Podcasts about Michael Schulman

Dean Bedford reviews Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears by Michael Schulman published by HarperCollins

As our centennial series continues and with Sunday's Oscar ceremony, Michael Schulman, New Yorker staff writer and the author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears (Harper Collins, 2023), takes us through the decades of Best Picture winners and what they tell us about their time.

Dyskusja rozgorzała jeszcze przed premierą. „Rola samotnego, otyłego mężczyzny, którą zagrał aktor, przyniosła mu Oscara, ale wiele osób z ruchu grubancypacji z przerażeniem oczekuje tego filmu” – pisał o Wielorybie Darrena Aronofsky'ego (2022) Michael Schulman na łamach „New Yorkera”. Zuzanna Kowalczyk poleca filmy, książki i podcasty, które pozwalają lepiej zrozumieć, z czym mierzą się osoby zmagające się z chorobą otyłościową.  Posłuchajcie! Wersja audio felietonu powstaje we współpracy z Audioteką. Czyta Magda Celmer. ---------------------------------- Słuchaj więcej materiałów audio w stałej, niższej cenie. Wykup miesięczny dostęp online do „Pisma”. Możesz zrezygnować, kiedy chcesz. https://magazynpismo.pl/prenumerata/miesieczny-dostep-online-audio/

What do Lily Tomlin, Snow White, and Kenny Ortega have in common? They were all part of the 61st Academy Awards, a broadcast now remembered as the worst of all time, and masterminded by Allan Carr (lover of spectacle and producer of Grease). But awards season correspondent and New Yorker staff writer Michael Schulman is here to argue that the tackiest, most disastrous Oscars of all time might just be... unfairly maligned. And to tell us what's bringing you joy and excitement right now, send us a voice memo (three minutes or shorter) at sloppyandalive (at) gmail (dot) com. We can't wait to hear from you.Michael's book Oscar Warshttps://www.harpercollins.com/products/oscar-wars-michael-schulman?variant=41063519387682Michael's New Yorker pagehttps://www.newyorker.com/contributors/michael-schulmanthe video of the opening numberhttps://www.youtube.com/watch?v=9mronRVvdmwthe video of Pee-wee and RoboCophttps://www.youtube.com/watch?v=ETFHeMSIMGc&t=63sAnd the book Michael mentioned about Allan Carr, Party Animals, is herehttps://www.dacapopress.com/titles/robert-hofler/party-animals/9780306818943/Support You're Wrong About:Bonus Episodes on PatreonBuy cute merchWhere else to find us:Sarah's other show, You Are GoodLinks:https://www.harpercollins.com/products/oscar-wars-michael-schulman?variant=41063519387682https://www.newyorker.com/contributors/michael-schulmanhttps://www.youtube.com/watch?v=9mronRVvdmwhttps://www.youtube.com/watch?v=ETFHeMSIMGc&t=63shttps://www.dacapopress.com/titles/robert-hofler/party-animals/9780306818943/http://patreon.com/yourewrongabouthttps://www.teepublic.com/stores/youre-wrong-abouthttps://www.paypal.com/paypalme/yourewrongaboutpodhttps://www.podpage.com/you-are-goodSupport the show

The Oscars aren't just about the movies—they're about politics, too. Audie talks with New Yorker staff writer Michael Schulman, author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears. They break down the high-stakes world of Oscar campaigning including who's pulling the strings behind the scenes, and what this year's race reveals about the shifting dynamics of the industry.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Introducing Julianne Moore at the New Yorker Festival, in October, the staff writer Michael Schulman recited “only a partial list” of the directors Moore has worked with, including Robert Altman, Louis Malle, Todd Haynes, Paul Thomas Anderson, Lisa Cholodenko, Steven Spielberg, the Coen brothers, and many more legends. It seems almost obvious that Moore co-stars (alongside Tilda Swinton) in Pedro Almodóvar's first feature in English, “The Room Next Door,” which comes out in December. Moore has a particular knack with unremarkable characters. “I don't know that I seek out things in the domestic space, but I do think I'm really drawn to ordinary lives,” she tells Schulman. “I've never been, like, I'm going to play an astronaut next. . . . A lot of these stories [are] domestic stories—well, that's the biggest story of our lives, right? How do we live? Who do we love? . . . Those are the things that we all know about.”New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

“Gypsy,” a work by Stephen Sondheim, Jule Styne, and Arthur Laurents, is often called the greatest of American musicals; a new production on Broadway is a noteworthy event, especially when a star like Audra McDonald is cast in the lead role of Rose. McDonald has won six Tonys for her acting, in both plays and musicals. In the repertoire of musicals, race in casting is still very much an issue, and one columnist criticized her portrayal of Rose because of her race. “I have dealt with this my entire career,” McDonald tells Michael Schulman, recalling that in her breakout performance, in “Carousel,” some audiences “were upset with me that I was playing Carrie, saying, ‘She wouldn't have been Black.' There's a man who comes down from heaven with a star in his hand!” In a wide-ranging interview onstage at The New Yorker Festival, McDonald discusses how when she was a child theatre was initially intended to be a type of therapy for her, and the roles her parents wouldn't let her take. “Gypsy” is currently in previews on Broadway. 

Katey talks to Civil War star Kirsten Dunst about her powerful work in the Alex Garland thriller, and how she decides when it's worth taking on a movie when she's got two young boys demanding her attention at home. The episode also features a conversation with New Yorker staff writer and author Michael Schulman about the big narratives driving this year's awards season, from the breakout stars to the movie that's a metaphor for the Oscars themselves. Subscribe to the Prestige Junkie newsletter.  Follow Katey on X and Letterboxd.  Follow The Ankler. 

The rapidly escalating conflict between Israel and Hezbollah in Lebanon prompted a strong reaction from the Chinese government this week. Chinese Foreign Minister Wang Yi met with his Lebanese counterpart Abdallah Bou Habib on Monday at the UN in New York and condemned Israel's actions as “indiscriminate attacks against civilians." It's notable, though, that neither Wang nor other Chinese officials made any mention of Hezbollah's missile strikes on targets in Israel, including those that hit civilian areas. The deteriorating security environment in the Middle East is a critical time for China, which is transitioning from a strategy of "hedging" to one that is increasingly focused on "wedging." Jonathan Fulton and Michael Schuman, senior nonresident scholars at The Atlantic Council in Washington, D.C., join Eric & Cobus to discuss their new report on China's Mideast strategy and Beijing's new regional priorities. SHOW NOTES: The Atlantic Council: China's Middle East policy shift from “hedging” to “wedging” by Jonathan Fulton and Michael Schulman: https://tinyurl.com/286pyh3o Subscribe to The China-MENA Newsletter by Jonathan Fulton: https://chinamenanewsletter.substack.com/ Subscribe to The China-MENA Podcast on Spotify: https://tinyurl.com/256tdywu JOIN THE DISCUSSION: X: @ChinaGSProject | @eric_olander | @stadenesque Facebook: www.facebook.com/ChinaAfricaProject YouTube: www.youtube.com/@ChinaGlobalSouth FOLLOW CAP IN FRENCH AND ARABIC: Français: www.projetafriquechine.com | @AfrikChine Arabic: عربي: www.alsin-alsharqalawsat.com | @SinSharqAwsat JOIN US ON PATREON! Become a CGSP Patreon member and get all sorts of cool stuff, including our Week in Review report, an invitation to join monthly Zoom calls with Eric & Cobus, and even an awesome new CGSP Podcast mug! www.patreon.com/chinaglobalsouth

The rapidly escalating conflict between Israel and Hezbollah in Lebanon prompted a strong reaction from the Chinese government this week. Chinese Foreign Minister Wang Yi met with his Lebanese counterpart Abdallah Bou Habib on Monday at the UN in New York and condemned Israel's actions as “indiscriminate attacks against civilians." It's notable, though, that neither Wang nor other Chinese officials made any mention of Hezbollah's missile strikes on targets in Israel, including those that hit civilian areas. The deteriorating security environment in the Middle East is a critical time for China, which is transitioning from a strategy of "hedging" to one that is increasingly focused on "wedging." Jonathan Fulton and Michael Schuman, senior nonresident scholars at The Atlantic Council in Washington, D.C., join Eric & Cobus to discuss their new report on China's Mideast strategy and Beijing's new regional priorities. SHOW NOTES: The Atlantic Council: China's Middle East policy shift from “hedging” to “wedging” by Jonathan Fulton and Michael Schulman: https://tinyurl.com/286pyh3o Subscribe to The China-MENA Newsletter by Jonathan Fulton: https://chinamenanewsletter.substack.com/ Subscribe to The China-MENA Podcast on Spotify: https://tinyurl.com/256tdywu JOIN THE DISCUSSION: X: @ChinaGSProject | @eric_olander | @stadenesque Facebook: www.facebook.com/ChinaAfricaProject YouTube: www.youtube.com/@ChinaGlobalSouth FOLLOW CAP IN FRENCH AND ARABIC: Français: www.projetafriquechine.com | @AfrikChine Arabic: عربي: www.alsin-alsharqalawsat.com | @SinSharqAwsat JOIN US ON PATREON! Become a CGSP Patreon member and get all sorts of cool stuff, including our Week in Review report, an invitation to join monthly Zoom calls with Eric & Cobus, and even an awesome new CGSP Podcast mug! www.patreon.com/chinaglobalsouth    

Patti LuPone has been a mainstay on Broadway for half a century. She's appeared in some 30 Broadway productions and has won three Tony Awards for her roles in “Evita,” “Gypsy,” and “Company.” And somehow, LuPone's career seems to be picking up steam in its sixth decade. Now LuPone is returning to Broadway in “The Roommate,” a play she's starring in alongside Mia Farrow.  At the same time, she is débuting in the Marvel Cinematic Universe, playing a witch in the miniseries “Agatha All Along.”  The staff writer Michael Schulman first wrote about LuPone (in one strange, forgotten dead end of her career) in 2019, and recently spoke with LuPone at her home.  Is it true, he wanted to know, that LuPone recently had Aubrey Plaza—her castmate on “Agatha”—for a short-term roommate?  Plaza had been offered her first role in a play, as LuPone relates it, and “she'd never been onstage. I know from years of experience how it can shock you, what is required of you to be a stage actor.” LuPone, the veteran, “was concerned for her. I said, Why don't you just stay with me and let me walk you through this as you come home like a deer caught in the headlights. … I did do her laundry, and I did make her soup.” 

From early, Oscar-winning roles in The Deer Hunter and Sophie's Choice, through to Mamma Mia! and The Iron Lady, Meryl Streep has earned a reputation as the greatest actress of our times. As the star receives an honorary Palme D'Or at the Cannes Film Festival, Ellen E Jones and Mark Kermode discuss the remarkable depth, breadth and legacy of her career.Ellen speaks to writer Michael Schulman, author of Her Again: Becoming Meryl Streep, about the actor's beginnings in the 1970s, and the power of a Meryl acceptance speech. And she discusses the actress' breakout comedic role alongside Roseanne Barr in 1989's She-Devil, with the film's director Susan Seidelman. And Mark speaks to actor Kate Winslet about her decades-long love for Meryl's work, from Angels In America to Death Becomes Her, and about how it felt to beat her heroine to a Best Actress Oscar. Producer: Jane Long A Prospect Street production for BBC Radio 4

In this episode, Michael Schulman, author of "Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears'' sits down with host Tara Jabbari for a conversation about notable Oscars moments and their larger significance. Michael shares how voting works for the Academy Awards, and the two discuss how the famous ceremony is a lens into how Hollywood thinks. You'll hear more about some notable chapters from the book (like when Gregory Peck was the President of the Academy, or when Harvey Weinstein played dirty in campaigning), history-making moments, and more! Learn more about Michael Schulman: https://www.michael-schulman.com/ Article Michael wrote on Oscar nominations and “Barbie's” lack of nominations https://www.newyorker.com/culture/notes-on-hollywood/the-oscars-are-confused-about-barbie Buy “Oscar Wars” https://www.harpercollins.com/products/oscar-wars-michael-schulman

Merriam-Webster's Word of the Day for March 24, 2024 is: megillah • muh-GHIL-uh • noun Megillah is slang for a long, involved story or account. Megillah can also refer to a complicated sequence of events, or it can be used as a synonym of ball of wax meaning “everything involved in what is under consideration.” All three senses of megillah are often preceded by the adjective whole. // Don't worry about reciting the whole megillah from last night's game; just give me the highlights. // Our grandfather always made a whole megillah out of Sundays, waking up before dawn to visit yard sales, then cooking a big meal in the afternoons for our extended family. See the entry > Examples: “What's in a middle name? Pretty much the whole megillah, for the media scion known as Kendall Logan Roy. That middle name is more than just his father's branding—it's the gravitational core around which Kendall's selfhood swings. For four seasons of ‘Succession,' we've watched the mercurial magnate's second son and occasional heir apparent strain against his birthright, sometimes plotting to overthrow his father, other times weeping submissively into his chest.” — Michael Schulman, The New Yorker, 25 May 2023 Did you know? Megillah comes from the Yiddish word megile, which itself comes from the Hebrew noun mĕgillāh, meaning “scroll” or “volume.” (Mĕgillāh is especially likely to be used in reference to the Book of Esther, which is read aloud at Purim celebrations.) It makes sense, then, that when megillah first appeared in English in the early 20th century, it referred to a story that was so long (and often tedious or complicated) that it was reminiscent of the length of the mĕgillāh scrolls. The Hebrew word is serious, but the Yiddish megile can be somewhat playful, and English's megillah has also inherited that lightheartedness.

In 1974, Robert Opel ran naked through the Academy Awards telecast, and into American history. Today, Michael Schulman, a staff writer at The New Yorker and the author of Oscar Wars, tells Sarah the story of gay history, art, and tragedy that happened after Robert's fifteen minutes were over.Read Michael's work here.Support You're Wrong About:Bonus Episodes on PatreonBuy cute merchWhere else to find us:Sarah's other show, You Are GoodLinks:https://www.newyorker.com/contributors/michael-schulmanhttp://patreon.com/yourewrongabouthttps://www.teepublic.com/stores/youre-wrong-abouthttps://www.paypal.com/paypalme/yourewrongaboutpodhttps://www.podpage.com/you-are-goodSupport the show

EPISODE 26 - “Oscar Fever: A Brief History of the Academy Awards” - 03/10/2024 The winners. The losers. The speeches. The gowns. The glamour. The cringey moments. Nothing toys with a film lovers' emotions like the pageantry of the Academy Award ceremony…or the Oscars, as it has become known. Somewhere, right now, there are people still arguing over whether GRACE KELLY deserved to win the Best Actress Oscar in 1955 for “The Country Girl” over JUDY GARLAND for “A Star Is Born.” The Oscars breeds its own drama. We've had streakers, protests, Rob Lowe dancing with Snow White, stolen Oscar statues, mixed up winner's envelopes, and even a slap heard round the world. Join us in a very special episode that dives into the history, controversies, and fun facts of the Oscars.  SHOW NOTES:  Sources: Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears (2023), by Michael Schulman;  Inside Oscar: The Unofficial History of the Academy Awards (1986), by Mason Wiley and Damien Bona; The Real Oscar: The Story Behind The Academy Awards (1981), by Peter H. Brown; Seventy-Five Years of the Oscars: The Official History of The Academy Awards (2003), by Robert Osborne; Oscar Dearest (1987), by Peter H. Brown and Jim Pinkston; The Film Encyclopedia (1994), By Ephraim Katz; Leonard Maltin's Movie Encyclopedia (1994), by Leonard Maltin; “The Academy's Guide to Movies, Academy of Motion Picture Arts and Sciences,” A.frame.oscars.org; “The Silent Oscars,” February 8, 2014, moviessilently.com; “… It's the Oscars that Got Small,” March 7, 2023, by Alexandra Jacobs, New York Times; “The House That Mr. Mayer Built: Inside the Union-Busting Birth of the Academy Awards,” February 21, 2014, by David Thomson, Vanity Fair; IMDBPro.com; Wikipedia.org; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the 96th Academy Awards this Sunday, we wanted to revisit this episode from last year. The Oscars seems to be cursed with a series of chaotic live television gaffes. But one moment in Academy Award history takes the cake. In 1974, a scrawny white man named Robert Opel ran across the stage butt naked, right as the Best Picture category was being announced. New Yorker magazine writer and Oscars aficionado Michael Schulman recounts the queer, wonderful, and historic life of the 1974 Oscars streaker.  You can read the full story here: https://www.newyorker.com/magazine/2023/02/06/what-became-of-the-oscar-streaker  You can find Michael Schulman's new book Oscar Wars here.See omnystudio.com/listener for privacy information.

Det har stormat en hel del kring Oscarsgalan genom åren. Den amerikanska författaren Michael Schulman har skrivit boken Oscar Wars: A history of Hollywood in gold, sweat and tears. Sveriges Radios USA-korrespondent Roger Wilson har träffat honom. Lyssna på alla avsnitt i Sveriges Radio Play.

Millions of people will tune in to see the Academy Awards this Sunday night. A select few hundred will get to actually be there in person...including Michael Schulman. He's a huge Oscars fan, and the author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears.

The City reporter Gwynne Hogan talks about how New York officials are handling a housing crisis as migrants arrive in the city. And, NPR's Jackie Northam breaks down the Houthi missile attack that killed three people on Wednesday. Then, New Yorker writer Michael Schulman talks about his book "Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears."Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This Sunday is the Academy Awards, so we've invited Michael Schulman, author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears, to join us for an hour of the show to break down the history of Hollywood's biggest night. This segment is guest-hosted by Kousha Navidar. 

This Sunday is the Academy Awards, so we've invited Michael Schulman, author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears, to join us for an hour of the show to break down the history of Hollywood's biggest night. This segment is guest-hosted by Kousha Navidar. 

Description: Michael Schulman, New Yorker staff writer and author, joined us to discuss the Oscar experience. Michael recently wrote the wonderful book, Oscar Wars. We talk about this year's Oscars and a couple of the controversies, and then we dive into one of his book chapters. This was when Gregory Peck was President of the… Continue reading CineJourneys – Episode 8 – Oscar Wars with Michael Schulman The post CineJourneys – Episode 8 – Oscar Wars with Michael Schulman first appeared on CineJourneys.

Matt is joined by The New Yorker's Michael Schulman to parse through the endless campaigns from the 2024 Oscar season and give out their own awards for the best, worst, and everything in between. Some of the awards include Best Campaign Narrative, Biggest Campaign Misfire, Best Stunt, Best Overall Campaign, and Who Won Awards Season. 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: Michael Schulman Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

The campaign for an Oscar is just that: a campaign. In the weeks and months leading up to the ninety-sixth Academy Awards, actors and directors have been hard at work reminding voters and the public alike of their worthiness, P.R. agencies have churned out “for your consideration” ads, and studios have poured millions of dollars into efforts to help their films emerge victorious on Hollywood's biggest night. In this episode of Critics at Large, the staff writers Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the state of the race, from the front-runners to the snubs and the season's unlikely “villain.” The hosts are joined by The New Yorker's Michael Schulman, the author of “Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears,” who describes how Harvey Weinstein permanently changed the landscape in the nineties by treating campaigns as “guerrilla warfare.” Today, much of the process happens behind closed doors. If the game is rigged, why do we care about the outcome? “Even though we know that there is a mechanism behind these things, a glow does attach itself to people who win,” Cunningham says. “We are still very much suckers for the glamour of merit.”Read, watch, and listen with the critics:“Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears,” by Michael Schulman“Oppenheimer” (2023)“Barbie” (2023)“May December” (2023)“Poor Things” (2023)“The Zone of Interest” (2023)“Nyad” (2023)“Maestro” (2023)“Shakespeare in Love” (1998)“Saving Private Ryan” (1998)“Can You Really Want an Oscar Too Much?” by Michael Schulman (The New Yorker)“Anatomy of a Fall” (2023)“Titanic” (1997)“Ferrari” (2023)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.

With the Academy Awards just two weekends away, this year's awards season is coming to a close. With that in mind, this hour we take a Nose-ish look at awards shows — awards shows as live events, as television, and as the actual doling out of artistic accolades. Plus: a brief history of the Academy Awards with Michael Schulman, the author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears. GUESTS: David Edelstein: America's Greatest Living Film Critic Alison Herman: TV critic at Variety Michael Schulman: A staff writer at The New Yorker and the author, most recently, of Oscar Wars The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

From relentless campaigning to snubs and speeches, the Academy Awards have often reflected a cultural conflict zone. Michael Schulman sifts through the controversies in his book, Oscar Wars. Maureen Corrigan reviews The Kamogawa Food Detectives by Hisashi Kashiwai.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

From Harper Collins: A Best Book of 2023The author of the New York Times bestseller Her Again: Becoming Meryl Streep returns with a lively history of the Academy Awards, focusing on the brutal battles, the starry rivalries, and the colorful behind-the-scenes drama.America does not have royalty. It has the Academy Awards. For nine decades, perfectly coiffed starlets, debonair leading men, and producers with gold in their eyes have chased the elusive Oscar. What began as an industry banquet in 1929 has now exploded into a hallowed ceremony, complete with red carpets, envelopes, and little gold men. But don't be fooled by the pomp: the Oscars, more than anything, are a battlefield, where the history of Hollywood—and of America itself—unfolds in dramas large and small. The road to the Oscars may be golden, but it's paved in blood, sweat, and broken hearts.In Oscar Wars, Michael Schulman chronicles the remarkable, sprawling history of the Academy Awards and the personal dramas—some iconic, others never-before-revealed—that have played out on the stage and off camera. Unlike other books on the subject, each chapter takes a deep dive into a particular year, conflict, or even category that tells a larger story of cultural change, from Louis B. Mayer to Moonlight. Schulman examines how the red carpet runs through contested turf, and the victors aren't always as clear as the names drawn from envelopes. Caught in the crossfire are people: their thwarted ambitions, their artistic epiphanies, their messy collaborations, their dreams fulfilled or dashed.Featuring a star-studded cast of some of the most powerful Hollywood players of today and yesterday, as well as outsiders who stormed the palace gates, this captivating history is a collection of revelatory tales, each representing a turning point for the Academy, for the movies, or for the culture at large.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

We couldn't resist the controversy around Ridley Scott's new movie, so this week we're discussing Napoleon and wading into the debate about historical accuracy and film. But what do you think? Let us know on instagram - @groovymoviespod.ReferencesRidley Scott profile by Michael Schulman for The New YorkerRidley Scott's response to Napoleon's critics by Caroline Frost for DeadlineRidley Scott's response to criticism of the Egyptian invasion scene in Napoleon by Adam Bentz on Screen Rant‘Napoleon on trial: The battle for historical accuracy of the upcoming film' by Prateek Dasgupta for Medium‘Great man or monster - who was the real Napoleon?' by Dominic Sandbrook for The Times‘The Ugly Truth about Napoleon and Josephine' by ElleHistory on YouTubeFacts on NapoleanOppenheimer BBC documentary Film PharmacyFrances Ha (2012) dir. by Noah BaumbachZodiac (2007) dir. by David Fincher-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

One thing Teebs & KidPhoenix enjoy (like any common man) is great, thought-provoking journalism. Let's face it. We all need to do something else because the television landscape has changed quite a bit since the Second Golden Age of Television (aka "Prestige TV"). Streaming services have transformed television as we know it, so those golden days of shows like "The Sopranos", "The Wire" and other HBO heavy hitters (which paved the way for the "Breaking Bad"s and "Orange is the New Black"s of the world don't show up in the landscape as often. Michael Schulman of the New Yorker brought this thought to internet in a column he did -- which you can read here -- and Teebs and KidPhoenix wanted to have their own discussion. Like and follow the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow the show on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TeebsandKidVS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠). We are on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! **ANNOUNCEMENT: Horrorgasm has a new anthology on the horizon, but they need your support. Go to the Kickstarter page for "Phobias: Tales of Horrorgasm, Volume 2", and donate what you can to the next in a fantastic anthology of writings and artistry.** If you listen, kindly leave us a review. --- Support this podcast: https://podcasters.spotify.com/pod/show/teebsandkidphoenixvs/support

For the follow-up to her acclaimed and controversial début feature film, “Promising Young Woman,” the writer and director Emerald Fennell (also well known as an actor on “The Crown”) has made a dark satire of not just aristocracy but our collective preoccupation with it.  “Saltburn” follows a college student who joins a wealthy classmate at his family's mysterious old country estate, which the director shot as “a sex object.” Fennell is very familiar with this world—albeit from a distance. Her father was a jeweller who sold work to Elton John and Madonna, and Fennell went to the same boarding school as Kate Middleton. “As a female filmmaker, more than any other kind, you're expected to be a memoirist. People are more comfortable with that,” she tells The New Yorker's Michael Schulman. Her previous film, “Promising Young Woman,” about a woman's attempt to hold a rapist accountable, had an extremely dark ending that infuriated many viewers, but that Fennell found to be more honest. “I don't think of myself as a liar at all. I hope I'm very honest—but that's what a liar would say.”

When you think of blaxploitation films, you have to think of her. Her on-screen performances in films such as "Coffy" and "Foxy Brown” made her the original baddie, if you think about it. She would evolve into a well-rounded actress, working with the likes of Spike Lee, Quintin Tarantino, Paul Newman, and the Weinstein brothers. But before she was the woman we all know and love, she was Pammy, a girl from Denver that loved the outdoors. So yes, this episode is dedicated to the love stories of the one and only Pam Grier. Though she never married, she came close, many times — even to a few people you know. Research and Resources: Foxy: My Life in Three Acts by Pam Grier and Andrea Cagan - https://tinyurl.com/yemsk3rp The Plot Thickens by TCM: Here Comes Pam Podcast - https://tinyurl.com/mr3cp772 “When You Earn It, They Can't Take It Away”: An Interview with Pam Grier by Michael Schulman - https://tinyurl.com/w9yfzt5z "Pam Grier on maintaining her independence and identity in showbiz" by David Marchese - https://tinyurl.com/4akumh6e Aisle Tell You What is a deep dive at some of the most epic and memorable weddings and marriages throughout Black History. Our journey down memory lane isn't meant with malintent, but from a place of nostalgia, inspiration, and realism. Aisle Tell You What is brought to you by Hueido. Hueido is a media brand that adds color to Black weddings and marriage from yesterday, today, and tomorrow. Say thank you / donate https://tinyurl.com/5e9b7rtd Grab merch https://tinyurl.com/shopaisletell Email Aisle Tell You What at aisle[at]hueido.com All other links you want https://msha.ke/aisletell

New York Times bestselling author Michael Schulman stops by the "Hollywood Raw podcast with Dax Holt and Adam Glyn" to give an in-depth look into Hollywood's biggest and most exclusive award show... The OSCARS. Michael opens up about some of the biggest scandals over the decades, what it's really like inside Vanity Fair's Oscar Party, and some of the fun stories that never went public. Schulman is an encyclopedia of Oscar knowledge and we pick his brain about what makes this show unlike any other. Make sure you check out his books Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears.  Don't miss a thing! Follow Hollywood Raw on Insta, Facebook, and Twitter. Dax Holt - Insta / Twitter Adam Glyn - Insta / Twitter A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com. CHAPTERS: (00:00) – Intro/Banter (01:57) – Been to the Theater Lately? (06:00) – Fan Reviews (07:30) – Introduction of Michael Schulman (09:25) – Why Cover the Oscars? (16:05) – Being at the Oscars and the After-parties (20:00) – Is the Vanity Fair party better than the Oscars' Party? (24:20) – Oscars Wars: Covering the Academy Awards from the Beginning (29:00) – What can The Oscars do to ramp up the Excitement (35:00) – Who is the Most Powerful Person in the Room at the Oscars? (37:00) – Who's Your Favorite Oscar Host? (40:17) – Who is The Academy? (42:35) – Biggest Rivalry of All Time? (46:50) – Do the Hosts get Paid? (49:30) – Top 5 Crazy Things that Happened at the Oscars? (52:10) – What's Next for Michael Schulman? (59:15) – Outro/Banter Learn more about your ad choices. Visit megaphone.fm/adchoices

The actors are officially on strike. Vox senior correspondent and critic Alissa Wilkinson breaks down what SAG-AFTRA is afta, and the New Yorker's Michael Schulman explains how one of Netflix's first original shows was an early warning sign. This episode was produced by Amanda Lewellyn, edited by Amina Al-Sadi, fact-checked by Laura Bullard, engineered by Patrick Boyd, and hosted by Noel King. Transcript at vox.com/todayexplained Support Today, Explained by making a financial contribution to Vox! bit.ly/givepodcasts Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Neil, Niki, and Natalia discuss the history of tipping in the United States. Support Past Present on Patreon: https://www.patreon.com/pastpresentpodcast Here are some links and references mentioned during this week's show:   ·      Tipping is once again at the center of debates about service, labor, and consumerism. Neil referenced this Phil Magness essay, and Natalia cited this New York Times piece by Michele Alexander. We all drew on this Mother Jones review of Saru Jayamaran's book Forked: A New Standard for American Dining.     In our regular closing feature, What's Making History: ·      Natalia shared Michael Schulman's New Yorker piece, “Orange is the New Black Signalled the Rot Inside the Streaming Economy.” ·      Neil recommended the forthcoming Broadway show, Here Lies Love. ·      Niki discussed this episode of the podcast If Books Could Kill.

Spider-Man: Across the Spider-Verse is the second movie in the Spider-Verse film series and the 14th (not a typo) Spider-Man feature film. It has made more than half a billion dollars worldwide, and it is the fourth-highest grossing movie of 2023 so far. A third Spider-Verse movie, Spider-Man: Beyond the Spider-Verse, is expected to come out next year, and a Spider-Woman spinoff film is in development. And: “Whether you have spent the past decade and a half avoiding Marvel movies like scabies or are in so deep that you can expound on the Sokovia Accords, it is impossible to escape the films' intergalactic reach,” according to Michael Schulman in The New Yorker. And it's hard to argue that he's wrong. The Nose looks at “How the Marvel Cinematic Universe Swallowed Hollywood.” Some other stuff that happened this week, give or take: Sheldon Harnick, ‘Fiddler on the Roof' Lyricist, Dies at 99 His collaborations with the composer Jerry Bock also included “Fiorello!” — which, like “Fiddler,” was a Tony winner — and “She Loves Me.” Young People Have No Idea What We Used to Do After Work. Let Me Regale You. “I never knew what time it was, so I was constantly buying watches and losing them.” Pixar's ‘Elemental' Falls Flat, Adding to Worries About the Brand The original animated film took in $29.5 million at the box office, by far the worst opening in Pixar's three-decade history. “The Flash,” from Warner Bros., also struggled. The Troubling Pixar Paradox Recent misses and low expectations for ‘Elemental' beg the question: Has Pixar lost its magic touch? Perhaps the answer is that original animation is now a smaller business—one that can't necessarily support the unique culture and $200 million budgets that made Pixar great in the first place. Pixar Boss Pete Docter Says the Studio ‘Trained' Families to Expect Disney+ Debuts, ‘Elemental' Buzz at Cannes Was ‘Confusing' Richard Kind Just Doesn't Want to Be Left Out Maybe that's why everyone in Hollywood has this master of comedy and tragedy on speed dial. Apple Is Taking On Apples in a Truly Weird Trademark Battle Apple, the company, wants rights to the image of apples, the fruit, in Switzerland—one of dozens of countries where it's flexing its legal muscles. The 100 Most Significant Political Films of All Time Not “best.” Not “favorite.” Not “most likable.” Most significant. Some are obvious. Some obscure. A few will be controversial. Let the debate begin. Come for the Broadcast, Stay for the Mets Game SNY already had some of the best announcers in baseball. John DeMarsico, the network's director, has made every game feel like a trip to the movies. GUESTS: Shawn Murray: A stand-up comedian, writer, and the host of the Nobody Asked Shawn podcast Tracy Wu Fastenberg: Development officer at Connecticut Children's Bill Yousman: Professor of media studies at Sacred Heart University The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Michael Schulman discusses "Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears."  Get a free 7-day trial to access hundreds of hours of exclusive pods at Patreon.com/MikeTully!

The last time the Writers Guild of America hit the picket line was fifteen years ago, with a strike that lasted a hundred days and cost the city of Los Angeles hundreds of millions of dollars. This year's strike has the potential to drag on even longer. At the core of the dispute is the question of who deserves to profit from the revenue generated by streaming services. “[Studios] tell us that they can't afford the cost of us,” Laura Jacqmin, a veteran TV writer and a W.G.A. strike captain tells the staff writer Michael Schulman. “And simultaneously they're on their public earnings calls, trumpeting bright financial futures to their shareholders.”  Plus, the comedian and essayist Samantha Irby talks with the staff writer and critic Doreen St. Félix. Irby is beloved by fans for her particularly unvarnished truth-telling. She recently started writing for television on shows like Hulu‘s “Shrill” and HBO's “And Just Like That . . .,” the “Sex and the City” reboot, which returns for a second season in June. But she has also maintained her memoir-writing practice, and is out with a new essay collection, “Quietly Hostile,” in May.

Screenwriting, once a solidly middle-class vocation in Hollywood, has become akin to a kind of gig work. In the past ten years, structural changes in the film and television industries have fundamentally altered the way that writers in Hollywood earn their livelihood. The rise of streaming has changed how TV seasons are aired, how residuals are paid, and the kinds of risks that networks are willing to take on new ideas. Shows hire fewer staff writers, and employ them for less time and less money. The arrival of A.I. has made this tenuous situation even more precarious. Michael Schulman spoke to a number of writers before they went on strike, and joins Tyler Foggatt to discuss the conditions that gave rise to this major labor action—and the spirit of the picket line a little more than a week in. 

In the late nineteen-seventies and into the eighties, Brooke Shields was one of the most famous and most controversial people in America. At age eleven, she appeared in the film “Pretty Baby,” playing a child prostitute; by fifteen she was in the heavy-breathing desert-island love story “Blue Lagoon.” She was the face of a series of ads for Calvin Klein jeans featuring notoriously smutty innuendo. Yet Shields herself—rather than the filmmakers and ad men who developed her roles—became the object of fascination and public reproach, as the new documentary “Pretty Baby: Brooke Shields,” premièring on Hulu, demonstrates in detail. Yet, if she was exploited by adults around her when she was young, Shields denies any sense of being a victim. In a conversation with Michael Schulman, she calls hypocrisy on models who criticize their industry. “You're making money, and you're selling something, and, in most cases, sex sells,” she says. “ ‘Oh, I'm being objectified.' You're a model! That's the point!”

Ira, Louis, and guest host Michael Schulman (author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears”) discuss the 95th Academy Awards including Michelle Yeoh's historic win, Angela Bassett's unsurprising loss, Ke Huy Quan and Brendan Fraser's bittersweet comeback stories, and more. Plus, Lukas Gage joins to discuss starring in the new season of You, and a lot more from the recent SXSW debut of his film Down Low to the ongoing Vanderpump Rules scandal.Subscribe to Keep It on YouTube to catch full episodes, exclusive content, and other community events. Find us there at YouTube.com/@KeepItPodcast

The 95th Academy Awards will be presented on Sunday evening in Hollywood, with top contenders including “Tár,” “Women Talking” and “Everything Everywhere All at Once.” For readers, it's a perfect excuse to revisit two recent books about the Oscars.On this week's episode, the host Gilbert Cruz talks to our critic Alexandra Jacobs about “The Academy and the Award,” by Bruce Davis, a former executive director of the Academy of Motion Picture Arts and Sciences, and “Oscar Wars,” by the journalist Michael Schulman, which she recently wrote about for the paper.“We like to think that this is a ceremony, a process about merit. But I think that has been proven wrong time and time again,” Cruz says.“It's like a political election,” Jacobs says, “or a sports contest that turns on a single play or call. These books really reveal that. It's just interesting how many times Oscar — as one of these books puts it — gets it wrong. Like, the movie that won isn't the one that you remember, or isn't the one that time judges as the best one. That's fascinating to see. … You might ask, What does this ceremony matter if it's not even adjudicating properly? But I think it matters because — look, it's the electronic hearth around which we gather. I think it matters because people crave communal entertainment experiences.”We would love to hear your thoughts about this episode, and about the Book Review's podcast in general. You can send them to books@nytimes.com.

The Oscars seems to be cursed with a series of chaotic live television gaffes. But one moment in Academy Award history takes the cake. In 1974, a scrawny white man named Robert Opel ran across the stage butt naked, right as the Best Picture category was being announced. New Yorker magazine writer and Oscars aficionado Michael Schulman recounts the queer, wonderful, and historic life of the 1974 Oscars streaker.  You can read the full story here: https://www.newyorker.com/magazine/2023/02/06/what-became-of-the-oscar-streaker You can find Michael Schulman's new book Oscar Wars here. See omnystudio.com/listener for privacy information.

Bryan and David break down the Dominion lawsuit against Fox News and discuss what we've learned (2:55). Later, they preview the Oscars and refer to past campaigns with the help of Michael Schulman's new book, 'Oscar Wars,' (25:03) before weighing in on Ron DeSantis's media strategy that doesn't involve mainstream media (40:18). Plus, the Overworked Twitter Joke of the Week and David Shoemaker Guesses the Strained-Pun Headline. Hosts: Bryan Curtis and David Shoemaker Producer: Erika Cervantes Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tom and Julie are joined by fast food king Mike Mitchell (Doughboys) for a fast food fantasy draft! Burger King Onion Rings, The Big Mac, Wendy's Frosty... who will put together the best team??? Plus, the author of Oscar Wars, Michael Schulman, stops by to talk Oscars, that Jeremy Strong interview, being backstage for the La La Land/Moonlight debacle, and infamous acceptance speeches. JOIN FOREVER DOG PLUS FOR VIDEO EPISODES, AD-FREE EPISODES, & BONUS CONTENT: http://foreverdog.plus JOIN THE DOUBLE THREAT FAN GROUPS: *Discord https://discord.com/invite/PrcwsbuaJx *Reddit https://www.reddit.com/r/doublethreatfriends *Facebook https://www.facebook.com/groups/doublethreatfriends DOUBLE THREAT MERCH: https://www.teepublic.com/stores/double-threat TOTALLY EFFED UP T-SHIRTS https://www.teepublic.com/user/dttfu SEND SUBMISSIONS TO: DoubleThreatPod@gmail.com FOLLOW DOUBLE THREAT: https://twitter.com/doublethreatpod https://www.instagram.com/doublethreatpod DOUBLE THREAT IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/double-threat Theme song by Mike Krol Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

We'll talk with New Yorker staff writer Michael Schulman about his new book, Oscar Wars. It's about the ongoing conflicts surrounding race, gender, and representation in Hollywood, as well as earlier conflicts dating back to the founding of the Academy of Motion Picture Arts and Sciences.Also, we'll hear from comic and podcaster Marc Maron. In his new HBO comedy special, From Bleak to Dark, he talks about climate change, anti-Semitism, and processing the sudden death of his girlfriend, Lynn Shelton.John Powers reviews the documentary, All That Breathes, about two brothers devoted to rescuing birds in Delhi, India.

From relentless campaigning to snubs and speeches, the Academy Awards have often reflected a cultural conflict zone. Michael Schulman sifts through the controversies in his new book, Oscar Wars. Also, Kevin Whitehead shares a remembrance of Burt Bacharach.

It's been almost three decades since Angela Bassett emerged in Hollywood as a “totem of empowered Black womanhood,” as Michael Schulman puts it—known for groundbreaking roles in films like “What's Love Got to Do with It” and “How Stella Got Her Groove Back.” Now, at sixty-four, Bassett is nominated for an Oscar for her performance in “Black Panther: Wakanda Forever.” As the fierce, grieving Queen Ramonda, she is the first actor nominated for any Marvel movie. Bassett speaks with Schulman about her preparation for the film, and reflects on how a poetry recitation drove her to acting as a young person. “It was the first recognition for me, at fifteen, that drama, that theatre, that words, that passion from one human being could move another,” she says. “And that maybe I had a gift for it.”

Despite years of controversy, the Academy Awards and the other awards shows remain must-watch television for many Americans. The awards may be “unreliable as a pure measure of cinematic worth,” Schulman tells David Remnick. “But I would argue that the Oscars are sort of a decoder ring for cultural conflict and where the industry is headed,” Schulman says. “They are a way to understand where pop culture is.” With theatre attendance in continuing decline, the Academy is looking for solutions, Schulman believes, and that could result in a higher-grossing outlier winner for the coveted Best Picture award. Plus, a visit with the Broadway composer Charles Strouse, who is ninety-four and compiling his archives to donate to the Library of Congress. He reflects on his work with Jay-Z and his “friendly enemy” relationship with Stephen Sondheim: “He didn't like me much. I didn't like him less.” Still nimble at the piano, Strouse plays a rendition of his classic, “Tomorrow.”

Tom Stoppard has been a fixture on Broadway since his famous early play, “Rosencrantz and Guildenstern Are Dead,” travelled there in 1967. Stoppard is eighty-five years old, and has largely resisted the autobiographical element in his work. But now, in “Leopoldstadt,” a play that has just opened on Broadway, he draws on his family's tragic losses in the Second World War. Stoppard talks with the contributor Andrew Dickson about his latest work.  And the Oscar- and Emmy Award-winning actor Geena Davis, best known for her role in “Thelma and Louise,” talks with the staff writer Michael Schulman about her life and career. Davis ascribes much of her early experience on- and offscreen to a certain level of politeness, a character trait ingrained in her from childhood. “I learned politeness from minute one, I'm sure,” she tells Schulman. “That was my family: very old-fashioned New Englanders.” She reflects on her childhood, her iconic roles in the eighties and nineties, and her “journey to badassery” in her new memoir, “Dying of Politeness,” out this month.