/movies/birdman-stars-michael-keaton-and-emma-stone.html), Peter Debruge in Variety (https://variety.com/2014/film/reviews/venice-film-review-birdman-or-the-unexpected-virtue-of-ignorance-1201287921/), and Richard Brody in The New Yorker (https://www.newyorker.com/culture/richard-brody/birdman-never-achieves-flight).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at

The fourth episode of our season on the awesome movie year of 2014 features the Cannes Film Festival Palme d'Or winner, Nuri Bilge Ceylan's Winter Sleep. Directed and co-written by Nuri Bilge Ceylan and starring Haluk Bilginer, Melisa Sözen, Demet Akbağ and Ayberk Pekcan, Winter Sleep was Ceylan's fourth film to win a major award at Cannes.The contemporary reviews quoted in this episode come from Ann Hornaday in The Washington Post (https://www.washingtonpost.com/goingoutguide/movies/ann-hornaday-reviews-winter-sleep-all-together-now-for-better-or-worse/2015/01/28/788d5094-a58e-11e4-a7c2-03d37af98440_story.html), Justin Chang in Variety (https://variety.com/2014/film/reviews/cannes-film-review-winter-sleep-1201184094/), and Manohla Dargis in The New York Times (https://www.nytimes.com/2014/12/19/movies/winter-sleep-a-turkish-film-directed-by-nuri-bilge-ceylan.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at

The third episode of our season on the awesome movie year of 2014 features the year's biggest flop, Wally Pfister's Transcendence. Directed by Wally Pfister from a screenplay by Jack Paglen and starring Johnny Depp, Rebecca Hall, Paul Bettany, Cillian Murphy and Morgan Freeman, Transcendence is longtime cinematographer Pfister's first and only film as a director.The contemporary reviews quoted in this episode come from Chris Nashawaty in Entertainment Weekly (https://ew.com/article/2014/04/30/transcendence-movie/), Ty Burr in The Boston Globe (https://www.bostonglobe.com/arts/movies/2014/04/17/transcendence-character-who-really-does-live-internet/dGB4KEUsnUxdoaUfcjU1PN/story.html), and Manohla Dargis in The New York Times (https://www.nytimes.com/2014/04/18/movies/johnny-depp-stars-in-transcendence.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky...

The first episode of our season on the awesome movie year of 2014 features the box-office champion, James Gunn's Guardians of the Galaxy. Directed and co-written by James Gunn and starring Chris Pratt, Zoe Saldana, Dave Bautista, Lee Pace, Bradley Cooper and Vin Diesel, Guardians of the Galaxy is the tenth film in the Marvel Cinematic Universe.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/08/01/movies/chris-pratt-stars-in-guardians-of-the-galaxy.html), Scott Foundas in Variety (https://variety.com/2014/film/reviews/film-review-guardians-of-the-galaxy-1201267373/), and Stephanie Zacharek in The Village Voice.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at

Ep. 326: Manohla Dargis on Cannes 2025: Sentimental Value, Eddington, The Mastermind, Resurrection, Homebound, The Secret Agent, Sirat, The Plague, Jafar Panahi, Scarlett Johansson Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It's become a wonderful tradition at The Last Thing I Saw to conclude the Cannes Film Festival with a very special guest: Manohla Dargis, chief film critic of The New York Times. For the 2025 edition, we discuss a whole slew of films: Sentimental Value (directed by Joachim Trier), Eddington (Ari Aster), The Mastermind (Kelly Reichardt), Resurrection (Bi Gan), Homebound (Neeraj Ghaywan), The Secret Agent (Kleber Mendonca Filho), Sirat (Oliver Laxe), The Plague (Charlie Polinger). Dargis also considers the state of the industry and speaks about Jafar Panahi and Scarlett Johansson, both of whom she interviewed. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 294: Manohla Dargis on Sorry Baby, Atropia, If I Had Legs I'd Kick You, BLKNWS, Omaha Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest Sundance 2025 podcast, I was fortunate again to discuss the festival and its movies with Manohla Dargis, chief film critic of The New York Times. In addition to reflecting on Sundance's planned move and the backdrop to the festival, we talked about a whole selection of films from this year's edition: Sorry, Baby (directed by Eva Victor), If I Had Legs I'd Kick You (Mary Bronstein), Atropia (Hailey Gates), BLKNWS: Terms & Conditions (Kahlil Joseph), Omaha (Cole Webley), The Alabama Solution (Andrew Jarecki and Charlotte Kaufman), The Ugly Stepsister (Emilie Blichfeldt), Rebuilding (Max Walker-Silverman), and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

As we approach the end of 2024, critics, reporters and editors at The New York Times are reflecting on the year in arts and culture, including television and film.The Times's chief television critic James Poniewozik and chief film critic Manohla Dargis talk with Melissa Kirsch, the deputy editor of Culture and Lifestyle, about why recent entertainment offerings may feel a little “blah,” and also recommend shows and movies that stand out.Guest: Melissa Kirsch, the deputy editor of Culture and Lifestyle for The New York Times.James Poniewozik, the chief television critic for The New York Times.Manohla Dargis, the chief film critic for The New York Times.Background reading: Best TV Shows of 2024Best Movies of 2024For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

The third episode of our special retrospective 20th season looks back to the awesome movie year of 1999 with the first of two Christmas episodes, on Stanley Kubrick's Eyes Wide Shut. Directed and co-written by Stanley Kubrick (adapted from the novel by Arthur Schnitzler) and starring Tom Cruise, Nicole Kidman, Sydney Pollack and Todd Field, Eyes Wide Shut was the final movie that Kubrick directed before his death.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/eyes-wide-shut-1999), Manohla Dargis in The New York Times (https://archive.nytimes.com/www.nytimes.com/library/film/071699eyes-film-review.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/1999/07/23/eyes-wide-shut-5/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at

The American musical is in a state of flux. Today's Broadway offerings are mostly jukebox musicals and blatant I.P. grabs; original ideas are few and far between. Meanwhile, one of the biggest films of the season is Jon M. Chu's earnest (and lengthy) adaptation of “Wicked,” the origin story of the Wicked Witch of the West that first premièred on the Great White Way nearly twenty years ago—and has been a smash hit ever since. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss why “Wicked” is resonating with audiences in 2024. They consider it alongside other recent movie musicals, such as “Emilia Pérez,” which centers on the transgender leader of a Mexican cartel, and Todd Phillips's follow-up to “Joker,” the confounding “Joker: Folie à Deux.” Then they step back to trace the evolution of the musical, from the first shows to marry song and story in the nineteen-twenties to the seventies-era innovations of figures like Stephen Sondheim. Amid the massive commercial, technological, and aesthetic shifts of the last century, how has the form changed, and why has it endured? “People who don't like musicals will often criticize their artificiality,” Schwartz says. “Some things in life are so heightened . . . yet they're part of the real. Why not put them to music and have singing be part of it?”Read, watch, and listen with the critics:“Wicked” (2024)“The Animals That Made It All Worth It,” by Naomi Fry (The New Yorker)“Ben Shapiro Reviews ‘Wicked' ”“Frozen” (2013)“Emilia Pérez” (2024)“Joker: Folie à Deux” (2024)“ ‘Joker: Folie à Deux' Review: Make 'Em Laugh (and Yawn),” by Manohla Dargis (the New York Times)“Hair” (1979)“The Sound of Music” (1965)“Anything Goes” (1934)“Show Boat” (1927)“Oklahoma” (1943)“Mean Girls” (2017)“Hamilton” (2015)“Wicked” (2003)“A Strange Loop” (2019)“Teeth” (2024)“Kimberly Akimbo” (2021)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

“How do you make the monster clearly monstrous without seeing what he does?” One of the greatest living film critics and one of my favourite people, Manohla Dargis, is on MINHUNTER. Get out your case file and get ready to take notes.Manohla DargisManohla Dargis is a chief film critic for The New York Times and has been a repeat nominee for the Pulitzer Prize for Criticism.WEBSITE: NY TIMESJoin our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, we profile Harlem with an ode to black motherhood. We're offered a complex look at the damaged foster care system, the power of a chosen family, and a damning portrait of gentrification in New York City. Manohla Dargis of The New York Times called it, “A New York love story.” It's A. V. Rockwell's Sundance winner A Thousand and One.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media 

EPISODE 44 - "THERESA HARRIS: HOW OLD HOLLYWOOD STOPPED HER STAR FROM RISING" - 07/15/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** When THERESA HARRIS appears on screen, you cannot take your eyes off of her. Beautiful, talented, and a skilled singer and dancer, she lights up any scene she's in. Despite appearing in over 100 films, she rarely received screen credit and most often played a maid, waitress, or other types of domestic servant. Her parts were small, but her charisma and presence on screen were enormous! As a black woman in the early days of Hollywood, she was limited in the roles she could perform by the restrictive Hayes Code of 1934 and the horrible Jim Crow laws of the South. Still, she is a welcome presence in so many classic films. This week, we look at the extraordinary life and career of the talented THERESA HARRIS.  SHOW NOTES:  Sources: “Theresa Harris, Credited and Uncredited in Over 100 Films,” March 28, 2024, by Herb Boyd, New York Amsterdam News; “Just a Maid in Movies, But Not Forgotten,” April 21, 2011, by Manohla Dargis, The New York Times; “The Underrated Charms of Theresa Harris,” July 11, 2020, by Constance Cherise, TCM.com; “Theresa Harris: Television and Film Actress of the 1930s,” August 18, 2023, by Jae Jones, BackThen.com; “Actress Theresa Harris Hollywood Vixen Turned Servant,”September 2, 2011, by Veronica Wells, Madamenoire; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Thunderbolt (1929), starring Fay Wray and George Brent; Hold Your Man (1932), starring Jean Harlow and Clark Gable; Baby Face (1933), starring Barbara Stanwyck and George Brent; Professional Sweetheart (1933), starring Ginger Rogers, Norman Foster, and Zasu Pitts; Horse Feathers (1932), starring The Marx Brothers and Thelma Todd; Gold Diggers of 1933 (1933), starring Joan Blondell, Dick Powell, Ruby Keeler, and Ginger Rogers; Morning Glory (1933), starring Katharine Hepburn and Douglas Fairbanks, Jr; Flying Down to Rio (1933), starring Delores Del Rio, Gene Raymond, Ginger Rogers, and Fred Astaire; Broadway Melody of 1936 (1935), starring Jack Benny and Eleanor Powell; Banjo On My Knee (1936), starring Barbara Stanwyck and Joel McCrea; Bargain With Bullets (aka The Gangster's On The Loose) (1937), starring Ralph Cooper and Theresa Harris; Jezebel (1938), starring Bette Davis, Henry Fonda, and George Brent; Tell No Tales (1939), starring Melvyn Douglas and Louise Platt; Buck Benny Rides Again (1940), starring Jack Benny, Ellen Drew, Eddie “Rochester” Anderson, and Theresa Harris; What's Buzzin' Cousin? (1943), starring Jack Benny and Ann Miller; Blossoms In The Dust (1941), starring Greer Garson, Walter Pidgeon, and Marsha Hunt; Our Wife (1941), starring Melvyn Douglas, Ruth Hussey, and Ellen Drew; Cat People (1942), starring Kent Smith, Simone Simon, Jane Randolph, and Tom Conway; I Walked With A Zombie (1943), starring Frances Dee, Tom Conway, Darby Jones, and Christine Gordon; The Dolly Sisters (1945), starring Betty Grable, John Payne, and June Haver; Three Little Girls In Blue (1946), starring George Montgomery, Vera-Ellen, and June Haver; Miracle on 34th Street (1947), starring Maureen O'Hara, Edmund Gwenn, John Payne, and Natalie Wood; Out of the Past (1947), staring Robert Mitchum, Jane Greer, and Kirk Douglas; Angel Face (1952), starring Robert Mitchum and Jean Simmons; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The twelfth episode of our season on the awesome movie year of 2000 features the Academy Awards Best Picture winner, Ridley Scott's Gladiator. Directed by Ridley Scott and starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Djimon Hounsou and Oliver Reed, Gladiator won five Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/gladiator-2000), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2000-may-05-ca-26670-story.html), and Manohla Dargis in LA Weekly (https://www.laweekly.com/saving-general-maximus/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring our producer David Rosen's pick, Bret Easton Ellis adaptation American Psycho.

Ep. 254: Cannes 2024 Finale: Manohla Dargis on The Seed of the Sacred Fig, Anora, The Apprentice, Marcello Mio, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It's become an annual tradition on the last day of Cannes to sit down with Manohla Dargis, the chief film critic for The New York Times, and take stock of the festival, some selected highlights, and other points of interest. For our 2024 chat, in a corner of the Palais starting to buzz with activity before the awards ceremony, we discussed a number of titles including: The Seed of the Sacred Fig (directed by Mohammad Rasoulof), Anora (Sean Baker), The Apprentice (Ali Abbasi), All We Imagine as Light (Payal Kapadia), On Becoming a Guinea Fowl (Rungano Nyoni), Wild Diamond (Agathe Riedinger), Marcello Mio (Christoph Honoré), Megalopolis (Francis Ford Coppola), and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

CW: mild profanity Dave and Alonso welcome Robert Abele (LA Times), Justin Chang (The New Yorker), Manohla Dargis (The New York Times), and Peter Debruge (Variety) to talk about awards, the state of the cinema, and more. Subscribe (and review us) on Apple Podcasts, follow us @linoleumcast on Instagram, Bluesky, and Facebook, and never brought to mind. Join our club, won't you?

We're going a little bit out of order in our dive into the films of Hal Hartley. On this episode, we look at The Henry Fool Trilogy: Henry Fool, Fay Grim, and Ned Rifle. The first two films, especially, constitute Hartley's apotheosis. We also discuss Jonathan Glazer's new film 'The Zone of Interest,' a haunting, important film (despite what Manohla Dargis might say).     Keep in touch and read more at whydoesthewilhelmscream.com on instagram @whydoesthewilhelmpod and twitter @whywilhelm Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

Ep. 223: Manohla Dargis and Amy Taubin on Sundance 2024 Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my final (?) episode on Sundance Film Festival 2024, I am pleased to present a grand finale with Manohla Dargis, chief film critic of The New York Times, and the inimitable Amy Taubin (who will be filing a report for Screen Slate). They discuss the role of Sundance, what felt different about this year's edition (and what didn't), and the question of story. And we discuss a number of films: A Real Pain (directed by Jesse Eisenberg), God Save Texas: Hometown Prison (Richard Linklater), Presence (Steven Soderbergh), Rob Peace (Chiwetel Ejiofor), War Game (Jesse Moss and Tony Gerber), Exhibiting Forgiveness (Titus Kaphar), Black Box Diaries (Shiori Ito), Will & Harper (Josh Greenbaum), and Love Lies Bleeding (Rose Glass). Also included: Porcelain Wars, Sugarcane, Gaucho Gaucho, Desire Lines, and Freaky Tales, Kneecap, and a special recommendation for cats. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In the second of two special holiday episodes for this year, we're looking back to our season on the films of 2003, to talk about Japanese animated movie Tokyo Godfathers. Directed and co-written by Satoshi Kon and starring the voices of Toru Emori, Yoshiaki Umegaki and Aya Okamoto, Tokyo Godfathers was Kon's third feature-length animated film.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/tokyo-godfathers-2004), Manohla Dargis in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2004-jan-16-et-dargis16-story.html), and Tasha Robinson in the AV Club (https://www.avclub.com/tokyo-godfathers-1798199284). Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the premiere of our new season on the films of 1939, featuring the box office champion, The Wizard of Oz.

Ep. 197: Manohla Dargis on Summertime Viewing (and possibly Barbie) Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I catch up with a very special guest, Manohla Dargis, chief film critic of The New York Times. Instead of comparing festival notes or discussing recent reviews, this is a glimpse at what Dargis happens to have been watching recently. So in the interest of preserving the surprise, I'll leave out the usual viewing list, though I can say we get some final thoughts on Barbie. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 186: Cannes #14 with Manohla Dargis of The New York Times Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. The 2023 Cannes Film Festival series joyously concludes with our traditional grand finale: a discussion with Manohla Dargis, chief film critic of The New York Times, live from Cannes. Dargis reveals what might be her favorite film of the festival, and then we discuss too many titles to list here in full, ranging from Catherine Breillat's Last Summer and Wang Bing's Youth to Wes Anderson's Asteroid City and Sean Price Williams's The Sweet East. Thank you to all our listeners! And please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

[NB: Due to file-corruption issues, this episode's sound isn't stellar; apologies for any inconvenience!] For a third-choice star in a first-draft action movie, Dennis Quaid's quite good in 2008's Vantage Point, a fridge-magnet-poetry "thriller" script whose "what if In The Line Of Fire + 24 + Dave gave DQ the adrenaline trots" logline invited multiple weary comparisons to Rashomon in (uniformly negative) reviews. Despite dialogue some film student shook out of the Michael Bay Presents: Boggle cup, a Frogger algorithm used as a car chase, inconsistent blocking, an inert title, and Quaid adopting the wrong posture for a Secret Service agent, we did find a handful of things to enjoy, like William Hurt doing an imitation of that flappy dude outside the car wash while getting shot, and imagining Niles Crane listing budget rental-car models. The president is a clone, but there's a Quaid In Full episode to distract you, so: who cares! Overall score: 4 QQQ score: 6.5 Days since a lost Kuffs accident: 419 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Stephanie Zacharek's review at Salon (https://www.salon.com/2008/02/22/vantage_point/) Kipp Gonzalez LLC's at Slant (https://www.slantmagazine.com/dvd/vantage-point-dvd/) Manohla Dargis does a bit at NYT (https://www.nytimes.com/2008/02/22/movies/22vant.html)

The eleventh episode of our season on the awesome movie year of 2012 features our producer David Rosen's pick, Harmony Korine's Spring Breakers. Written and directed by Harmony Korine and starring Vanessa Hudgens, Ashley Benson, Selena Gomez, Rachel Korine and James Franco, Spring Breakers premiered at the 2012 Venice International Film Festival and was the third theatrical release from A24.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2013/03/15/movies/spring-breakers-directed-by-harmony-korine.html), Robert Abele in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2013-mar-14-la-et-mn-spring-breakers-20130315-story.html), and Guy Lodge in Variety (https://variety.com/2013/film/reviews/spring-breakers-1117948216/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our future cult classic pick, comic book adaptation Dredd.

The tenth episode of our season on the awesome movie year of 2012 features the Academy Awards Best Picture winner, Ben Affleck's Argo. Directed by Ben Affleck from a script by Chris Terrio and starring Affleck, Bryan Cranston, John Goodman, Alan Arkin, Scoot McNairy and Tate Donovan, Argo was nominated for seven Oscars and won three, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/argo-2012), Manohla Dargis in the New York Times (https://www.nytimes.com/2012/10/12/movies/argo-directed-by-ben-affleck.html), and Peter Bradshaw in The Guardian (https://www.theguardian.com/film/2012/nov/08/argo-review).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our producer David Rosen's pick, Harmony Korine's Spring Breakers.

We're thrilled to welcome This Had Oscar Buzz co-host (and TWoP Idol co-recapper emeritus) Joe Reid to the podcast to dig into American Dreamz, a satire of both competitive singing shows AND mid-aughts American politics that does one thing quite a bit better than the other -- and puts all three of us in mind of better movies like Dr. Strangelove and Dick. Cheney slapstick, peak Chris Klein, when Hugh Grant's doing more than he should, the custody battle over the set's one Dick Casablancas wig, Quaid as figurative Ken doll, the return of positive Ebert, and great galoot work all figure in our discussion of a movie we didn't hate...but also barely remember watching. Grab a golden ticket and some freedom fries and cue up an all-new Quaid In Full! Overall score: 6.17 QQQ score: 6.17 Days since a lost Kuffs accident: 398 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) S06E10: In Good Company (https://quaidinfull.fireside.fm/55) S04E02: Postcards From The Edge (https://quaidinfull.fireside.fm/31) Roger Ebert's review (https://www.rogerebert.com/reviews/american-dreamz-2006) Manohla Dargis's review (https://www.nytimes.com/2006/04/21/movies/paul-weitzs-american-dreamz-an-idol-clone-with-a-presidential-aura.html) Nathan Rabin's review (https://www.avclub.com/american-dreamz-1798201668) Joe Reid on Twitter (https://twitter.com/joereid) This Had Oscar Buzz's 200th episode (https://fightinginthewarroom.com/THOB/2022/06/27/200-gloria-bell/) Special Guest: Joe Reid.

On this special edition, we take a look at the impact of women in film. We sit down with The New York Times' Manohla Dargis to discuss women's roles in front of and behind the camera — and we also dive into Oscar predictions. Timestamps 0:00 - Introduction 3:00 - Overview of women in film 26:00 - Ava Duvernay making more opportunities 30:00 - Movies where women made a big impact 35:00 - Abortion in film 40:00 - Real diversity in film 42:00 - Nominees for Oscars 45:00 - International Film Friday on Political Rewind: A special conversation with the University of Georgia's Chuck Bullock.

The fifth episode of our season on the awesome movie year of 2012 features our documentary pick, Sarah Polley's Stories We Tell. Written and directed by Sarah Polley, Stories We Tell premiered at the 2012 Venice Film Festival.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2013/05/10/movies/stories-we-tell-written-and-directed-by-sarah-polley.html), Peter Howell in the Toronto Star (https://www.thestar.com/entertainment/movies/2012/10/11/stories_we_tell_review_family_secrets_universal_truths.html), and Stephen Whitty in the Newark Star-Ledger (https://www.nj.com/entertainment/2013/05/stories_we_tell_review_sarah_p.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring Josh's personal pick, Zal Batmanglij and Brit Marling's Sound of My Voice.

The fourth episode of our season on the awesome movie year of 2012 features the Cannes Film Festival Palme d'Or winner, Michael Haneke's Amour. Written and directed by Michael Haneke and starring Jean-Louis Trintignant, Emmanuelle Riva and Isabelle Huppert, Amour went on to receive five Oscar nominations and one win.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/amour-2013), Manohla Dargis in The New York Times (https://www.nytimes.com/2012/12/19/movies/michael-hanekes-amour-with-jean-louis-trintignant.html), and Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2012-dec-18-la-et-mn-1219-amour-20121219-story.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our documentary pick, Sarah Polley's Stories We Tell.

Dave and Alonso, better late than never, look back at the tumult and the triumphs of 2022 with some distinguished friends of the show: Robert Abele (LA Times), Justin Chang (LA Times), Manohla Dargis (NY Times), and Peter Debruge (Variety). Join our club, won't you?

This week: why New York Times film critic Manohla Dargis is optimistic about women in the film world, for the first time… Plus, does female success have to come at the cost of male ego? That's the premise of a movie, Fair Play, which sold to Netflix for 20 million dollars at Sundance. I talk to its writer/director, Chloe Domont  But first, there was some pretty big news this week about Alec Baldwin and the fatal shooting on the Rust set in 2021. I spoke about it in  my weekly entertainment news chat with LAist Morning Edition host Susanne Whatley. Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live.  

The NC-17 Blonde has hit Netflix, and boy, are people fired up (“necrophiliac entertainment” wrote Manohla Dargis at NYT). At nearly three hours, the fictionalized version of Marilyn Monroe's life is tough to watch — unrelentingly bleak, a bit disjointed, with a camera that can be as vulturous as the vultures it critiques — but damn if that movie didn't haunt us both, and Ana de Armas gives an incandescent performance that has both of us thinking of cutting and bleaching our hair (which Sarah promised to do if we get enough paid subscribers). We talk about the fame trap, whether the film is “anti-abortion,” and if Hollywood will ever stop feeding on Marilyn's corpse. The fame trap came for Anthony Bourdain, the restless wanderer and beloved chef who gets the unauthorized biography treatment later this month with Down and Out in Paradise. How did the man generally regarded as having the best job in the world end up taking his own life? Can a book sourced only by the people left behind by “the Tony train” possibly give a full account? We talk addiction, how journalism can turn ghoulish, and the very complicated figure of Asia Argento.A kiss on the hand may be quite continental, but don't you think it's better to become a free or paid subscriber?Episode Notes:Friday Night Lights on Hulu and Bloodline on NetflixGratuitous photos of Kyle Chandler and Taylor Kitsch (Ed: What is this, Tiger Beat? NR: Hush! Dibs on Chandler. SH: Fine, he's yours. Tim Riggins, let me fix you.)Blonde official trailerMarilyn, by Gloria SteinemBaz Lurhmann's ELVIS (2022) and Elvis Presley: The Searcher (2018)“‘Blonde,' ‘Elvis' and the challenge of telling the truth about icons,” by Sonny Bunch (Washington Post)“What's Fact and What's Fiction in Blonde, Netflix's Marilyn Monroe Biopic,” by Ellin Stein (Slate)“Intentional or Not, Blonde Has an Anti-Abortion Message,” by Tess Garcia (Glamour)Bobby Cannavale in The Station Agent, a really good little movie…… and Boardwalk Empire, a great series“The Last Painful Days of Anthony Bourdain,” by Kim Severson (New York Times)“Author Responds to Family's Unrest Over Controversial New Anthony Bourdain Book,” by Nardine Saad (Los Angeles Times)Down and Out in Paradise: The Life of Anthony Bourdain, by Charles LeerhsenRoadrunner: A Film About Anthony BourdainKitchen Confidential Updated Edition: Adventures in the Culinary Underbelly, by Anthony Bourdain“Asia Argento's Time is Up,” by Nancy Rommelmann (Reason)Chef Reactions will bring you joy with more than a little of that Bourdain vibeWhat's in your hotbox?Nancy: Dr. Loretta Intense Replenishing Serum, available widely and at Heyday, and Arcana Holocene Intense Lipid Repair Balm, at Beauty Heroes for a very good price!Sarah: The Elton John double-album “Goodbye Yellow Brick Road” (Spotify)Outro song: “Love Lies Bleeding” by Elton JohnDon't let the sun go down on you before you become a free or paid subscriber.To commemorate the 1973 double album Yellow Brick Road, Nancy went looking for a teen pic of herself in Seventies garb but instead found one in which she appears to be dressed in someone's shower curtain. Sarah found a pic of herself dressed the way a 15 year old in 1990 thinks people looked in the Seventies. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit smokeempodcast.substack.com/subscribe

The HBS hosts chat with A.O. Scott about the role and responsibilities of the critic.The critic is frequently seen as a parasite who lives of the creative life of others but not producing a work of art through their criticism. In this episode, we are honored to be joined by A.O. Scott to discuss the role of the critic, the creativity of criticism, and the mutual dependence of art and criticism.A.O. Scott is chief film critic (along with Manohla Dargis) for The New York Times. He also write for The Book Review as well as The Times Magazine. He is the author of Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (Penguin Books, 2016). In addition, he is currently a distinguished professor of film criticism at Wesleyan University.Full episode notes available at this link:http://hotelbarpodcast.com/podcast/episode-71-critics-and-criticism-with-a-o-scott-------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe, submit a rating/review, and follow us on Twitter @hotelbarpodcast.You can also help keep this podcast going by supporting us financially at patreon.com/hotelbarsessions. 

This episode hosts Katie Walsh and Blake Howard join one of our most sought-after guests - the world's greatest living film critic, the senior film critic at the New York Times, Manohla Dargis. Manohla breaks down Miami Vice, as only Manohla can.GUEST: MANOHLA DARGISWEBSITE: NY TIMESNot for the Faint of Heart or Lazy of ThoughtONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Cannes #12 with Manohla Dargis: Broker, Hollywood at Cannes, Leila's Brothers, Mother and Son, Triangle of Sadness Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. My Cannes Film Festival series in conversation with critics has its grand finale with the return of the one and only Manohla Dargis of The New York Times. We discuss Hirokazu Kore-eda's Broker, Saeed Roustayi's Leila's Brothers, Leonor Serraille's Mother and Son, the tradition of Hollywood at Cannes, Kelly Reichardt's Showing Up, and, briefly, Triangle of Sadness, among other topics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

23 de mayo | Nueva YorkLeer esta newsletter te llevará 11 minutos y 12 segundos.¿Has conocido a Anne? Bienvenido a La Wikly.🇺🇸 ¿País de oligarcas?Lo importante: una nueva decisión judicial del Tribunal Supremo este mes volvió a dejar claro el papel protagónico del dinero en las campañas electorales en Estados Unidos. Es solo un capítulo más de la política de un país cada vez más influenciada por los ricos.Muchos de los cuales son congresistas y senadores, como bien veremos más adelante.Explícamelo: el Supremo de mayoría conservadora dictaminó que los políticos en el cargo pueden reembolsar dinero que hayan prestado a sus campañas incluso después de haber ganado las elecciones; sin límites en la cifra.La decisión es controvertida, pero no sorprende vistas las decisiones que ha tomado el Supremo en ese contexto, especialmente ahora que seis jueces conservadores tienen el control ideológico de la corte.Contexto: la decisión más importante en ese término se remonta al año 2010, cuando el caso Citizens United v. Comisión Electoral Federal abrió la veda a que empresas, fundaciones o sindicatos tuvieran el poder de influenciar elecciones a golpe de talonario.A grandes rasgos, Citizens United permitió que grupos conocidos como Super PAC pudieran recibir cantidades ilimitadas de dinero que después invertir en campañas políticas de la forma en la que quisieran.Principalmente, los gastos van dirigidos a publicidad de defensa y ataque para ayudar o perjudicar a los candidatos de la elección de esas Super PAC. A veces, algunos grupos gastan decenas de millones de dólares para catapultar o enterrar a un candidato.La única condición importante es que esos grupos tienen prohibido coordinarse con las campañas de los candidatos, pero es algo que ciertos políticos están ignorando con iniciativas tan creativas como marcar en rojo en sus páginas web aquel contenido que quieren que sus grupos afines destaquen en sus inversiones publicitarias.¿Y ahora? Cada vez es más habitual ver a candidatos millonarios entrar en carreras políticas con el apoyo de su propia cuenta bancaria. Y si no son sus cofres, lo son los de sus socios millonarios que invierten millones de dólares en Super PAC paralelas.Lo vimos en las primarias republicanas al Senado por Ohio y por Pennsylvania, donde o bien había millonarios firmando cheques para sus campañas (Mike Gibbons, Mehmet Oz, Dave McCormick) o bien los firmaban otros por ellos (Peter Thiel, cofundador de PayPal, con J.D. Vance).Pero entonces, ¿qué es lo último que ha pasado?⚖️ Nueva ayuda judicialLa Corte Suprema de Estados Unidos avaló este mes la eliminación del límite que impone la normativa federal a los candidatos para recaudar fondos después de sus elecciones para devolverse el dinero que prestaron a su campaña.Es decir, los candidatos adinerados que prestan millones de dólares a sus propias campañas pueden obtener un cargo público y luego acudir a sus principales donantes para reponer las sumas que se prestaron en un primer lugar.La normativa hasta hace poco vigente se aprobó en 2002 como parte de la Ley Bipartidista de Reforma de Campañas. Lo que hacía era poner un tope de 250.000 dólares en la cantidad de dinero recaudado después de unas elecciones que las campañas pueden usar para pagar préstamos personales de los candidatos.El senador Ted Cruz, demandante en el caso, había argumentado que el límite de 250.000 dólares violaba la Primera Enmienda, restringiendo la libertad de expresión política sin preocupaciones de corrupción quid pro quo legítimas que la justifiquen.“El gobierno no puede identificar un solo caso de corrupción quid pro quo en este contexto. […] Y como asunto práctico, los préstamos personales a veces pueden ser la única forma en la que un candidato desconocido que desafía a alguien en un cargo público y conexiones limitadas puede potenciar el gasto de su campaña desde un primer momento”, escribió el presidente del Supremo John Roberts, de ideología conservadora, en su opinión mayoritaria.La defensa explicaba que los políticos pueden tener conflictos de interés una vez en el cargo. Si quieren recuperar el dinero prestado a su propia campaña antes de ganar su escaño, tienen la opción de pedir donaciones a cambio de votar de una forma u otra.“Reembolsar el préstamo de un candidato después de haber ganado unas elecciones no puede servir a los propósitos habituales de una contribución: el dinero llega demasiado tarde como para ayudar a cualquiera de sus actividades de campaña. Todo lo que hace el dinero es enriquecer al candidato personalmente en un momento en el que puede devolver el favor —por un voto, un contrato, un nombramiento. No hace falta ser un genio político para ver el riesgo elevado de corrupción”, escribió Elena Kazan, miembro progresista del Supremo, en su opinión minoritaria.Con esta última decisión, la Corte Suprema impulsa la capacidad de los donantes adinerados para enriquecer personalmente a los candidatos de su elección, incluidos a aquellos que invirtieron millones en sus propias campañas y siempre que acaben prevaleciendo el día de las elecciones.Si bien los donantes individuales todavía están sujetos al tope de contribución por elección (2.900 dólares por campaña en 2022), la decisión de la Corte Suprema significa que los candidatos pueden recaudar mucho más de ellos en conjunto para pagar sus propios préstamos.La decisión del tribunal es retroactiva, lo que significa que las campañas de este ciclo que tengan préstamos de candidatos podrán aprovechar las nuevas reglas después de sus elecciones. 95 candidatos a la Cámara y al Senado ya han prestado a sus campañas más de 250.000 dólares, según los registros de la Comisión Federal de Elecciones.En las primarias senatoriales de Pennsylvania, el famoso médico Mehmet Oz se enfrenta al financiador de cobertura David McCormick y a la exfuncionaria de la administración Trump Carla Sands. Oz ha prestado casi 15 millones de dólares a su propia campaña, mientras que McCormick prestó 11 millones y Sands aportó otros 3,9.En Arizona, el empresario republicano Jim Lamon le ha prestado a su campaña para el Senado 13 millones.En Alabama, el republicano Mike Durant prestó unos 2,6 millones a su campaña para el Senado.Y en Wisconsin, el demócrata Alex Lasry prestó a su campaña para el Senado más de 7 millones. Su principal oponente, Sarah Godlewski, ha prestado casi 3 millones a la suya.💸 Políticos acaudaladosQue haya candidatos con mucho dinero para poder desafiar a políticos en un cargo público, o acaso para optar a nuevos escaños abiertos por una jubilación o muerte, está lejos de ser novedad.Un estudio de Open Secrets reveló que el año pasado los candidatos a elecciones invirtieron un total de más de 100.000 millones de dólares en sus propias campañas electorales.Según estos datos, la mayoría de los candidatos autofinanciados de 2021 son republicanos. Registraron un total de 85,6 millones de autofinanciación en el año, en comparación con los 22,7 millones de los demócratas.En 2020, otro estudio de Open Secrets señalaba que más de la mitad de los miembros del Capitolio eran millonarios. La mediana del patrimonio neto de congresistas y senadores que presentaron declaraciones en 2019 es de poco más de 1 millón de dólares.Sin embargo, la enorme riqueza de algunos miembros del órgano contrastaba con la carencia de otros. Mientras que algunos legisladores todavía adeudaban préstamos estudiantiles, otros estaban pagando su tercera o cuarta hipoteca.Los líderes de ambas cámaras forman la lista de los 10 principales. La presidenta de la Cámara de Representantes, Nancy Pelosi (D-Calif.), ha visto aumentar su riqueza a casi 115 millones de dólares desde los 41 que tenía en 2004, el primer año en el que OpenSecrets comenzó a rastrear las finanzas personales.El líder de la mayoría del Senado, Mitch McConnell, vio aumentar su patrimonio neto desde 3 millones a más de 34 durante ese mismo periodo.🔭 ¿Y adónde vamos?Con la decisión de Citizens United y varias posteriores como la que nos trae aquí hoy, el Supremo estadounidense ha determinado que decidir dónde invertir dinero es una cuestión de derechos fundamentales. En concreto, de libertad de expresión.Por tanto, invertir dinero en campañas políticas, que es la cumbre del debate público, debe estar protegido a nivel constitucional.Esa perspectiva es y sigue siendo controvertida, sobre todo en un país donde la desigualdad económica es cada vez más rampante y el 1 por ciento acumula cada vez más riqueza.Y aunque ambos partidos han sabido aprovechar la proliferación de las Super PAC, ya hay estudios que han determinado que es el partido republicano el que mejores resultados ha logrado tras la decisión de Citizens United.La pregunta es, ¿será capaz Estados Unidos de entender y solucionar los problemas de la clase trabajadora cuando sus políticos son más ricos a cada ciclo electoral que concluye?¿Desea saber más? En The Atlantic tienen una columna interesante sobre lo que el movimiento progresista puede hacer para contrarrestar estas decisiones judiciales que juegan en contra de sus sueños por políticas más redistributivas. Y esta entrevista al catedrático Jeffrey Winters especializado en el estudio de la oligarquía es un buen plus a esta newsletter.🎬 Una recomendaciónCon la colaboración de FilminCosmópolis es una película canadiense de 2012 dirigida por David Cronenberg. Sigue el trayecto en limusina de un ejecutivo que quiere cortarse el pelo en su barbería de confianza, situada en la otra punta de la ciudad de Nueva York. Durante el recorrido, el capitalismo que lo enriqueció se desmorona a su alrededor.Robert Pattinson encabeza el reparto en el papel de Eric Packer. Fue la primera película puramente de autor del actor lejos de su periplo comercial con Harry Potter y Crepúsculo —uno que agradecemos hasta el día de hoy por habernos dado interpretaciones geniales en títulos como The Rover, La ciudad perdida de Z, Good Time o High Life.Cronenberg adapta la novela homónima de Don DeLillo, no exactamente su trabajo más aclamado pese a la reputación que le precede en Estados Unidos. Y esta película sufrió casi el mismo destino, pues la crítica la desplumó tildándola de aburrida, anodina y evidente.Pero por esa misma razón creo que Cosmópolis es tan interesante y puede disfrutarse desde una perspectiva menos analítica. No es tanto la ambición ni las pretensiones lo que fascina, sino la forma en la que lo presenta (qué forma de rodar en interiores) y la forma en la que lo narra (esas interpretaciones y esos diálogos desprovistos de vitalidad; esa comicidad seca y cruel).Me quedo con esta cita de Manohla Dargis para The New York Times, muy relevante en los tiempos que corren:“Tomada como un comentario sobre el estado del mundo en la era del tardocapitalismo (para empezar), Cosmópolis puede parecer obvia y casi banal. Pero estas banalidades, que están acompañadas por miradas vidriosas, también son la clave: el mundo está quemándose y todo lo que algunos de nosotros hacemos es ver las llamas con una familiaridad exhausta”.Cosmópolis está disponible en Filmin.🌐 Facebook concreta planesBy Marina EnrichLo importante: Nick Clegg, el presidente de asuntos globales de Meta, escribió un artículo la semana pasada exponiendo en unas 8.000 palabras qué significa el metaverso y por qué es relevante. Sí, igual no es la forma más efectiva de hacerlo cuando tienen como misión “acercar a la gente”, lol.Contexto: en octubre, Facebook anunciaba que iba a cambiar su nombre a Meta para representar el nuevo rumbo de la empresa hacia el metaverso.Es importante recordar que ese cambio se hizo en medio de una muy mala racha de imagen por falta de transparencia.Wait, ¿qué era el metaverso? El metaverso es una experiencia más inmersiva de internet. Incorpora la realidad virtual, pero no solamente eso. Hoy en día quienes más han desarrollado ideas del metaverso son juegos online como Roblox o Minecraft. Emilio tiene un vídeo hablando del tema.Las claves: Durante estos últimos meses, tanto Clegg como Mark Zuckerberg han desarrollado las siguientes ideas sobre el metaverso:El metaverso no es un producto como lo es Instagram. Es una infraestructura que no posee nadie y en la que todo el mundo debería poder desarrollar ideas —y es ahí dentro donde Meta desarrollaría productos.Meta no gobernará el metaverso, “igual que no hay un internet de Google, o un internet de Microsoft”, dice Clegg. Aunque con el poder que tienen estas grandes tecnológicas, es fácil argumentar que sí tienen un papel importante en la futura gobernanza.Los problemas de moderación continuarán. En el metaverso habrá los mismos problemas que tenemos en la vida real y Meta sigue sin plantear soluciones. Las reglas que habrá dependerán de la “sección” en la que estés dentro del metaverso.En 10-15 años, o quizá más, veremos el metaverso tal y como lo imaginan Clegg y compañía.El Presidente de Asuntos Globales de Meta ha planteado muchas preguntas sobre el metaverso y no ha resuelto tantas dudas. Está claro que es un gran reto, pero visto el pasado (y presente) de Meta, no se pueden permitir no ser más transparentes con sus planes de acción para lidiar con esos problemas.Además, tampoco ha hablado sobre los planes de monetización de Meta en el metaverso, pero como ya los sabemos (i.e. rastrear y elaborar perfiles para comercializar los datos), es muy difícil que no nos genere desconfianza.Pero bueno, como dice Clegg al acabar el artículo, el metaverso va a llegar, queramos o no. 🙃En otro orden de cosas, hoy ha vuelto Lunes por el mundo con novedades sobre la gira de Joe Biden en Asia, la caída de Mariúpol en Ucrania o los temporales que han devastado ciudades en India y Bangladesh, entre otros titulares internacionales.Puedes volver a ver el directo completo en Twitch.Feliz semana, This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit www.lawikly.com/subscribe

Defector.com's David J. Roth returns to talk about The Day After Tomorrow, which was marketed as an Important Must-See back in 2004, and almost uniformly savaged by critics who seem not to have understood the point of AN ACTION MOVIE. But your commentators all quite enjoy it, despite all the Hollywood Sciencing, the lonesome death of a Law & Order-verse stalwart in a Paramus mall court, direwolf Colorforms, protagonists stopping to look at the special effect that's trying to kill them for a full ten count, and a baffling chapeau choice from our boy DQ. How many actors were asked before Quaid? What exactly happens to the English royal family? And could this movie make Dick Cheney's heart grow one size? Slip into a 78-lb. snowsuit and join us for an all-new Quaid In Full. Overall score: 7.67 QQQ score: 7.17 Days since a lost Kuffs accident: 21 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Ebert's review (https://www.rogerebert.com/reviews/the-day-after-tomorrow-2004) Anthony Lane's for TNY (https://www.newyorker.com/magazine/2004/06/07/cold-comfort-4) David Edelstein's for Slate (https://slate.com/culture/2004/05/the-day-after-tomorrow-is-apocalyptic.html) Manohla Dargis's for NYT (https://www.latimes.com/archives/la-xpm-2004-may-28-et-dargis28-story.html) Defector.com (https://defector.com/) It's Christmastown (https://daveandjebarentmean.libsyn.com/) Don't use an indie ruler to measure an action flick (https://tomatonation.com/culture-and-criticism/transformers-revenge-of-the-fallen/) Special Guest: David J. Roth.

Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. The Village Voice loomed large for me as a critic and an editor. The Voice I grew up with may be long gone, but it's been a joy to continue reading my favorite critics who wrote there. For this episode, I'm honored to bring together three all-star alumnae of the Village Voice to talk about movies. Manohla Dargis, the co-chief film critic of The New York Times, started writing about avant-garde cinema at the Voice early in her career. Lisa Kennedy has written for The New York Times, Essence, American Theatre, Variety, and the Denver Post, on both film and theater, and she was an editor at the Voice for a decade, editing pieces by Manohla Dargis and Amy Taubin. Amy Taubin is a contributing editor at Artforum and Sight & Sound, who wrote full-time at the Voice for 14 years; This episode is something like a dream come true for me, and so I had to ask a little about their memories of the Voice, before we talked about some recent highlights from their viewing. And I encourage everyone to spend some quality time with the Village Voice archives. My deep thanks to Amy, Lisa, and Manohla for taking the time to talk. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 13 of Season 2! Host, Gratton Conwill and special guest, Matt Fields discuss The Invisible Man (2020). Day 13 The Invisible Man 2h 4m Released on February 28th of 2020, The Invisible Man was written and directed by Australian filmmaker Leigh Whannell. This film is the most recent reboot in a series of films based on the Invisible Man Novel by H.G. Wells. This film had a particularly long development dating all the way back to 2006. Originally David S. Goyer was set to write the script for Universal, but by 2011, after no real progress, he was out of the picture. In 2016, the idea was revived as part of a new cinematic universe featuring several classic universal monsters. Ed Solomon was brought on board to write the new script, and Johnny Depp was cast as the titular invisible man. After the financial and critical failure of 2017's The Mummy, the first film in the aforementioned cinematic universe, Universal pictures trashed all plans for subsequent films, opting to release stand alone reboot films for each character with no connected universe. By this point, Jason Blum came on board as producer, and Leigh Whannell was hired to write and direct. This team would finally see the film release 14 years after the reboot was initially proposed. Upon release, The Invisible Man made its money back in just one day, and would gross over 20 times its budget at the box office during its theatrical run. Reviews were overwhelmingly positive, among the movie's fans was respected film critic Manohla Dargis. The film may have enjoyed even more success had it not been moved to streaming services three weeks after its theatrical debut as a result of Covid-19 theater closures. Director Whannell has stated that the film was created as a standalone film with a definitive ending, however due to the unprecedented success of The Invisible Man, more follow up movies are not out of the question. Today The Invisible Man has: 3.6/5 on Letterboxd 7.1/10 on IMDb 91% on rotten tomatoes 84% on google 72% on Metacritic 7.8 average CTS score From the creators of Giant Monster BS: Gratton Conwill and Matt Fields bring you Only In Amityville season 2: Escape from Amityville! Escape from Amityville is a limited series podcast event happening exclusively during October of 2021! Starting October 1st, we will review one movie every other day. Each movie will be a lesser known or appreciated, but culturally significant, horror movie made within the past 100 years. None of these movies have anything to do with the original tale of America's most haunted house, but in the spirit of the Amityville story, we promise to review chilling and horrifying movies featuring demons, monsters, and various ghouls! 15 episodes in total! The series finale takes place on Halloween night with a special mystery review. Fans of Giant Monster BS and/or Horror films will be right at home with this podcast. Vulgar, brutally honest, scary as hell, oh yeah... it's Escape from Amityville time Baby! Only In Amityville is an ad-free, self funded podcast hosted by Gratton Conwill and Matthew Fields. If you would like to support the show, you can donate to us at: https://anchor.fm/giant-monster-bs or buy our merch at: https://www.teepublic.com/user/cheesemouse2/albums/39997-giant-monster-bs-merch Follow us on twitter at: https://twitter.com/GiantMonsterBS

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week I talk with the one and only Manohla Dargis, a chief film critic at The New York Times. We chose a couple of movies to watch in advance -- one by a pioneering French female filmmaker who should be better known, another a Hollywood small-town picture with an intriguing pair of stars -- and discuss. We also talk about television aesthetics, life under the pandemic, and, taking a fresh audiovisual angle, AOC's historic use of Instagram Live. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Dave and Alonso are joined by Manohla Dargis of The New York Times for this special episode to discuss some legends of "off-Hollywood" cinema we have lost in recent months. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Facebook and Instagram, your face so pretty. Join our club, won't you?

Dave and Alonso are joined by Robert Abele (LA Times, TheWrap), Peter Debruge (Variety) and Manohla Dargis (NYT) for a look back at 2018. After a discussion of "Green Book" and Netflix, we offer lots of recommendations of smaller films from last year you might have missed -- grab a pen. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, do the tighten up. Join our club, won't you? (Now for as little as $1/month!)

Dave and Alonso welcome Manohla Dargis (The New York Times) and Robert Abele (Los Angeles Times, TheWrap) to talk about the year just past in movies, from the best to the biggest disappointments. Subscribe for free (and review us) on Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, I'll take the fall. Join our club, won't you?

Dave and Alonso are joined by Manohla Dargis of The New York Times to discuss her and A.O. Scott's recent list of the century's best films to date. We also dig into some very loud and very quiet new releases. Subscribe (and review us) on iTunes, follow us @linoleumcast on Facebook, Instagram and Twitter, no one has ever known. Join our club, won't you? Dave's DVD pick of the week: THE MAGIC BOX: PROJECT SHIRLEY, V.4 Alonso's streaming pick of the week: THE GLEANERS & I Manohla's list-topping pick of the week: THERE WILL BE BLOOD