Podcasts about materialists

"Community rallies around sick youth."WINVEMBER begins with FERRIS BUELLER'S DAY OFF! We also opened up the HOTLINE in the uncut post-show and took your calls LIVE. Elsewhere we talked a bit about Orlando, Proto watching THE MATERIALISTS, Danny watching STAR WARS VISIONS, and slime rewatching STRANGER THINGS. In the uncut portion of the episode we took your calls LIVE and talked Halloween candy, costumes, and corked beards.Chapters:(00:00:00) Introductions (00:05:06) What we've watched(00:15:42) Ferris Bueller's Day Off(01 :01:20) Next weekSupport the 70mm Patreon to join our VHS Village Discord and access exclusive episodes in the 70mm Vault like the 1990s Batman movies, Harry Potter, The Matrix, SHIN Godzilla, and over 70 others. Signing up for the Patreon also get your own membership card, member-only discounts on merch, and the ability to vote on future episodes!Don't forget you can visit our website to shop our storefront to buy prints and merch, follow us on Letterboxd, email the show, and much more.70mm is a ⁠TAPEDECK⁠ podcast, along with our friends at ⁠BAT & SPIDER⁠,  ⁠The Letterboxd Show⁠, Austin Danger Pod, ⁠Escape Hatch⁠, ⁠Will Run For...⁠, ⁠Lost Light⁠, ⁠The Movie Mixtape⁠, and ⁠Twin Vipers⁠.(Gone but not forgotten; ⁠Cinenauts⁠ + ⁠FILM HAGS⁠.) ★ Support this podcast on Patreon ★

Intro: Minutes 0 to 6:30 Chandra has been watching Dexter: Resurrection. She also watched The Materialists but doesn't recommend it. I saw One Battle After Another and enjoyed it. I loved The Long Walk. I have been watching a Canadian comedy called Corner Gas. Royals: Minutes 6:30 to Since we last recorded, the second season of With Love, Meghan came out and we've also had two drops of As Ever products. Harry did a four day tour of England in September, went to Ukraine and visited his dad. Meghan went to the Balenciaga show at Paris Fashion Week earlier this month. She looked serene, glowy and rich and her surprise appearance was a success. It came out that she's friends with Balenciaga's new creative director Pierpaolo Piccioli. He told The Cut that he's been friends with Meghan for years and that she asked if she could attend the show. There was a dumb manufactured controversy over Meghan's visit to Paris after she posted a little Instagram story of her feet while she was in a limo in Paris. The Daily Mail called the video insensitive and claimed she was driving near the tunnel in Paris where Princess Diana died. Meghan's video was taken over a kilometer away from the Pont de Alma tunnel. Meghan attended the Fortune Summit in Washington, DC last week where she talked about the future of her businesses. She also went to a women's networking dinner held by Emma Grede over the weekend. There was some ridiculous criticism of this dinner. On Friday, October 10th, Harry and Meghan were honored for their charity work at for World Mental Health Day in New York. Princess Kate co-authored a little essay ahead of that on how smartphones are bad. Harry and Meghan founded the Parents Network over a year ago and were being honored for that. Last week, around October 15th, Kate and Will made a surprise visit to Northern Ireland. They've been on vacation this week. On Friday, October 17th, Prince Andrew announced in the afternoon our time that he was voluntarily no longer using his titles. He's largely stepped back from royal life in the past few years but we've seen him at family events and it's obvious he has Charles' support. Charles was clearly trying to send a message to Harry by inviting Andrew to royal events. It looks like there was a deal worked out between Charles and Andrew that Andrew gets to keep Royal Lodge and his daughters get to keep their titles. Chandra thinks Charles believes Andrew's lies. We admire Virginia Guiffre for telling the truth. Andrew's announcement came a few days after we saw a 2011 email he sent Jeffrey Epstein after the release of Andrew's infamous photo with then 17-year-old Virginia Guiffre. Andrew wrote to Epstein “we are in this together” and “we'll play some more soon.” An email between Fergie and Epstein was also leaked. Fergie and Andrew wrote those emails after they claimed to have cut ties with Epstein. Fergie borrowed over $2 million from Epstein. I play a segment from an interview with British journalist Emily Maitlis, who interviewed Andrew for his infamous Newsnight interview. Andrew and ex wife Sarah Ferguson will continue to live in Royal Lodge on the Windsor estate, at least as long as Charles is alive. William wants to kick him out and there may be a parliamentary inquiry into his living arrangements. PM Kier Starmer supports an inquiry. Andrew still gets royal perks like being able to use other royal estates. Royal Lodge is sprawling, with a 30 room mansion, chapel, six cottages, pool and tennis court. Andrew has not paid rent in 20 years. He's said to spend his time playing Call of Duty and watching golf. William is trying to take credit for Andrew renouncing his titles. William has been briefing about how much he can't stand Andrew, but he was seen looking chummy with him recently. Beatrice visited her parents at Royal Lodge on Monday. There's some talk about removing Eugenie and Beatrice's titles, but Prince William doesn't seem to want this and they are blameless. Eugenie lives in Portugal is already half out but Beatrice seems to want to be a working royal. King Charles and Camilla visited the Vatican and met with Pope Leo. Camilla was wearing a black mantilla headpiece. They prayed together and it's the first time a British monarch and pope have prayed together in 500 years. This upcoming meeting was incentive for Charles to make a deal with Andrew to give up his titles. Comments of the Week: Minutes 29:30 to end Chandra's comment of the week is from Rapunzel on the post about Trump asking Camilla for the gossip on Meghan.  My comment of the week is from square bologna on Kristen Bell's post about her husband saying he would never kill her.

This week on The Nerdpocalypse Podcast, the guys return to discuss Slow Horses, The Chair Company, The Lost Bus, The Last Frontier, The Materialists, Peacemaker season 2 finale, Task series finale, Jim Carrey in talks to star in The Jetsons live-action movie, Laurence Fishburne expresses serious interest in playing Charles Xavier in the X-Men reboot in the MCU, upcoming 'Avatar' documentary, Tron: Ares dooming Jared Leto's leading man position in movies, trailer for 'Send Help,' and more.CHECKED OUTSlow HorsesThe Chair CompanyThe Lost BusThe Last FrontierThe MaterialistsPeacemaker - Season 2 finaleTask - Series finaleTOPICS - Section 1Jim Carrey in Talks to Star in ‘The Jetsons' Live-Action MovieLaurence Fishburne wants to play Charles Xavier in MCU's version of the X-MenTOPICS - Section 2 ‘Avatar' Documentary Set at Disney+ About the Making of James Cameron's Blockbusters‘Tron: Ares' May Mark End of Jared Leto's Franchise-Leading DaysWTF? by JayTeeDee from the “Edit That Out” PodcastMicah: https://tinyurl.com/scrtchsnffJay:     https://tinyurl.com/rurkinsTRAILERSSend HelpTNP STUDIOS PREMIUM (www.TheNerdpocalypse.com/premium) $5 a month Access to premium slate of podcasts incl. The Airing of Grievances, No Time to Bleed, The Men with the Golden Tongues, Upstage Conversation, and full episodes of the Look Forward political podcast

Jess y Mariano vuelven a las andanzas podcasteras. Jess anduvo de paseo por el set de Masterchef, Mariano fue mucho al cine, ambos fueron a distintos recitales y tenemos mucho de qué hablar. Together, Kendrick Lamar, cine en 4D, las candidatas argentinas al Oscar, la nueva de La Roca, Materialists, las ganadoras de los Emmys y mucho más. Recomendaciones: una película filmada toda en plano secuencia y una serie documental en Netflix.Pueden seguirnos en Instagram y Twitter como @NMQHPodcast. A Jess en Instagram y Twitter @ladolcejess. A Mariano en Instagram y Twitter como @marianpatrucco.Estamos disponibles en Spotify, Youtube Music,, Apple Podcast, Anchor.fm, Deezer, y Radiocut.¡Sígannos en Twitch! Cada tanto hacemos un stream charlando o jugando con oyentes en twitch.tv/nmqhpodcast . Tambien estamos en YouTube: www.youtube.com/@nadamejorquehacer2841¡NMQH Podcast es #EmbajadorBelo ! Para acceder a los mejores beneficios solo descargate la app y usá el código NMQHNada Mejor que Hacer se graba de manera casera con los recursos que tenemos a mano. Si querés apoyarnos para que sigamos haciendo nuestro podcast, podés hacerlo por acá: Crea tu podcast hoy! #HechoEnZencastr

Esta semana entramos no mundo digital de TRON para avaliar o terceiro filme da Saga, com o seu novo programa ARES. Neste episódio falamos de notícias, o que andamos a ver e terminarmos com a review do filme 'Steve'.NOTÍCIASLázaro fala sobre o falecimento de Samantha Eggar (URL) e um novo desporto para o serviço ‘Apple TV' (URL);Luís fala sobre o próximo projeto de Jim Carrey (URL), algumas novidades do projeto ‘Cliffhanger' (URL) e o falecimento de Drew Struzan (URL);Erick fala sobre um projeto de M. Night Shyamalan (URL), alguns detalhes sobre o projeto de Mel Gibson (URL), uma curiosidade de ‘Bugonia' (URL), uma romcom de Zendaya e Robert Pattison (URL) e mais um projeto do videojogo para os cinemas (URL).O QUE ANDAMOS A VER?LázaroSpies Like Us (1985)The Last Castle (2001)Groundhog Day (1993)LuísRabbit Trap (2025)Caramelo (2025)Splitsville (2025)ErickThe Pickup (2025)Materialists (2025)The Diplomat (3ª Temporada)Boots (1ª Temporada)Para a semana vamos fazer a review do filme 'The Long Walk'.Até lá, bons filmes.**Música Original produzida por António Capelo (https://capelo.me)Sigam-nos em:https://twitter.com/peliculapodcasthttps://instagram.com/peliculapodcasthttps://facebook.com/peliculapodcast

Kristen Ghodsee reads Cathy Porter's translation of an excerpt from Alexandra Kollontai's autobiography. Reflecting on a visit to Narva, Estonia in March of 1896, when she was just 24-years-old, Kollontai describes the event that radicalized her forever. Recent Writings from Kristen Ghodsee:“Clima y Utopía,” El País Semanal, October 17, 2025“Materialists skewers the dating market – but stops too short,” Jacobin Magazine, July 12, 2025“From Democracy to ‘Safety',” Los Angeles Review of Books, July 3, 2025Recent Interviews with Kristen Ghodsee:Meagan Day, “How Manosphere Content Placates Disenfranchised Men,” Jacobin Magazine, May 1, 2025 (Also in Spanish, French, and German)“Der Sozialismus behandelte Frauen besser,” Konkret Magazin, May 2025: 52-52Meagan Day, “Tradwives are a Harbinger of Systemic Breakdown,” Jacobin Magazine, April 27, 2025 (Also in Spanish)Recent writings about Kollontai:Cathy Porter, Alexandra Kollontai: Writings from the StruggleMaria Wiesner, Radikal selbstbestimmt – Ihrer Zeit weit voraus. Was wir von Alexandra Kollontai lernen könnenMridula Manglam, “Across Struggles and Time: If I Could Speak to Alexandra Kollontai.” If you can stomach social media, please request to follow @prof_kristenSend us a textThanks so much for listening. This podcast has no Patreon-type account and receives no funding. There are no ads and there is no monetization. If you would like to support the work being done here, please spread the word, share with your friends and networks, and consider exploring the following links.Check out Kristen Ghodsee's recent books: Everyday Utopia Red Valkyries Why Women Have Better Sex Under Socialism Second World, Second Sex Subscribe to Kristen Ghodsee's free, episodic newsletter at: https://kristenghodsee.substack.comLearn more about Kristen Ghodsee's work: www.kristenghodsee.com Kristen R. Ghodsee is the award-winning author of twelve books and Professor of Russian and East European Studies at the University of Pennsylvania.

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

~ This episode contains some spoilers about The X Files ~This week we dive into beloved television series, The X Files (1993-2002), with Leigh Dyrda! Leigh (she/her) is an academic whose research interests include EcoGothic, a field that probes the eerie overlap of ecocriticism and Gothic. We figured Leigh would be a perfect guest to dig into this show about alien-human hybrids, monsters that defy taxonomical definition, and cancers courtesy of government microchips.In our first segment, Marcelle explains the show was distinctly of its time. She considers its popularity in relation to the backdrop of Clinton era politics, post-Watergate government distrust, television viewing practices of the 90s and the early days of the internet. She then leads Leigh and Hannah through some theory. Drawing on Charles Soukup's 2002 article, Television Viewing as Vicarious Resistance: The X-Files and Conspiracy Discourse, Marcelle examines the way the show's mytharc and monster-of-the week narratives allowed audiences to feel as if by watching the show, they were "doing something."If you're a fan of The X Files or you've never really watched it, no matter. Come for the theory, stay for the thesis — and let us know what you think in an Apple Review or a comment on Spotify!***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

~ This episode contains some spoilers about The X Files ~This week we dive into beloved television series, The X Files (1993-2002), with Leigh Dyrda! Leigh (she/her) is an academic whose research interests include EcoGothic, a field that probes the eerie overlap of ecocriticism and Gothic. We figured Leigh would be a perfect guest to dig into this show about alien-human hybrids, monsters that defy taxonomical definition, and cancers courtesy of government microchips.In our first segment, Marcelle explains the show was distinctly of its time. She considers its popularity in relation to the backdrop of Clinton era politics, post-Watergate government distrust, television viewing practices of the 90s and the early days of the internet. She then leads Leigh and Hannah through some theory. Drawing on Charles Soukup's 2002 article, Television Viewing as Vicarious Resistance: The X-Files and Conspiracy Discourse, Marcelle examines the way the show's mytharc and monster-of-the week narratives allowed audiences to feel as if by watching the show, they were "doing something."If you're a fan of The X Files or you've never really watched it, no matter. Come for the theory, stay for the thesis — and let us know what you think in an Apple Review or a comment on Spotify!***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Subscribe to reeltalk1138.substack.comIn this episode, Jake reviews a handful of recent releases. What did you think of all these movies? You can comment on Spotify or email us at reeltalk1138@gmail.com. Time stamps:00:00-01:25 Intro01:26-9:13 Materialists09:14-17:24 The Phoenician Scheme17:25-26:03 The Life of Chuck26:04-27:11 Outro

Send us a text(Had a great time on my road trip, got back – and I've been sick ever since. This year has been one endless struggle bus ride, and there's room for more, so hop on :)Materialists seems to be a polarizing movie that isn't quite a romcom, isn't quite a straight up romantic drama, while ending happily, making it one of the most interesting hybrid stories I've seen in a while. Dakota Johnson is incredible as Lucy, a smart but cynical matchmaker who treats her clients as commodities – and threatens to do the same with her ex-boyfriend until she realizes his love for her survived their terrible break up, and her honest admission that she's somewhat shallow when it comes to choosing romantic partners. When she finally decides to make a romantic choice that isn't based on statistics, shrewd calculations or dating math but what's in her heart, that's when her life turns around. And that's what makes this movie deeply romantic to me.https://www.confessionsofaclosetromantic.comI change my mind about this trailer – it captures the smart stylish vibe but not nearly all of the ups and downs in mood that make this such a fascinating film.Celine Song talked about her inspiration for writing and directing Materialists in a fascinating interview on BBC World Service.Gold Diggers of 1933 (full movie) is currently on YouTube! Oh and I forgot to mention – it stars a young Ginger Rogers too! The best hour and a half you will spend this week.The trailer for Gentlemen Prefer Blondes doesn't tell you much, but what's clear is this Technicolor 1950s movie about two show-stopping showgirls, one in it for love and the other mostly for the diamonds, is such a treat.How to Marry a Millionaire stars Lauren Bacall, Betty Grable and Marilyn Monroe as a stunning trio of broke but gorgeous roommates who we're supposed to believe have trouble landing super solvent guys who will love and dote on them.I love going down the rabbit hole of the related and gendered variations on the gold digger trope.Support the showIf you enjoyed this episode, please click share in your podcast app and tell your friends! Thanks for listening!

Professors Eric Bronson and Beck Strah discuss updates on the P Diddy sentencing, and the first week of Jocktober! This week we're following jock/felon Aaron Hernandez, including his background, his multiple crimes, his arrests, his imprisonment, his gang activity, his sexuality, and his eventual death, and also Materialists (2025).

Sometimes an episode is such a longtime coming that the enthusiasm from our hosts is palpable! Such is the case with this episode about The Simpsons, a TV show that pervaded Marcelle's childhood due in part to...you guessed it... syndication! In this episode, Marcelle reminds the audience how television worked before streaming and the nature of syndication. Together, she and Hannah think through the influence of The Simpsons' first 300 episodes between 1997 and 2003 (Marcelle's teen years). They explore the attractive quality of the sitcom as a genre, the reproducibility of Bart Simpson (and others) as an icon, and the show's criticism of and self-aware complicity in capitalism and consumerism. This episode is for The Simpsons NERDS and casual viewers alike. Happy listening.***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Sometimes an episode is such a longtime coming that the enthusiasm from our hosts is palpable! Such is the case with this episode about The Simpsons, a TV show that pervaded Marcelle's childhood due in part to...you guessed it... syndication! In this episode, Marcelle reminds the audience how television worked before streaming and the nature of syndication. Together, she and Hannah think through the influence of The Simpsons' first 300 episodes between 1997 and 2003 (Marcelle's teen years). They explore the attractive quality of the sitcom as a genre, the reproducibility of Bart Simpson (and others) as an icon, and the show's criticism of and self-aware complicity in capitalism and consumerism. This episode is for The Simpsons NERDS and casual viewers alike. Happy listening.***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Discussing the new Celine Song film Materialists starring Dakota Johnson, Pedro Pascal, and Chris Evans. | Join our Producer Tier to decide our next film discussed. Hosted on Acast. See acast.com/privacy for more information.

We're back again — fresh off our little Not Woody Actually detour — with another thoughtful instillment of Woody Allen Adjacent!   This time, Donald and James turn their attention to Celine Song's The Materialists. Marketed like a conventional romantic comedy, the film instead plays out as a melancholic character study about love, ambition, and the ways relationships risk becoming transactional rather than organic.   It's a distinctly modern take on dating and connection — one that's clearly split audiences, even as the critics seem to adore this one. (Critics vs. audiences… go figure. :P)   We ended up pretty mixed ourselves, but between the strong craft, the solid performances, and the themes at play, The Materialists made for another fascinating Woody Adjacent discussion.!       For full cast details, user reviews, and more background on the film, check out:  

In this episode of Scenecraft, we break down the "Falling with Style" rocket sequence from Pixar's Toy Story (1995), directed by John Lasseter. Drop us a line at contact@scenecraftpodcast.com, or follow us on Instagram, Threads, TikTok, and Bluesky @scenecraftpodcast for the latest news on the show. — Show Notes — Quick Takes ~ 00:00:38 Caught Stealing (2025), The Fountain (2006), Materialists (2025), Task (2025), KPop Demon Hunters (2025), The Paper (2025) Toy Story (General Review) ~ 00:23:13 Scene Selection ("Falling with Style") ~ 00:34:26 Thanks for listening!

 Gabe and Matthew discuss two very popular movies in very different areas of cinemaspace and try desperately to find a connection between the two.-  -  -  -  - Listen to us on Apple Podcast and Spotify!Send us a message!Music by Mike. Check out his Soundcloud.Like our content? Visit our website! 

TurdOrTreasure is ThisWeekInGeek's dedicated review show covering everything from games to movies to tv to electronics and everything between!Show Links:https://www.musicboxfilms.com/film/just-the-two-of-us/https://www.musicboxfilms.com/film/the-trouble-with-jessica/https://www.blu-ray.com/movies/1923-Season-Two-Blu-ray/386149/https://www.blu-ray.com/movies/The-Life-of-Chuck-Blu-ray/393133/https://www.blu-ray.com/dvd/NCIS-Naval-Criminal-Investigative-Service-The-Twenty-Second-Season-DVD/317288/https://www.blu-ray.com/dvd/Watson-Season-One-DVD/317506/https://www.blu-ray.com/movies/Misericordia-Blu-ray/362847/https://www.blu-ray.com/movies/The-French-Dispatch-of-the-Liberty-Kansas-Evening-Sun-4K-Blu-ray/389100/https://www.blu-ray.com/movies/Bride-Hard-Blu-ray/392830/https://www.blu-ray.com/movies/The-Cat-Blu-ray/389483/https://www.blu-ray.com/movies/Bring-Her-Back-Blu-ray/391537/https://www.blu-ray.com/movies/Materialists-Blu-ray/392978/https://www.turtlebeach.com/products/atlas-200-headset?Platform=PlayStation&Color=Whitehttps://www.turtlebeach.com/products/victrix-pro-bfg-reloaded-wireless-controller?Platform=PlayStation&Color=Blackhttps://www.playstation.com/en-ca/games/lost-soul-aside/https://nisamerica.com/cladun-x3/https://www.hasbropulse.com/product/transformers-age-of-the-primes-deluxe-class-combaticon-vortex/G10285X00?cgid=shop-all-transformershttps://www.ninjakitchen.com/products/ninja-extended-life-ceramic-select-10-piece-cookware-set-zidCK89010BFhttps://www.blu-ray.com/dvd/The-White-Lotus-The-Complete-Third-Season-DVD/315339/Your Geekmaster:Alex "The Producer" - https://bsky.app/profile/dethphasetwig.bsky.socialFeedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekBluesky: https://bsky.app/profile/thisweekingeek.bsky.socialYouTube: https://www.youtube.com/channel/UCc1BfUrFWqEYha8IYiluMyAiTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: spotify:show:0BHP4gkzubuCsJBhU3oNWXCastbox: https://castbox.fm/channel/id2162049Website: https://www.thisweekingeek.netSept 19, 2025

How to Make Millions Before Grandma Dies is a story about inheritance, caregiving, and family obligations—but as Fr. Matt and Fr. Brian discover, it also carries surprising echoes of the Gospel. Themes of love, sacrifice, and the dignity of the human person shine through the story, even when the characters themselves don't share a Christian worldview. (0:55) Before discussing How to Make Millions Before Grandma Dies (2024), Fr. Matt and Fr. Brian catch up on the past few weeks and talk about two films they've seen recently, The Life of Chuck (2024) and Materialists (2025). (15:58) Fr. Matt introduces the film for this episode, How to Make Millions Before Grandma Dies. Although the characters in the movie aren't Christian, both Fr. Matt and Fr. Brian are struck by how the film points to Gospel truths, exploring self-sacrificial love, the way relationships take precedence over material wealth, and how even imperfect portrayals of family life can reveal universal human longings for God. (27:17) A major portion of the discussion focuses on cultural practices surrounding death and remembrance. Fr. Matt and Fr. Brian compare the Thai customs depicted in the film with Catholic teachings and rituals, from the Communion of Saints to funeral liturgies. (42:10) One of the film's underlying tensions is the temptation to treat people as means to an end—especially when inheritance is involved. Fr. Brian and Fr. Matt contrast this with Catholic teaching that things are meant to be used and people are meant to be loved. This leads into a reflection on St. John Paul II's Theology of the Body, emphasizing the dignity of the human person and the self-giving nature of love.(43:47) Wrapping up the episode, Fr. Matt and Fr. Brian give their Seeds of the Word ratings.

Da ist man mal paar Tage im Ausland und es passiert SO VIEL? Na Hilfe. Da müssen wir doch direkt drüber reden.PhantasialandNordholland / Bergen aan ZeeOmaNintendo Direct Lego Todesstern RevealReview: Materialists (Kino)Review: AKA Charly Sheen (Netflix)Cronos The New Dawn (Xbox, PS5, Switch 2, Steam)Coole Werbung GamersOnly:Ob Energy Drink, Vitamin Drink oder Starter Pack – alldas bekommt ihr via radionukular.de/gamersonly und mitdem Code NUKULAR spart ihr saftige 15% auf eure Bestellung.Cooler Shop: nerdyterdygang.deCooles Patreon mit viel Sondercontent und geilem Discord:www.patreon.com/diemancave Hosted on Acast. See acast.com/privacy for more information.

In this episode, we're talking about beloved computer game, The Sims, with special guest Ruth Ormiston. Ruth (they/them) is a book designer and cultural worker with an MA in English Literature from the University of Victoria (where they specialized in late-nineteenth-century children's publishing) and a Master of Publishing from Simon Fraser University. And they're a fan of The Sims.Released 25 years ago, the game has seen many updates and dozens of expansion packs, all while retaining a grip on children and adults alike who flock to it for escapism, world-building, chaos, and play. In our conversation, Hannah contextualizes its reception in the early aughts and helps us understand its enduring success across a diverse audience through a look at Jack Halberstam's work, The Queer Art of Failure. Together, Ruth, Marcelle and Hannah consider the pleasure of the open-endednesThe Sims provides, while still being a designed game that has particular ideas about the world coded into it. As you can imagine, the conversation turns to heteropatriachy and capitalism before deep-diving into the exit-less pool of subversive possibilities enabled in the gameplay itself.This episode cites work from Tanja Sihvonen, Jack Halberstam, Diane Nutt, Diane Railston, Hanna Wirman and Rhys Jones.. ***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we're talking about beloved computer game, The Sims, with special guest Ruth Ormiston. Ruth (they/them) is a book designer and cultural worker with an MA in English Literature from the University of Victoria (where they specialized in late-nineteenth-century children's publishing) and a Master of Publishing from Simon Fraser University. And they're a fan of The Sims.Released 25 years ago, the game has seen many updates and dozens of expansion packs, all while retaining a grip on children and adults alike who flock to it for escapism, world-building, chaos, and play. In our conversation, Hannah contextualizes its reception in the early aughts and helps us understand its enduring success across a diverse audience through a look at Jack Halberstam's work, The Queer Art of Failure. Together, Ruth, Marcelle and Hannah consider the pleasure of the open-endednesThe Sims provides, while still being a designed game that has particular ideas about the world coded into it. As you can imagine, the conversation turns to heteropatriachy and capitalism before deep-diving into the exit-less pool of subversive possibilities enabled in the gameplay itself.This episode cites work from Tanja Sihvonen, Jack Halberstam, Diane Nutt, Diane Railston, Hanna Wirman and Rhys Jones.. ***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Inspired by Celine Song's release of Materialists, BAOLIT talks sophomore efforts from a handful of directors, and throws in a bit of discussion of James Gunn's Superman

Director Celine Song

We are back recapping all the big summer movies and TV shows! We share with you what we've been watching which includes films such as Superman, The Materialists, The Fantastic Four: First Steps, F1, Jurassic World: Rebirth, & more! On the TV side we talk about Dept. Q, Ginny & Georgia, Quarterback, Real Housewives of Atlanta and so much more! We also share some book recommendations and what fall releases we are most excited for, it's a packed episode! Follow the show on social media!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow our YouTube Channel:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@PodcastSilver⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jared⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Katie⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Be sure to rate and review the show wherever you listen!

About Hilary Robertson Dollhouse, palazzo, loft, treehouse? Hilary Robertson has been arranging and rearranging her own and other people's things in inspiring settings for decades. After working in London as a stylist and editor-at-large for European newspapers and magazines (Vogue Living, Livingetc, Elle) she moved to New York where she works as a multi- tasking creative for clients eg Sunbrella, ABC Home, West Elm, and many more. Her superpower is finding evocative locations to showcase her clients' products. She's written 7 books about design and is currently working on The Materialist, an exploration of texture in interiors. Summary In this engaging conversation, Hilary Robertson, a renowned stylist and author, shares her journey through the world of interior design and styling. From her early days in London to her current projects in New York, Hilary discusses the evolution of her career, the challenges she faced, and the importance of mentorship. She emphasizes the influence of travel on her design aesthetic and offers valuable advice for aspiring stylists. The conversation highlights her creative process, the balance between personal life and career, and her excitement for upcoming projects. Gold Nuggets Internships are crucial for training in styling. Every shoot presents a new opportunity for creativity. Writing as a significant part of her journey. Travel greatly influences design perspective. Mentorship is important in the creative industry Encouragement to aspiring stylists to practice and seek inspiration. Show Notes 00:00 Introduction to Hilary Robertson 03:06 The Journey to Becoming a Stylist 06:51 Early Career and Breakthrough Moments 10:42 Creative Freedom in Styling 15:51 Challenges and Resilience in the Industry 20:10 Balancing Personal Life and Career 24:51 The Evolution of Writing and Publishing 28:10 Influence of Travel on Design 30:24 Mentorship and Influence in the Industry 31:16 Current Projects and Future Aspirations 34:28 Advice for Aspiring Stylists   Where to find Hilary: Substack: https://substack.com/@nomadathome Instagram: https://www.instagram.com/hilaryrobertson/ Website: https://www.mrsrobertsonstudio.com/   Join our community! Follow this podcast and share with a friend! In the world of podcasts, reviews are everything! Please rate and review this episode on your favorite platform.  Visit our website to get the latest on episodes, behind the scenes info, and upcoming events & retreats.  Say hi on the gram!

This week on The World’s Greatest Comic Book Podcast™: JC, Joce, and Jeff assemble for all the news and reviews of the week! In Tinsel Town, we watched The Thursday Murder Club, The Great British Baking Show, Wednesday, The MCU, Materialists, The Roses, Strange New Worlds and Peacemaker! We remember Scott Spiegel, Graham Greene, and […]

"I just had....time."LO-FI SCI-TEMBER continues with THE MAN FROM EARTH! We also discuss how our SOLD OUT meet-up went, Danny watching the spider men, Proto settling the score on JURASSIC WORLD REBIRTH, slime enjoying MATERIALISTS and much more. In the uncut portion of the episode we got into chicken updates, SYSTEM OF A DOWN, the Austin comedy scene, film development, and some other stuff, too.Chapters:(00:00:00) Introductions + Meetup(00:08:23) What we watched(00:21:18) The Man From Earth(01:03:11) Next weekSupport the 70mm Patreon to join our VHS Village Discord and access exclusive episodes in the 70mm Vault like the 1990s Batman movies, Harry Potter, The Matrix, SHIN Godzilla, and over 70 others. Signing up for the Patreon also get your own membership card, member-only discounts on merch, and the ability to vote on future episodes!Don't forget you can visit our website to shop our storefront to buy prints and merch, follow us on Letterboxd, email the show, and much more.70mm is a ⁠TAPEDECK⁠ podcast, along with our friends at ⁠BAT & SPIDER⁠,  ⁠The Letterboxd Show⁠, Austin Danger Pod, ⁠Escape Hatch⁠, ⁠Will Run For...⁠, ⁠Lost Light⁠, ⁠The Movie Mixtape⁠, and ⁠Twin Vipers⁠.(Gone but not forgotten; ⁠Cinenauts⁠ + ⁠FILM HAGS⁠.) ★ Support this podcast on Patreon ★

Movies covered in this episode include, The Materialists, Forest Gump, Dreams, Cloud, The Fantastic Four, The Naked Gun, Highest 2 Lowest. Amongst others.

en esta emision de Badulaque platicaremos de la segunda temporada de Peacemaker,las peliculas Bring Her Back,Materialists y el documental de HBO - Billy Joel: And So It Goes,asi como un repaso por el evento de lucha libre "Forbidden Door 2025" Esperamos que este episodio sea de su agrado amigazos!

Jordan Peele's Get Out is a masterpiece both firmly planted in the rich tradition of horror and at the forefront of the growing genre of new Black horror. As auditors of the zeitgeist, we simply had to talk about the splash it made in 2017 and the conversation around its legacy since. In this episode we consider what made the narrative so impactful and we take a closer look at its reception by white audiences and critics who were particularly interested in claiming Peele's work as an example of "Black Excellence." Marcelle and Hannah parse the complexity of the term and pull on Cheryl Thompson's work to understand how "Black Excellence became the veil that shielded people from seeing how our systems and institutions are still rooted in White supremacist notions of ‘success'." To better understand the film itself, Marcelle then draws on “Horrifying Whiteness and Jordan Peele's Get Out" written by Julia Mollenthiel — an artcile that defines a theoretical lens to help us think about the growing genre of new Black horror: “horrifying whiteness.”Even if you're a weenie when it comes to horror, this is an episode you don't want to miss! We promise there are no jump scares!***To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

【主播的话】生活在当代都市，你或多或少都接触过“医美”——医美，即医疗美容，是指运用药物、手术、医疗器械等医学技术，对容貌和人体各部位形态进行修复与再塑的美容方式。它涵盖了从简单的皮肤护理到复杂的整形手术等多种项目，旨在通过医学手段改善或重塑人们的外观。医美不只与医疗技术有关，它亦与美相关。我们该如何看待医美的流行？它是一种顺从社会审美的“服美役”，还是一种自我掌控和悦己的方式？是否存在“披着自由的外衣的不自由”？我们选择进行医美项目的动机到底是什么？是改善缺陷、自信提升，还是对“更完美自己的想象”？毋庸置疑，医美已经成为了现代社会不可忽视的一环。作为普通的消费者，在面临海量的医美信息时，我们该如何筛选？为什么解决医美领域的信息不对称如此重要？在一个专业门槛高、消费者的焦虑指数也很高的行业里，信息透明如何影响决策安全？【本期主播】若含：微博@_R若含王磬：微博@王磬【本期嘉宾】六层楼：前妇产科医生，女性健康领域全网千万粉丝大V。微博@六层楼先生【本期剧透】02:01 “医美界的李时珍”六层楼：居然亲身试过这么多医美项目09:27 早年美容院的“饭后医美”陷阱：只是去护肤，却被忽悠打个水光针11:57 在《加州旅馆》的BGM 中拉双眼皮，是什么样的体验？23:18 日韩模板、欧洲模板... 我们自己的审美标准是什么？27:25 社会容貌焦虑在流动，明星脸型在变迁30:28 审美扩张的危险：精灵耳、私密部位美化、增高术...37:31 人们为何如此迷恋“外貌反转神话”？“丑女贝蒂”变美实际只是变得符合社会标准45:42 医美机构最应该增加的不是项目，而是心理门诊50:56 既然“更美”永远没有终点，不如用“健康状态感知”替代单一审美追求54:24 医美项目安全指南：“伤口即风险”原则01:00:11 如何走出浩如烟海的医美信息茧房？【相关阅读】Materialists（2025）物质主义者导演：席琳·宋2025年上映的爱情喜剧电影，达科塔·约翰逊、克里斯·埃文斯、佩德罗·帕斯卡主演。影片围绕纽约高端婚恋顾问露西（达科塔·约翰逊饰）展开，她深陷于完美富豪男友哈里（佩德罗·帕斯卡饰）与落魄演员前任约翰（克里斯·埃文斯饰）的情感纠葛中，探讨了物质与爱情之间的冲突。Ugly Betty（2006）丑女贝蒂改编自哥伦比亚同名剧集的美国喜剧电视剧。贝蒂·苏雷兹（亚美莉卡·费雷拉饰）是一个相貌普通但聪明自信的墨西哥裔女孩，因出版业大亨布拉福德（艾伦·戴尔饰）的赏识进入纽约顶级时尚杂志《Mode》担任儿子丹尼尔（埃里克·马比斯饰）的助理。剧情穿插时尚界的权力斗争、职场偏见及角色间的复杂情感。初恋这件小事（2010）导演：普特鹏·普罗萨卡·那·萨克那卡林 / 华森·波克彭普通初中女生小水因暗恋学长阿亮，通过努力学习、改变形象（摘牙套、护肤、参加活动）逆袭为校花，最终在九年后与阿亮重逢并修成正果。【本期音乐】Kevin MacLeod - Night in VeniceJason Shaw - River Meditation【节目制作】方改则【Logo设计】刘刘（ins: imjanuary)【互动方式】小红书@不合时宜微博@不合时宜TheWeirdo商务合作可发邮件至 hibuheshiyi@126.com 或微博私信会员计划咨询可添加微信：hibuheshiyi3 或发送邮件至 hibuhehsiyi@gmail.com

Happy EICelebrations! This week on the podcast we've got... an analysis of the backlash to Millie Bobby Brown's adoption, our review of Netflix's latest reality TV retrospective and Celine Song's love triangle romcom The Materialists. Thank you so much for listening. Could you please gift us a review on Apple or Spotify and vote for us in the British Podcast Awards

The excitement I felt renting this movie was quickly replaced by rage as I weathered its 1 hour and 56 minutes of monotone dialogue. The confused, underdeveloped characters appear to have been conjured as mere tools for condescension and finger wagging at anyone who places value on money as an element of a successful relationship. Despite being marketed as a romcom, this movie is in no way a romcom. Instead, it seems to fancy itself a chiding think piece on the stance that real love means a man's money, income, and savings doesn't matter. As the main character, Lucy, continually tells a man she's dating that he can do so much better...I found myself asking out loud several times how a woman wrote this. If you look at this movie from the broke character's perspective, it is indeed a feel good story. From anyone else's, it's a nightmare. All opinions are personal and not representative of any outside company, person, or agenda. Information shared is sourced via published articles, legal documents, press releases, government websites, public websites, books, public videos, news reports, and/or direct quotes and statements, and all may be paraphrased for brevity and presented in layman's terms.Wanna support this independent pod? Links below:BuyMeACoffee - https://www.buymeacoffee.com/BBDBVenmo @TYBBDB Hosted on Acast. See acast.com/privacy for more information.

Matt is joined by prominent independent film producer Christine Vachon to discuss the general state and health of the independent film market. She discusses her newest film, ‘Materialists,' how her company, Killer Films, has lasted 30 years, the challenge of getting challenging films made, where money is coming from in the indie space, and the current film festival hierarchy (02:15). Matt finishes the show with a prediction about the upcoming Darren Aronofsky film ‘Caught Stealing' (25:58).For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠click here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Email us your thoughts! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thetown@spotify.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Host: Matt Belloni Guest: Christine Vachon Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome back. This week we discover the snacks of Indonesia. We also talk about a lot of tv including the new Hulu show, Alien: Earth and the return of Peacemaker on HBOMax. We also get a review of The Materialists and we crown this week's Awesome Villager.

Summer Box Office Report Cards are the episode's centerpiece. Until then, we discuss Daniel Day-Lewis' return, JLO's latest musical and new animated feature contenders during our Trailer Reviews segment. We review new movies like K-Pop Demon Hunters, Honey, Don't, Relay and Eenie Meenie during our Box Office Report and What We're Watching segments. Plus, AlsoMike turns heel with a shockingly bad review of a beloved classic. Clayton Davis' latest piece on “No Kings” in the Race Thus Far - 1:50 TRAILER REVIEWS: Anemone, starring Daniel Day-Lewis - 5:04 Arco, a new animated feature contender from NEON - 9:04 The Mastermind, a future MMO classic from Kelly Reichardt - 12:26 Hedda, a new YouTube trailer hit gives us Saltburn & sexy Downton Abbey vibes - 15:14 Eleanor The Great, a hope that this movie might not actually be another Goldfinch - 17:31 Kiss of the Spider Woman, a JLO starrer with a 2nd trailer that gives us pause - 19:48 BOX OFFICE REPORT: K-Pop Demon Hunters, Also Mike's Review + Netflix's #1 Box Office Sing-A-Long - 23:20 Talking Weapons' holding strong and the rest of the Top 8 - 24:13 Reviewing Honey, Don't - 25:51 Reviewing Relay, starring Riz Ahmed and discussing the rest of the Top 15 - 27:28 SUMMER BOX OFFICE REPORT CARDS (BY GENRE & SINCE MAY): Superhero Films: Thunderbolts*, Superman & The Fantastic Four - 30:44 Pure Action like Mission Impossible, Ballerina, etc. + A Lone Sports Film Hit in F1 - 34:34 Comedies from Friendship to The Naked Gun - 37:01 Dramas like The Life of Chuck & Eddington + Romances like Materialists - 40:13 Horror is still crushing it at the box office from Clown in a Cornfield through Weapons - 44:06 Family Films are buoying it all from Lilo & Stitch through Jurassic World - 46:55 WHAT WE'RE WATCHING: Other than what we've reviewed already… Eenie Meenie + a Sinners rewatch - 50:35 The Conjuring: The Devil Made Me Do It + The Last Detail revisited by M1 - 52:34 M2's slander filled heel turn for a beloved classic. What has he done?! - 55:55 OUTRO: Make sure to throw your rotten vegetables at AlsoMike via social media. You can find all our links here https://linktr.ee/mikemikeandoscar Otherwise, if you're somehow still taken with us, do please support our show by liking, subscribing, rating, and reviewing our podcast favorably in the eyes of all the algorithms out there. We certainly thank you for sticking by us during these contemptible times.

In this week's episode I sat down with Violet Ferguson. Violet is an emerging producer, content creator, and disability advocate based near Toronto, Ontario. Over the past few years, she's focused on sharing disability-led stories and supporting disabled voices through her filmmaking and advocacy work. She recently served as the associate producer on the award-nominated series The Squeaky Wheel: Canada, a disability-focused production that prioritized accessibility and disability representation both in front of and behind the camera—now heading into its second season. We discuss the 2025 film Materialists starring Dakota Johnson, Pedro Pascal, and Chris Evans. More specifically, we discuss a topic that's not often mentioned on-screen. Spoilers ahead.Follow Violet: Instagram: @itsvioletferguson TikTok: @itsvioletferguson Website: https://violetferguson.caFollow Me: Instagram: ⁠@jill_ilana⁠ , ⁠@alwayslookingup.podcast⁠ TikTok: ⁠@jillian_ilana⁠ Website: ⁠https://www.jillianilana.com⁠ Email: ⁠alwayslookingup227@gmail.com⁠Read With Me:⁠Goodreads⁠⁠The StoryGraph⁠Support Immigrant Communities (all links came from ⁠@chnge⁠):The Coalition for Humane Immigrant Rights of Los Angeles (⁠@chirla_org⁠): ⁠https://www.chirla.org/donatenow/⁠Immigrant Defenders Law Center (⁠@immdef_lawcenter⁠): ⁠https://www.immdef.org⁠Inland Coalition 4 Imm Justice (⁠@ic4ij⁠): ⁠https://secure.actblue.com/donate/jornaleros⁠Relief For Disabled People Impacted By The Los Angeles Fires:Richard Devylder Disaster Relief Fund: ⁠https://disabilitydisasteraccess.org/rd-relief-fund/⁠United Spinal Disaster Relief Grant: ⁠https://unitedspinal.org/disaster-relief-grant/⁠Inevitable Foundation Emergency Relief Fund: ⁠https://www.inevitable.foundation/erf⁠

Spiritual people versus Materialist people. Communism demands that all American traditions be destroyed.

We debate whether or not M3GAN 2.0 is an upgrade plus we also discuss Basquiat, Karate Kid: Legends and Alien: Earth and Reed tries to understand the appeal of Debbie Does Dallas. 0:00 - Intro 21:55 - Review: M3GAN 2.0 1:02:00 - Other Stuff We Watched: Debbie Does Dallas, Alien: Earth, Basquiat, Karate Kid: Legends, Materialists, The Life of Chuck, Devo, Star Trek: Strange New Worlds 1:59:05 - This Week on DVD, Blu-ray and VOD 2:06:10 - Outro 2:12:30 - Spoiler Discussion: M3GAN 2.0

We're finally talking about Hamilton! It's been ten years since the show premiered on Broadway and that's just enough time to have some perspective on its lasting impact. For this episode, we had to bring on previous guest and brilliant academic, Shira Lurie (who joined us on Witch, Please for Book 7, Ep. 2). As an expert in American History, Shira helps Hannah and Marcelle explore "Hamilton" as a reflection of the Obama era's rhetorical progressivism and political centrism. They discuss how the show leans on the myth of the American Dream and Hannah places the show in the hagiographic tradition of biography. If you love the musical or hate the musical, not to worry! We promise, this episode is for fans and critics alike.To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

This week's episode of the Empire Podcast will haunt your nightmares, but in a good way, as Chris Hewitt returns to the host chair, just in time to tackle, with Beth Webb and Amon Warmann, a Mount Rushmore question about the best Final Girls in horror movies. Their final choices may shock you, but that's nothing compared to the bit where Chris explains Freddy Krueger to Amon, who has never seen a Nightmare On Elm Street movie. Terrifying stuff. Elsewhere in the show, our intrepid trio also discuss the week's movie news (hello, Marty Supreme trailer!), and review Celine Song's Materialists, Nobody 2, and Together, the horror film in which Dave Franco and Alison Brie literally fuse together. Which wasn't weird at all for the real-life married couple, who also guest on this week's episode, talking to Mike Muncer about that very singular experience. [1:03:58 - 1:15:10 approx] And, finally on the guest front, Harry Stainer sits down with Celine Song to talk about her wonderful new movie, and the nature of love. Heavy, man. [29:02 - 44:40 approx] Enjoy, and sorry about the spooky child-like singing.

Today on The Run-Through with Vogue, we bring you an episode from The New Yorker's podcast, Critics at Large.Audiences have been bemoaning the death of the romantic comedy for years, but the genre persists—albeit often in a different form from the screwballs of the nineteen-forties or the “chick flicks” of the eighties and nineties. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss their all-time favorite rom-coms and two new projects marketed as contemporary successors to the greats: Celine Song's “Materialists” and Lena Dunham's “Too Much.” Do these depictions of modern love—or at least the search for it—evoke the same breathless feeling as the classics do? “I wonder if the crisis in rom-coms has to do with a crisis in how adult women want to be or want to see themselves,” Schwartz says. “I think both of these projects are basically trying to speak to the fact that everyone's ideals are in question.”Read, watch, and listen with the critics:“Sex, Love, and the State of the Rom-Com” (The New Yorker)“Materialists” (2025)“Too Much” (2025)“Working Girl” (1988)“You've Got Mail” (1998)“When Harry Met Sally” (1989)“Love & Basketball” (2000)“The Best Man” (1999)“Our Romance with Jane Austen” (The New Yorker)“Girls” (2012-17)“Adam's Rib” (1949)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Learn about your ad choices: dovetail.prx.org/ad-choices Learn about your ad choices: dovetail.prx.org/ad-choices

Our latest guest on Soundtracking is Celine Song, writer and director of romantic comedy, The Materialists. Starring Dakota Johnson, Chris Evans and Pedro Pascal, the film follows the story of a New York City matchmaker torn between her aspiring-actor ex-boyfriend and a charming millionaire. It's scored beautifully by our old friend, Daniel Pemberton.

We're back from our summer break with an episode about The Hunger Games. Heads up that this episode connects the fictional world of Panem to real-world issues of representation and human rights, drawing parallels between the text and the genocide in Gaza. In this conversation, Hannah and Marcelle dig into representations of violence, resistance movements, and the normalization of child death. They then explore how Suzanne Collins' dystopian series engages with the concept of "grievability" and they consider The Hunger Games' immersive marketing campaigns that cemented the work as a mainstream cultural phenomenon. To learn more about Material Girls, head to our Instagram at instagram.com/ohwitchplease! Or check out our website ohwitchplease.ca. We'll be back next week with a Material Concerns episode, but until then, go check out all the other content we have on our Patreon at Patreon.com/ohwitchplease! Patreon is how we produce the show and pay our team! Thanks again to all of you who have already made the leap to join us there!***Material Girls is a show that makes sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Jared and Jordana are back with another movie review episode of The Materialists, directed by Celine Song and starring Dakota Johnson, Chris Evans, and Pedro Pascal. Spoiler alert!! J&J break down the film's portrayal of matchmaking as cold and transactional, and ask whether Song set out to take down the matchmaking industry altogether. From red flag roommate situations to Coke-and-beer drink orders, J&J debate every messy decision and chaotic romance. Is it a rom-com, a satire, or something much darker? Learn more about your ad choices. Visit megaphone.fm/adchoices

For The New Yorker's series Takes, Carrie Brownstein—the co-creator of Sleater-Kinney and “Portlandia”—writes about an iconic rock-and-roll image. In the summer of 2003, the musician Chan Marshall, better known as Cat Power, was transitioning from an indie darling to a major rock artist, and the staff writer Hilton Als wrote a Profile of her in The New Yorker. Facing his piece was a full-page portrait of Marshall by the celebrated photographer Richard Avedon that puts her in the lineage of rock rebels of generations past. With a long ash dangling from her cigarette, a Bob Dylan T-shirt, and her jeans half unzipped, Cat Power “maybe doesn't give a shit about being in The New Yorker,” Brownstein thinks, “which I can't say is usually the vibe.” Avedon's image reminds Brownstein “to keep remembering … to keep going back to that place that feels sacred and special and uncynical.” Carrie Brownstein's Take on Richard Avedon's portrait of Cat Power appeared in the April 20, 2025, issue. Plus, audiences have been bemoaning the death of the romantic comedy for years, but the genre persists—albeit often in a different form from the screwballs of the nineteen-forties or the “chick flicks” of the eighties and nineties. On this episode from the Critics at Large podcast, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss their all-time favorite rom-coms and two new projects marketed as contemporary successors to the greats: Celine Song's “Materialists” and Lena Dunham's “Too Much.”

The director Celine Song won over audiences and critics alike with her first feature film, “Past Lives,” the semi-autobiographical tale of a married Korean American woman meeting up with her former childhood sweetheart. Now Song is back with another story about love called “Materialists.” This time the main character is a matchmaker, a job that Song did briefly in her early 20s.On this episode of “Modern Love,” Song reads Louise Rafkin's Modern Love essay “My View From the Margins,” about a relationship columnist who can't figure out love in her own life. And Song tells us how neither falling in love at age 24 nor making a career of writing about love has brought her any closer to understanding it. “It's the one thing that makes me feel like a fool,” Song says.For more Modern Love, search for the show wherever you get your podcasts. New episodes every Wednesday.  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.

Benicio del Toro talks about his leading role in Wes Anderson's new film, The Phoenician Scheme. He'll look back on his acting career, and tell us about moving from Puerto Rico to Pennsylvania in his teens. His other movies include The Usual Suspects, Traffic and Sicario. Justin Chang reviews the new rom-com Materialists, starring Dakota Johnson. MSNBC political analyst Molly Jong-Fast's mother Erica Jong became famous from her 1973 novel Fear of Flying, which was considered a groundbreaking work of feminist literature. But Molly's mom became addicted to the fame and couldn't bear to lose it. She talks about her childhood and a year of great loss in her new memoir, How to Lose Your Mother.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy