Podcasts about New Hollywood

In the latest installment of SJ's Video Weltanschauung, Dimitri and Khalid dissect the Silent Majority's cinematic counterattack on early ‘70s San Francisco Bay Area leftism: “Dirty Harry” and its four sequels. Topics include: “Dirty Harry” as the ur-text of modern American cop dramas/action movies, the Bay Area counterculture from the POV of the pig, Harry's implied neurodivergence (shades of Cobra), the new Criminal Subject who's Just That Evil and cannot be bargained with or understood, New Hollywood fashlord John Milius, the PTK'd Vietnam Vet undertones of the first three films, the SLA-inspired villains of “The Enforcer”, the triumph of political amnesia during the Reagan Years, Ronnie quoting Harry's “Go ahead, make my day!” line in a fight over welfare cuts, the sinister Spectacle-Secrecy dialectic, and much more… For access to full-length premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, subscribe at https://patreon.com/subliminaljihad.

Insieme a Michela Gorini e a Matteo Lolletti parliamo di "Taxy Driver" uno dei film più rappresentativi della New Hollywood un capolavoro senza tempo, datato 1976, ancora bello, crudo e suggestivo.Instagram: https://www.instagram.com/tramestrane_podcast?utm_source=qr&igsh=MWhnNm1qcXc5aTdwcA==mail: tramestranepodcast@gmail.com

Andy Draper is the co-host of the podcast 'Off Script Film Review', and he joins Chris and Amy as the movies 'Obsession' and 'Backrooms' are scoring well at the box office. The pair of movies were both directed by YouTubers who are branching out into full length productions. Have we entered a new era of movies?

Few actors have embodied obsession, corruption, guilt, and authority quite like Harvey Keitel. In this Triple Feature actor focus, we examine three defining performances across three decades of filmmaking: The Duellists (1977), Bad Lieutenant (1992), and Cop Land (1997). From Ridley Scott's visually stunning debut feature, where Keitel plays a Napoleonic officer consumed by honor and vengeance, to Abel Ferrara's infamous portrait of addiction, moral collapse, and redemption in Bad Lieutenant, to James Mangold's examination of loyalty, corruption, and institutional decay in Cop Land, these films showcase the remarkable range and intensity that made Keitel one of the essential actors of the New Hollywood generation. Along the way, we'll discuss masculinity, power, violence, faith, police culture, and the evolution of American cinema from the 1970s through the 1990s. Join Mark Radulich and company as they explore three unforgettable films connected by one of the most compelling screen presences of the last fifty years.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Liz and Sarah talk to trauma-informed financial wellness coach Katy Chen Mazzara about the connection between money blocks and creative blocks, why it's never a good idea to negotiate with a “starving artist” mentality, and how making a budget might negatively impact your relationship to your finances. This week's Hollywood Hack will relieve stress and help you have a better time: Get there early! Finally, Liz recommends the third season of The Comeback on HBO Max.  Sign up for Liz & Sarah's free weekly Substack newsletter at https://happierinhollywoodpod.substack.com. It'll come right to your inbox! Sign up for Sarah's free weekly Substack newsletter Chickening Out at https://happierinhollywood.substack.com. It'll come right to your inbox! Get in touch on Instagram: @Sfain & @LizCraft Get in touch on Threads: @Sfain & @LizCra Visit our website: https://happierinhollywood.com Join our Facebook group: https://www.facebook.com/HappierinHollywood/ Happier in Hollywood is part of ‘The Onward Project,' a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. If you liked this episode, please subscribe, leave a review, and tell your friends! LINKS: Katy Chen Mazzara: https://www.katychenmazzara.com/ Mindful Money Mastery guide:https://www.subscribepage.com/mindfulmoneymastery Katy's Instagram, LinkedIn, & Substack:https://www.instagram.com/katychenmazzara/ https://www.linkedin.com/in/katy-chen-mazzara/ https://substack.com/@katychenmazzara The Comeback Season Three Trailer: https://www.youtube.com/watch?v=p1rVpVCNBgE Learn more about your ad choices. Visit megaphone.fm/adchoices

Stories about lovers on the run have been captivating audiences since the classic years of Hollywood - although it feels like a long time since we've seen many notable examples. Graham Williamson of the Pop Screen podcast pops in to talk about the history of the sub-genre and also to discuss a couple of contrasting examples. First up, seminal New Hollywood classic, Bonnie and Clyde (1967), directed by Arthur Penn and then, something COMPLETELY different, James Robert Baker's shot-on-video work of backyard auteurism, Blonde Death (1984). Bonnie and Clyde treats real life events which haven't been news since the 1930's, and Blonde Death isn't really spoilable, so we won't be announcing a Spoiler Territory section for either of the films this week. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp "Black and Blonde" by Veruca Salt

From the outlaw poetry of Badlands to the cosmic spirituality of The Tree of Life, this week's Archive episode has Adam and Josh counting down the five most indelible moments from one of cinema's most elusive auteurs. Expect plenty of hushed voiceovers and magic-hour cinematography. Unlock the full archive, Filmspotting Discord, ad‑free + bonus episodes, and more when you ⁠join the Filmspotting Family⁠.See omnystudio.com/listener for privacy information.

Mark Ruffalo claims that more Hollywood people would've spoken out against Paramount and Warner Bros merger, but they didn't want to be blacklisted. So will all the Hollywood celebs who trashed Paramount get put on a new blacklist? Will their political hot takes eventually cost them their careers? Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Hollywood #Paramount #WarnerBros #Movies #Podcast #Commentary #News #Reaction #Gaming #Comedy #Entertainment #Hollywood #PopCulture #Tech #Anime #FYP Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Peter Kramer is a German born, retired university professor who taught in England, in the area of film studies. His work includes a focus on Stanley Kubrick and also Hollywood's biggest box office hits. His books include three volumes in the BFI Film Classics series on “Dr. Strangelove”, “2001: A Space Odyssey” and “The General”. His most recent book is “American Graffiti: George Lucas, the New Hollywood and the Baby Boom Generation”. He is interested in movies that prominently feature songs. And other interests include Oskar Schindler and representations of the Holocaust in movies. My featured song is “Hollywood”, from the album The PGS Experience by Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH PETER:https://www.dmu.ac.uk   —---------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Bracket Podcast Reaches the Elite EightThis 1971 film bracket podcast returns with its most dramatic episode yet. Ryan, Mike, and Greg — the Taste Buds — work through the bottom half of the Sweet 16, producing four matchups that nobody saw coming. Furthermore, the episode hands out two major awards: Comedic Performance and Biggest Shithead. The results set the stage for Part III, where the Elite Eight will be whittled down to a single 1971 champion.If you missed Part I of the finale, start there first. The bracket has been full of upsets throughout the season. Consequently, no outcome here should be taken for granted.The Sweet 16: Bottom Half of the 1971 Film BracketThe bottom half of the 1971 Sweet 16 is stacked. These four matchups pit some of the most beloved and argued-over films in the entire bracket against one another. Moreover, the range of cinema on display — from Hollywood blockbusters to European art films to New Hollywood grit — illustrates exactly why 1971 is one of the most fertile film years ever put to a bracket.The Taste Buds debate each matchup using their standard evaluative framework: craft, cultural impact, rewatchability, and gut feeling. Above all, they trust their instincts — and their instincts have produced surprises at every turn this season. Tune in to find out which four films advance to the Elite Eight.Willy Wonka and the Chocolate Factory vs. WandaThis matchup pits one of cinema's most beloved fantasies against one of its most criminally underseen gems. Willy Wonka and the Chocolate Factory needs little introduction — Gene Wilder's performance alone has kept it in the cultural conversation for over fifty years. Nevertheless, Wanda is no pushover. Barbara Loden's Wanda (1971) is a raw, naturalistic landmark of American independent cinema, and its inclusion in the bracket has been a point of pride for whoever seeded it.This is a clash of tone, scale, and intention. One film is a spectacle engineered for maximum delight. The other strips cinema down to its bones. However, the Taste Buds must pick one — and the pick will tell you something about where their tastes landed by the time the 1971 season reached its final stretch.The French Connection vs. Brian's SongTwo films that defined what mainstream American cinema could do with raw emotional and procedural intensity. The French Connection won the Academy Award for Best Picture in 1971. It features one of the most celebrated car chases in film history and a career-defining performance from Gene Hackman as the relentless, morally compromised Popeye Doyle. Additionally, William Friedkin's direction remains a masterclass in gritty, kinetic storytelling.Brian's Song, meanwhile, hit American living rooms as a TV movie and destroyed everyone who watched it. The story of Gale Sayers and Brian Piccolo remains one of the most emotionally devastating sports films ever made. Notably, the Taste Buds covered both films earlier this season — so this rematch in the 1971 film bracket carries the weight of all those prior arguments.The Last Picture Show vs. KluteTwo of New Hollywood's most enduring films square off here, and neither one will go quietly. The Last Picture Show is Peter Bogdanovich's elegiac black-and-white portrait of a dying Texas town — a film the American Film Institute has called one of the greatest ever made. Furthermore, its ensemble cast, including Jeff Bridges, Cybill Shepherd, Cloris Leachman, and Ben Johnson, delivers some of the finest performances in the bracket.Klute, however, has Jane Fonda. Her performance as Bree Daniels earned her the first of her two Academy Awards, and it remains one of the most psychologically intricate portrayals of a woman in crisis in American cinema. Alan J. Pakula's direction is coiled and paranoid in all the right ways. Consequently, this matchup may be the most difficult call in the entire bracket.The Conformist vs. The Panic in Needle ParkThe final Sweet 16 matchup is the most arthouse of the four — and arguably the most fascinating. Bernardo Bertolucci's The Conformist is a landmark of European cinema. Vittorio Storaro's cinematography is among the most studied in film school history, and the film's meditation on fascism, identity, and moral cowardice has only grown richer with time. You can read more about the film at Roger Ebert's review on RogerEbert.com.The Panic in Needle Park, by contrast, is bracingly American — a gritty, unglamorous portrait of heroin addiction on the streets of New York. It introduced Al Pacino to mainstream audiences. Moreover, Jerry Schatzberg's unflinching direction makes the film feel almost documentary in its honesty. These two films represent opposite ends of world cinema in 1971, and the Taste Buds must choose one.Award: Best Comedic Performance — 1971 Film Bracket PodcastThe Taste Buds hand out individual performance awards throughout the season, and the Comedic Performance category drew a fascinating and eclectic field of nominees. The 1971 bracket is not short on laughs — from the anarchic fantasy of Willy Wonka's chocolate factory to the dark comedy of Harold and Maude. Furthermore, the nominees represent a range of comic registers, from broad physical performance to pitch-black wit.The nominees are:David Battley — Willy Wonka and the Chocolate Factory (Mike's pick)Julie Dawn Cole — Willy Wonka and the Chocolate Factory (Greg's pick)Bud Cort — Harold and Maude (Mike's pick)Michael Gothard — The Devils (Ryan's pick)Gene Wilder — Willy Wonka and the Chocolate Factory (Greg's pick)David Battley's turn as the hapless Mr. Turkentine in Willy Wonka is a masterwork of bewildered reaction comedy. Julie Dawn Cole's Veruca Salt is a full-throttle comic creation — spoiled, relentless, and somehow sympathetic. Additionally, Bud Cort's Harold is a genuinely difficult comic achievement: deadpan to the point of catatonia, yet somehow enormously warm.Michael Gothard's Father Barre in The Devils is Ryan's wild-card choice — a performance of manic, committed intensity that functions as dark comedy whether or not Ken Russell intended it. Meanwhile, Gene Wilder's Willy Wonka remains one of cinema's great comic performances — menacing, whimsical, and deeply strange all at once. The winner is waiting for you in the episode.Award: Biggest Shithead of 1971One of the Taste Buds' most beloved recurring awards, the Biggest Shithead category recognizes the most memorably awful person — or entity — in the bracket. Notably, this award rewards commitment. Nominees do not simply do bad things. They do bad things with style, conviction, and a complete lack of self-awareness.The nominees are:Baron de Laubardemont — The Devils (Greg's pick)The Lady at Snakearama — Duel (Ryan's pick)The Motorcycle Cop — Harold and Maude (Greg's pick)Mr. Deltoid — A Clockwork Orange (Mike's pick)Veruca Salt — Willy Wonka and the Chocolate Factory (Mike's pick)Baron de Laubardemont, the cold bureaucratic villain of The Devils, brings state-sanctioned cruelty to the category. The Lady at Snakearama from Duel is Ryan's inspired choice — a brief but indelible portrait of someone who simply should not be in this movie. Furthermore, Harold and Maude's Motorcycle Cop is a monument to institutional pettiness.Mr. Deltoid from A Clockwork Orange is a sweaty, oleaginous masterpiece of ineffectual authority — Mike's nomination is well-argued. Veruca Salt, however, may be the category's most pure entry: a child who has elevated wanting things to an art form. The winner, as always, is in the episode.Why This 1971 Film Bracket Podcast Still MattersThe Sweet 16 is where bracket tournaments reveal their true character. By this stage, the obvious candidates are mostly gone. What remains are the films that survived not on reputation alone but on genuine argument. Moreover, the bottom half of the 1971 Sweet 16 contains some of the season's most debated films — which means every matchup result carries real emotional weight.The year 1971 is one of the most remarkable in cinema history. New Hollywood was hitting its stride. European art cinema was pushing form to its limits. Genre filmmaking was getting stranger, darker, and more personal. Consequently, any bracket drawn from this year produces matchups that feel genuinely impossible to call. The Taste Buds do not pretend otherwise — they argue, they agonize, and they vote.Part III is coming. The Elite Eight will determine the Movie of the Year: 1971 champion. Above all, this episode is the last chance to see which films survive before the final reckoning. Subscribe to PopFilter and follow along — the 1971 film...

Will's search for parenting advice takes us back to the NewHollywood of the 1970s as we investigate Peter Bogdanovich's 1973 film Paper Moon! Join in as we discuss cinematic scams, the debut (and Oscar-winning performance) of Tatum O'Neal, Madeline Kahn's performance as Trixie Delight, and the current state of Nick Vallelonga's potentially forthcoming That's Amore. Plus: What role did production designer Polly Platt play in shaping the movie? What exactly is Trixie's act? Does Moses (Ryan O'Neal) have any ultimate goals? And, most importantly, is this charming comedy actually a huge bummer?Make sure to rate, review, and subscribe! Next week: Neighbors 2: Sorority Rising--------------------------------------------------Key sources and links for this episode:Paper Moon in the TCM Archive"Behind the Camera: Paper Moon" (TCM)"Orson Welles, What's Up Doc?, and Paper Moon" (You Must Remember This)Inside Oscar: The Unofficial History of the Academy Awards (1987) by Mason Wiley and Damien Bona"Paper Moon Changes its Outlook as a Musical" (New York Times)"Green Book Co-Writer Nick Vallelonga has Legal Book Thrown at Him by IATSE over Unpaid That's Amore Crew" (Deadline)"Catch Me if You Can Conman Frank Abagnale Jr. Lied about His Lifetime of Lies, Sources Claim" (New York Post)

Best of Cinema | Die Drei Tage des Condor (am 05.05. zurück im Kino) Endlich kehrt das New Hollywood zurück auf die große Leinwand: Mit "Die drei Tage des Condors" ist im Rahmen von Best of Cinema am 5. Mai ein spätes Highlight dieser prägenden Filmära wieder im Kino zu sehen. Der Thriller von Sydney Pollack aus dem Jahr 1975 inszeniert Robert Redford als CIA-Analysten, der unschuldig in eine weitreichende Verschwörung gerät und verzweifelt versucht, sein eigenes Überleben zu sichern. Der Film genießt bis heute den Ruf, zu den besten Paranoia-Thrillern des New Hollywood zu zählen – spannend, politisch aufgeladen und atmosphärisch dicht. Doch hält dieses Renommee auch einer heutigen Sichtung stand, oder hat der einstige Glanz im Laufe der Jahrzehnte an Strahlkraft verloren? Diskussionswürdig ist dabei vor allem die einzige größere Frauenfigur, verkörpert von Leinwandlegende Faye Dunaway, deren Darstellung aus heutiger Perspektive Fragen aufwirft. Ebenso stellt sich die Frage, wie zeitlos die Inszenierung tatsächlich wirkt. Über all das spricht unser Best-of-Cinema-Host im Podcast – gemeinsam mit seinen Gästen MJ und Stu, die den Klassiker noch einmal genau unter die Lupe nehmen. Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Trailer Werdet Teil unserer Community und besucht unseren Discord-Server! Dort oder auch auf Instagram könnt ihr mit uns über Filme, Serien und vieles mehr sprechen. Wir liefern euch launige und knackige Filmkritiken, Analysen und Talks über Kino- und Streamingfilme und -serien - immer aktuell, informativ und mit der nötigen Prise Humor. Website | Youtube | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen - besser bekannt als die deutsche Synchronstimme Samuel L. Jackson! Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0)

Liz and Sarah are wrapping their heads around the fact that in New Hollywood previously declared dead projects may come back to life unexpectedly. That's great — but it can make it hard to gain momentum on new things. In Take Two, Liz and Sarah share all the many things listeners Don't Feel Bad About Anymore. Then they give a Hit to all the people who have been showing up to the Killer Bee Zoom Work Hour every Friday at 10:30am PT. Liz gives herself a Bomb for her messy office, and Sarah gives herself a Bomb for her out of control nightstand. This week's Hollywood Hack is good for your gut and your wallet: the Bruusta kombucha maker. Finally, Sarah recommends the audio book Great Big Beautiful Life by Emily Henry. Get in touch on Instagram: @Sfain & @LizCraft Get in touch on Threads: @Sfain & @LizCraft Visit our website: https://happierinhollywood.com Sign up for Liz & Sarah's free weekly Substack newsletter at https://happierinhollywoodpod.substack.com and Sarah's Chickening Out Substack at https://happierinhollywood.substack.com. They'll come right to your inbox! Join our Facebook group: https://www.facebook.com/HappierinHollywood/ Happier in Hollywood is part of ‘The Onward Project,' a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. Check out the other Onward Project podcasts—Happier with Gretchen Rubin, andSide Hustle School . If you liked this episode, 'S please subscribe, leave a review, and tell your friends! LINKS: Bruusta: https://bruusta.com Great Big Beautiful Life by Emily Henry: https://amzn.to/4cQD54Q

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

En Héroes tenemos una larga tradición (que aplicamos una sola vez hace 5 años), donde dejamos que uno de nuestros integrantes elija el tema de la columna si justo la misma cae en su cumpleaños. Y en esta ocasión, siendo el natalicio de nuestro querido Diego "El Dude" Ibarra, nos encontramos con que su elección no fue otra que "Apocalypse Now", un clásico de la era del "New Hollywood" de Francis Ford Coppola que resulta inagotable tanto por lo que ocurre en pantalla como por todo lo que fue la odisea de realizarla. ▶ Encontranos en nuestras redes: IVOOX: https://bit.ly/3vKq8FE SPOTIFY: https://spoti.fi/3hJzh9g INSTAGRAM: https://www.instagram.com/heroes.radio YOUTUBE: https://www.youtube.com/@HeroesRadio Cafecito: https://cafecito.app/heroesradio Apple Podcast: https://bit.ly/3VkP3fV Google Podcast: https://bit.ly/3vgwM8U

A comedian who found his footing at the Upright Citizens Brigade Theatre in New York, where he spent the better part of a decade as a house writer and performer, Matthew Starr belongs to a generation of entertainers who were formed by the rigors of institutional improv and then quietly outgrew the institution. His most recent project is The Best Man's Ghostwriter, an Audible Original he created, wrote, and directed, featuring a cast that includes Glen Powell, Nicholas Braun, Ashley Park, and D'Arcy Carden. He has also, since 2016, run Write Your Pilot!, a workshop for writers attempting their first television pilot. In this conversation, we talked about the art of improv, writing for audio narrative, and navigating the shifting sands of screenwriting in the Hollywood industry. Sharp thinker. Good dude. Easy convo.If you dig this podcast, will you please leave a short review on Apple Podcasts? It takes less than 60 seconds and makes a difference when I drop to my knees and beg hard-to-get guests on the show. I read them all. You can watch this podcast on my YouTube channel and join my newsletter on Substack. It's glorious. My first book, ONE LAST QUESTION BEFORE YOU GO, is available to order today. Get full access to Kyle Thiermann at thiermann.substack.com/subscribe

A comedian who found his footing at the Upright Citizens Brigade Theatre in New York, where he spent the better part of a decade as a house writer and performer, Matthew Starr belongs to a generation of entertainers who were formed by the rigors of institutional improv and then quietly outgrew the institution. His most recent project is The Best Man's Ghostwriter, an Audible Original he created, wrote, and directed, featuring a cast that includes Glen Powell, Nicholas Braun, Ashley Park, and D'Arcy Carden. He has also, since 2016, run Write Your Pilot!, a workshop for writers attempting their first television pilot. In this conversation, we talked about the art of improv, writing for audio narrative, and navigating the shifting sands of screenwriting in the Hollywood industry. Sharp thinker. Good dude. Easy convo.If you dig this podcast, will you please leave a short review on Apple Podcasts? It takes less than 60 seconds and makes a difference when I drop to my knees and beg hard-to-get guests on the show. I read them all. You can watch this podcast on my YouTube channel and join my newsletter on Substack. It's glorious. My first book, ONE LAST QUESTION BEFORE YOU GO, is available to order today. Get full access to Kyle Thiermann at thiermann.substack.com/subscribe

On the Hollywood Godfather podcast, Gianni and Jeanie welcome filmmaker Miles Stephenson, 26, a New York–born writer/producer of documentaries. Miles recounts meeting Gianni while producing The Real Godfather documentary about Joe Colombo and The Godfather's real-life ties, and they discuss Russo's connections to Frank Costello, Colombo, and on-set stories such as a stolen production van and Lenny Montana's improvised moment. Miles explains his fascination with the 1967–1975 “New Hollywood” era when the failing studio system gave young directors like Coppola and Scorsese creative control, enabling riskier films shot on location. Russo promotes his books Hollywood Godfather and Mafia Secrets, claims James Patterson validated his Marilyn Monroe account, says Mafia Secrets has a proposed $50M film with director George Gallo, and shares stories involving the Vatican, CIA–mob plots against Castro, and Kennedy-era allegations. The episode ends announcing Miles will return for a second segment.

Michael Phillips talks with author Paul Fischer about The Last Kings of Hollywood and the fragile, collaborative moment that brought Coppola, Lucas, and Spielberg together before success hardened into mythology. From near-misses and rivalries to the system they helped build—and later found themselves up against—the conversation asks what was possible then, what was lost, and why none of it happens without people pushing one another. Feedback: -Email us at feedback@filmspotting.net⁠⁠ -⁠⁠⁠⁠Ask Us Anything⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Join the Filmspotting Family for bonus episodes and archive access.https://filmspottingfamily.com -T-shirts and more available at the Filmspotting Shop.https://www.filmspotting.net/shop⁠⁠⁠ Follow: https://youtube.com/filmspotting https://instagram.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠https://letterboxd.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://facebook.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://twitter.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://instagram.com/larsenonfilm⁠ https://letterboxd.com/larsenonfilm⁠⁠⁠ https://facebook.com/larsenonfilm ⁠⁠https://bsky.app/profile/larsenonfilm.bsky.social⁠⁠See omnystudio.com/listener for privacy information.

What happens when you realize the entire justice system is a scam?

Any hopes of a reunion between King Charles and Prince Harry in America now appear to be off, as fresh reporting raises new questions around Meghan Markle's upcoming Australia retreat, its selective guest list, and whether Hollywood is becoming increasingly wary of the Sussexes.Get episodes of Palace Intrigue by becommming a paid subscriber on Apple Podcasts. Click the button that says uninterrupted listening.  Just $5 a month, and that includes many ofther shows on the Caloroga Shark network.A new season of King William is available now.Our royal newsletter written by Deep Crown is available for free.Royal Books:Revenge: Meghan, Harry, and the War Between the Windsors by Tom BowerWilliam and Catherine: The Monarchy's New Era: The Inside StoryThe Royal Insider: My Life with the Queen, the King and Princess Diana

Play Morricone For Me salutes Hollywood's King of the B's on the one hundredth anniversary of his birth. Roger Corman mentored a generation of New Hollywood talent and produced, directed and/or distributed some 500 feature films in his 70-year career, including gothic horror, atomic sci-fi, b-westerns, teen delinquent melodramas, biker flicks, Depression-outlaw actioners, wry social satires, and even the occasional masterpiece. With his finger firmly on the pulse of the USA's emerging youth culture, Corman frequently thought outside the box and hired composers from the world of jazz, pop or rock and roll to score his pictures, like Fred Katz, Les Baxter, Davie Allan, Mike Bloomfield, and more. Today's program features a plethora of drive-in movie scores, vintage radio spots for Corman productions, and a few other surprises. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Randall Derchan, Angela Rabatin, Larry Reese, Rudy Amaya, Stacy Livitsanis, Carl Wonders, Lee Wileman, Nathan Blumenfeld, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp, Simon Parker, Harry Fiddlesticks, Jonas Wilstrup, Alexandre Richardson, Amy Stewart, Jack Zhu. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

We discuss the Real Housewives and their lessons in time, hope, and perseverance. Plus we explore a new trend sweeping the world of Hollywood, and a hack for spring cleaning. Resources & links related to this episode: Join My Color Pilgrimage on Substack Check out the Declutter Scavenger Hunt I created with Clutterbug Mating by Norman Rush (Amazon, Bookshop) Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.

In this episode I spoke with author Rachel Walther about her book "Born To Lose: The Misfits Who Made Dog Day Afternoon". This is the plot of Dog Day Afternoon, the 1975 film directed by Sidney Lumet and starring Al Pacino, John Cazale, and Chris Sarandon. It remains a high-water mark of New Hollywood, where the best acting talent of the day came together on a film that was truly exceptional.

We've been breaking down Oscar Worthy Rom Coms for several weeks now, but what about movies that didn't get nominations or wins but absolutely should have?  This week, Madeline, Julian and Emilio, along with their guests from our latest cycle, share their picks for romantic comedies that never got the Oscar love they deserved.   These selections range from obvious snubs to cult classics misunderstood upon initial release to unapologetic personal picks from the heart.  A huge thanks to our guests this cycle who shared their picks: writer/director Anu Valia, Anna Stone of the film podcast Stone's Top Tens, writer and film programmer David Schwartz, and filmmaker/editor James Codoyannis.   If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on YouTube, IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian @julian_barthold and Madeline @patronessofcats

There was a significant British presence at this year's Oscars, with UK film talent receiving 40 nominations and delivering several wins on the night.In this episode, host Tamara Kormornick speaks to freelance culture writer Laura Martin, who recently wrote for the Standard about why London could be the new ‘Lollywood'. They discuss whether that idea holds up after this year's Academy Awards, and break down some of the biggest British success stories from Sunday night.Tamara also speaks to Lisa Walters, a former Head of Production in TV, who is among the many film and television professionals who have left the industry over the past year due to an ongoing work drought in the UK.Photograph: Getty Images Hosted on Acast. See acast.com/privacy for more information.

This week's French Connection podcast episode covers one of the most thrilling and morally complicated films of 1971. Ryan, Mike, and Greg revisit The French Connection on Movie of the Year. William Friedkin's Best Picture winner changed what American cinema thought a hero could look like. In addition, this episode features a special Gene Hackman career retrospective.Released in 1971, the film follows New York City detective Jimmy "Popeye" Doyle — based on real NYPD detective Eddie Egan, with partner Sonny Grosso inspiring the character of Russo. Doyle pursues a massive heroin operation with little regard for the law or the people around him. As a result, the film won five Academy Awards, including Best Picture, Best Director, and Best Actor. It remains one of the defining films of the New Hollywood era.This Movie of the Year podcast episode is one of the most anticipated of the 1971 season. Before diving in, check out our recent episodes on The Last Picture Show and A Clockwork Orange.Joining the Taste Buds for this episode is special guest C. Craig Patterson A screenwriter, director, and filmmaker based in Los Angeles. An alum of Columbia University, NYU's Tisch School of the Arts, and USC's School of Cinematic Arts, Patterson brings serious cinematic credentials to the table. His short film Fathead won the Cannes Film Festival Best Student Short Award and earned an NAACP Image Award nomination. His scripts have been recognized by the Sundance Screenwriters Lab, The Black List, and the Academy's Nicholl Fellowship. Patterson also directed the critically acclaimed Roy Wood Jr. comedy special Imperfect Messenger for Paramount+. With projects currently in development at Paramount and Epic Games, he is one of the most exciting emerging filmmakers working today — and exactly the kind of guest who makes a film like The French Connection worth revisiting.The French Connection 1971 Podcast: Popeye Doyle — Hero, Antihero, or Something Worse?The central tension of this French Connection 1971 podcast discussion is what to make of Popeye Doyle. Gene Hackman plays him as a force of nature — relentless, racist, reckless, and completely compelling. He is not a good man, and he is barely a good cop. Nevertheless, the film frames his obsession as heroic, his instincts as genius, and his victory as worth celebrating.Ryan, Mike, and Greg dig into what Friedkin and screenwriter Ernest Tidyman were doing with Doyle. Is the film a critique of the kind of law enforcement he represents? Or is it simply in love with him? The answer is probably both. Ultimately, that ambiguity is what makes the character so difficult and so fascinating fifty years later.The Real Detectives Behind the StoryThe real detectives, Eddie Egan and Sonny Grosso, consulted on the film and even appear in small roles. Consequently, knowing the story is grounded in a real investigation makes Doyle's behavior harder to dismiss. These were not fictional excesses invented for dramatic effect, and the panel takes that seriously.Gene Hackman won the Academy Award for Best Actor for this role, beating out Peter Finch, Walter Matthau, George C. Scott, and Topol. Furthermore, it remains one of the most celebrated performances of the 1970s. The panel uses this episode to look back at Hackman's broader career and make the case for where he stands in the pantheon.For more on Gene Hackman's career, visit the Internet Movie Database.William Friedkin and the New Hollywood Crime FilmDirector William Friedkin approached The French Connection as a documentary-style thriller. He shot on location in New York City with handheld cameras and natural light, refusing to glamorize either the city or its characters. As a result, the film feels unlike almost anything else from 1971 — raw, kinetic, and deeply uncomfortable.The Taste Buds explore how Friedkin's direction shaped the film's identity. Most notably, the legendary car chase under the elevated train tracks in Brooklyn is widely considered one of the greatest action sequences ever filmed. Friedkin shot it on live New York City streets without fully stopping traffic, with a camera mounted to the front of the car. For critical analysis of the chase, the Criterion Collection offers essential reading.Friedkin After The French ConnectionJust two years later, Friedkin directed The Exorcist, cementing his place as one of the defining filmmakers of the decade. The panel discusses what the two films share and what The French Connection reveals about Friedkin's sensibility. In both cases, his camera feels like it is barely keeping up with reality — and that is entirely by design.For more on Friedkin's influence on American cinema, visit the American Film Institute.The French Connection Podcast Discussion: Justice and Its LimitsAt its core, The French Connection is about the gap between justice and the law. Popeye Doyle operates outside the rules, endangers civilians, shoots an unarmed man in the back, and ultimately fails to bring the main target to justice. Despite all of this, the film presents his pursuit not as tragedy but as the cost of doing business.Ryan, Mike, and Greg examine what the film says about the American justice system in 1971 — a moment of profound national disillusionment. Vietnam, the civil rights movement, and the early signs of Watergate were all in the air. Meanwhile, the "good guys" in this film are not good, the "bad guys" are not caught, and the audience is asked to root for the pursuit anyway.Race and Policing in The French ConnectionMoreover, the film's racial politics are impossible to ignore. Doyle's racism is presented as character texture rather than moral failing, and the film never fully grapples with the implications of the policing it depicts. That discomfort is an important part of the conversation this week.For historical context on the real case, visit the DEA's history of the French Connection.Gene Hackman Best Performances: A Career RetrospectiveThis episode includes a special segment on Gene Hackman's best performances. The Taste Buds make their case for the defining Hackman roles and debate his greatest work. In particular, they discuss what made him such an unusual screen presence: his everyman quality, his capacity for rage, and his refusal to tell the audience how to feel about his characters.His breakthrough came in Bonnie and Clyde in 1967, and his Oscar followed here in The French Connection. Subsequently, classics like The Conversation, Mississippi Burning, Unforgiven, and The Royal Tenenbaums cemented one of the most extraordinary bodies of work in American cinema. This segment celebrates an actor who never got quite enough credit for how good he really was.Why The French Connection 1971 Still MattersMore than fifty years later, The French Connection remains essential viewing. Beyond its technical achievements, it functions as a moral document — capturing a specific American mood: exhausted, suspicious, and uncertain about its own institutions.Ultimately, this French Connection podcast episode revisits the film as a living argument about power, obsession, and the stories we tell about law enforcement. It asks hard questions, and this episode doesn't let them off the hook.Related Episodes from Movie of the Year: 1971If you enjoyed this episode, check out the rest of the Movie of the Year 1971 series:The Last Picture Show — Bogdanovich, nostalgia, and a dying Texas townA Clockwork Orange — Kubrick, free will, and the limits of the stateBrowse all Movie of the Year episodesFAQ: The French Connection Podcast and FilmWhat is The French Connection podcast episode about?Ryan, Mike, and Greg discuss William Friedkin's 1971 Best Picture winner. Topics include Popeye Doyle, Friedkin's direction, justice, and a Gene Hackman career retrospective.What is The French Connection about?It follows NYPD detective Popeye Doyle, based on real detective Eddie Egan, as he pursues a massive heroin smuggling operation using methods that are often illegal and always reckless.Who directed The French Connection?William Friedkin directed the 1971...

In this episode, Kappy shares what's on his plate at the moment.Links and handles mentioned in this episode:The Benjamin Hollywood | IG3 Farm DaughtersSous Vide Egg BitesExpo WestNassau Paradise Island Wine & Food FestivalBrodo | Chef Marco CanoraFollow Beyond the Plate on Facebook and X.Follow Kappy on Instagram and X.www.beyondtheplatepodcast.comwww.onkappysplate.com

Movie of the Year: 1971The Last Picture ShowRevisiting The Last Picture ShowIn this episode of Movie of the Year: 1971, Ryan, Mike, and Greg revisit The Last Picture Show, Peter Bogdanovich's landmark film about youth, loneliness, and a fading Texas town.Released in 1971, the film helped define the early New Hollywood era, blending classical Hollywood craftsmanship with a more modern emotional realism. From its black-and-white cinematography to its quiet performances, this portrait of small-town America remains one of the most discussed films of its decade.Peter Bogdanovich and a Changing American CinemaDirector Peter Bogdanovich approached the film as both a tribute to classic cinema and a break from it. Drawing on older storytelling traditions while embracing the moral ambiguity of the 1970s, he created a work that feels suspended between eras.The Taste Buds explore how Bogdanovich's direction captures the melancholy of a town in decline and how his cinephile instincts shape the movie's visual language. In doing so, the film becomes a bridge between old Hollywood nostalgia and the more personal filmmaking that defined the decade.For more on Bogdanovich's influence, see the American Film Institute:https://www.afi.comLove and Sex in The Last Picture ShowOne of the film's most enduring elements is its honest portrayal of intimacy. Love and sex are not romanticized; they are awkward, transactional, vulnerable, and deeply human.Ryan, Mike, and Greg examine how the characters navigate desire and disappointment. Whether it's teenage experimentation or adult loneliness, relationships in this story reveal more about isolation than fulfillment. That emotional candor is part of why the movie still resonates today.For historical background and cast details, visit Turner Classic Movies:https://www.tcm.comThe Generational Gap and a Fading TownAt its core, this 1971 drama is about transition. Older characters cling to memory and routine, while younger ones struggle to imagine their future beyond the town's limits.The panel discusses how the generational divide shapes the narrative, turning a coming-of-age story into a meditation on cultural change. The closing of the town's movie theater becomes symbolic—a quiet acknowledgment that an era is ending.IP Freely: Star Wars Meets 1971This episode also debuts a new segment called IP Freely, where the panel imagines modern franchise films directed by filmmakers working in 1971. The Taste Buds pitch hypothetical Star Wars entries through the stylistic lens of early-70s auteurs.The exercise highlights just how dramatically cinematic tone and scale have shifted since this film's release.Rushmore: 1971 It GirlTo close the show, Ryan, Mike, and Greg assemble a Mount Rushmore of the 1971 It Girl, celebrating the performers who defined the year's screen presence and cultural energy.Why The Last Picture Show Still MattersMore than five decades later, The Last Picture Show remains essential viewing. Its exploration of youth, longing, and generational change captures a moment when American cinema was reinventing itself.This episode revisits the film not just as a classic of 1971, but as a living text that continues to influence how audiences understand small-town storytelling and emotional realism.FAQWhat is The Last Picture Show about?It follows teenagers and adults in a declining Texas town, exploring love, loneliness, and generational transition.Who directed The Last Picture Show?Peter Bogdanovich directed the 1971 film.Why is it important?It helped define the early New Hollywood movement and won multiple Academy Awards.Is it based on a novel?Yes, it is adapted from Larry McMurtry's novel.

We've been busy preparing a slate of episodes to pay tribute to some of the giants of New Hollywood who have recently left us. First on the “in memoriam” docket is no less than Robert Redford. Arguably the first true multi-hyphenate, with his directorial debut Ordinary People, Redford established an impressively new take on the “issues film”. Elena and Sam enjoy digging in and trying to untangle its thorny reputation as an Oscar spoiler for Raging Bull and Martin Scorsese. Topics include: the 92nd st Y, the origins of the Brat Pack, and what Mary Tyler Moore is really like.

Dimitri and Khalid tap back into their Video Weltanschauung for a look at the first wave of 1960s "hippie exploitation films", their depictions of the rising counterculture, and how they indirectly helped birth the New Hollywood era, with a particular focus on three films from 1968: The Monkees' anti-cinematic bomb "Head" (featuring a McLuhanesque ad campaign by future Epstein fixer John Brockman), and the Roger Corman/AIP productions "Psych-Out" and "Wild in the Streets"... For access to full-length premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, subscribe at https://patreon.com/subliminaljihad.

Steven Spielberg: whiz kid of New Hollywood, maestro of cinematic spectacle, Lord Emperor of eighties kids nostalgia, and chief architect of the modern blockbuster as we know it . A spectral presence over this podcast, but first and foremost, he's our preeminent child-of-divorce auteur. We're joined by Aaron from Hit Factory to talk The Fabelmans, Spielberg's stunningly revealing work of autofiction mistaken for another navel-gazing piece of Oscar bait.  Listen and subscribe to Hit Factory on Patreon An extra special thanks to our $10 Executive Producers: JetChiclete, Isaac, squishward, Walt Lewellyn of The Black Casebook, Tropical Doves, jprestonpoole, Lohik, bernventers, and Owen2. If you can, please lend some support to these organizations: Gaza Funds PCRF (Palestinian Children's Relief Fund) MAP (Medical Aid for Palestinians) National Networks of Abortion Funds Immigrant Law Center of Minnesota If you enjoy the show please consider: Subscribing to our Patreon, where you can enjoy exclusive subscriber only episodes. Joining our Discord. Checking out our Credits page where you can view a complete list of Patrons. Leaving a rating and review on your podcast provider of choice.  Production by Miguel Tahni. Art by Zoe Woolley and Jo Hermeer. Follow @MarvelousDeath for updates. 

On November 7, 1980, Steve McQueen — the massive movie star whose minimalist swagger earned him the nickname “The King of Cool” — died at the age of 50 following complications from cancer surgery. A countercultural icon who bridged old Hollywood and the rebellious New Hollywood era, McQueen embodied a new kind of leading man: taciturn, restless, and unmistakably modern. From his breakout role in The Magnificent Seven to era-defining performances in Bullitt, The Great Escape, and Papillon, McQueen reshaped action cinema with a raw physicality and anti-authoritarian edge that made him one of the biggest stars in the world. Hosts: Jason Beckerman & Derek Kaufman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us a textEpisode 594"Stranger Things"Hope Hynes LoveHope Hynes Love, has been the Artistic Director at East Chapel Hill High School since 2005, and she held the same position at C.E. Jordan High circa. 1996. A teaching artist, she has spent the last twenty years working exclusively as a professional stage actress and director until former students, Matt and Ross Duffer, challenged her to get up to speed for camera work by offering her a cameo in Season Five of Stranger Things.Hope and I talk about teaching, acting, her students, Stranger Things and so much more. Wonderful conversation with a wonderful person.Welcome,Hope Hynes Lovedarektorscut.com#strangerthings   #strangerthings5  #strangerthings4  #strangerthingsedit  #strangerthings3  #strangerthingscommunity  #strangerthingsbreakdown  #strangerthingsfanart  #strangerthingstheme  #vecna  #11 #eleven  #hopperstrangerthings  #dustinhenderson  #horror  #hawkins  #hawkinslab  #hawkinsindiana  #dufferbrothers  #netflixstrangerthings  #strangerthingsnetflix  #theupsidedown #strangerthingsfan  #strangerthingsfandom  #drama  #dramateacher  #teacher #milliebobbybrown  #finnwolfhardedit Instagram: https://www.instagram.com/mondaymorningcritic/Facebook: https://www.facebook.com/darektorscutTikTok: https://www.tiktok.com/@mondaymorningcriticdarektorscut@gmail.comInstagram: https://www.instagram.com/mondaymorningcritic/Facebook: https://www.facebook.com/darektorscutTikTok: https://www.tiktok.com/@mondaymorningcriticdarektorscut@gmail.comdarektorscut.comKael Your Idols: A New Hollywood PodcastA movie discussion podcast about the New Hollywood era from the late 60s through early 80sListen on: Apple Podcasts SpotifySupport the show

Adam and Nate get to know CHAЯLY (1968) and its episode-long Simpsons parody in “HOMЯ” (S12E9). While this movie barely exists today, when this adaptation of Daniel Keyes' short story “Flowers for Algernon” came out in the early days of New Hollywood, it pushed the boundaries of disability on film, formal experimentation… and good taste. Also in this episode:• Cliff Robertson and a brief history of the Oscar bait performance• Is this the most 1968 movie ever made?• “Multi-dynamic image technique” and other awesome film history from Expo ‘67 • Should this movie get a sequel?Plus, check out our show notes for a complete list of Simpsons references, double feature suggestions, and further readingNext time, Nate and Adam Billy Wilder's reclaimed box office flop Ace in the Hole (1951) and its extended parody in “Radio Bart” (S3E13).For more Simpsons movie parody content, check out SpringfieldGoogolplex.com, or follow us at @simpsonsfilmpod on Instagram, TikTok, Threads, YouTube, and Letterboxd. Discover more great podcasts on the That Shelf Podcast Network.

This week, we've got more favorite films from 2025. Nick and Bella are honored to be joined by actress, comedian, writer, paranormal investigator, and host of the Directora podcast, Stephanie Weber. The trio dives deep into three of the most emotionally gripping films released last year. We start with Eva Victor's directorial debut—the impeccably written Sorry, Baby. Second, Joel Edgerton stars in the hypnotic, ethereal, and stunning Train Dreams. Finally, Mary Bronstein directs Rose Byrne in one of the most potent performances you'll find in 2025, If I Had Legs I'd Kick You.  Have you seen these films?! What did ya think of them? And what were some of your favorite movies of 2025?❗️SEND US A TEXT MESSAGE ❗️Kael Your Idols: A New Hollywood PodcastA movie discussion podcast about the New Hollywood era from the late 60s through early 80sListen on: Apple Podcasts SpotifySupport the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

Have a request for an upcoming segment? Send me a Text Message! Listen to find out what I thought about the latest releases including 28 YEARS LATER: THE BONE TEMPLE, DEAD MAN'S WIRE, NO OTHER CHOICE, and CHARLIE THE WONDERDOG.Follow on Instagram and Letterboxd @seeitorshoveitKael Your Idols: A New Hollywood PodcastA movie discussion podcast about the New Hollywood era from the late 60s through early 80sListen on: Apple Podcasts SpotifySupport the showInterested in becoming an official supporter or just want to buy me a popcorn? Click the Support the Show link above!

At last, we're covering the movie that started it all! Bullet time, Kung fu, leather, Keanu, techno, Hugo, FISH! There's a lot to be positive about here...Kael Your Idols: A New Hollywood PodcastA movie discussion podcast about the New Hollywood era from the late 60s through early 80sListen on: Apple Podcasts SpotifyJoin the Best of the Rest discord: https://discord.gg/86P7jJXNPb Merch: https://www.teepublic.com/user/botrcast Email: bestoftherestpod@gmail.com Social Media @BotRCast on Twitter, Instagram, Facebook Bonus content: Youtube Theme song (vocals) by Mark Benavides: Instagram Music by Mitch: BlueSky, SoundCloud Logo by Alex Brinegar: https://itsdesignthyme.com/ Additional artwork by Phillip Chacon, C7Productions: Instagram

It's that time of year! Bella, Nick, and Gimme Three Producer Sonja Mereu start our Favorite Films of 2025 Series with three excellent selections. Since these are 2025 releases, we do want to warn our listeners that we get into some spoilers for all three films we discuss. We start with Paul Thomas Anderson's politically-charged epic and Best Picture contender, One Battle After Another. Second, the movie that took the cinematic world by storm earlier this Spring - the powerfully, sexually-charged vampire film Sinners by Ryan Coogler. Finally, Park Chan-wook delivers a remarkably pertinent, emotional, and wildly funny social satire with No Other Choice. Did you see these 2025 masterpieces? What'd you think of them? What was your favorite film of 2025? ❗️SEND US A TEXT MESSAGE ❗️Kael Your Idols: A New Hollywood PodcastA movie discussion podcast about the New Hollywood era from the late 60s through early 80sListen on: Apple Podcasts SpotifySupport the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

In this episode, Dana is joined by award-winning actress Brianna Brown Keen, who shares her journey of overcoming immense personal obstacles. From battling severe bullying that led to hospitalization as a teen, to facing a career-threatening injury, Brianna reveals how she learned to reframe her struggles as opportunities for growth. She explains how the tenacity and grit she developed became the foundation for her successful Hollywood career and her nonprofit, The New Hollywood. Brianna provides powerful insights on manifesting your mission, the importance of community, and why getting comfortable with being uncomfortable is the ultimate key to achieving your purpose. Brianna's Linkedin Brianna's Website | Manifesting Your Mission

Welcome to the brand-new season of Entertainment Exposed: where the biggest entertainment headlines meet sharp analysis and an unapologetic LGBTQ perspective.In this episode, hosts Scott Fullerton and David Reddish break down what's really happening across film, TV, and digital media, and what it all means for audiences, creators, and representation.In this episode, we cover:-The box office reality check facing Avatar — and what it means for the future of the franchise-How Zootopia quietly became Disney Animation's highest-grossing title-Marvel's gamble to reignite fan excitement with Avengers: Doomsday-Why fan theories can hurt storytelling more than help it-The surge of LGBTQ interest around Heated Rivalry-What Ian McKellen returning as Gollum signals for legacy franchises-How the Palm Springs Film Festival continues to spotlight queer cinema-Why TikTok is becoming the new home of micro-dramas — and a real career pipeline for actors-Plus, why David Reddish's new show is earning strong buzz and glowing reactionsIf you care about where entertainment is headed, especially through an LGBTQ-informed lens, this season is for you.

Liz and Sarah discuss what they learned about New Hollywood in 2025 and how those lessons are impacting their approach to 2026. The key? Buy in! In Take Two, Liz grills Sarah about her Year of No Buying. How did it go? Is she still an overbuyer? In Hits & Bombs, Liz gives a Hit to Sarah for introducing her to the wonders of Legend Planner, and Sarah gives a Hit to Violet for her skill at gift-giving. This week’s Hollywood Hack will improve your shower experience — Kitsch shampoo and conditioner bags. Finally, Sarah has an exciting recommendation related to her plan to roast a chicken every week in 2026 — her new Substack newsletter Chickening Out. Get in touch on Instagram: @Sfain & @LizCraft Get in touch on Threads: @Sfain & @LizCraft Visit our website: https://happierinhollywood.com Sign up for Liz & Sarah’s free weekly Substack newsletter at https://happierinhollywoodpod.substack.com. It will come right to your inbox! Join our Facebook group: https://www.facebook.com/HappierinHollywood/ Happier in Hollywood is part of ‘The Onward Project,’ a family of podcasts brought together by Gretchen Rubin—all about how to make your life better. Check out the other Onward Project podcasts—Happier with Gretchen Rubin, andSide Hustle School . If you liked this episode, please subscribe, leave a review, and tell your friends! LINKS: Legend Planner: https://amzn.to/4ssHNww Kitsch Bar Shampoo & Conditioner: https://amzn.to/4pqAB1c Kitsch Bar Soap Saver Bags: https://amzn.to/4sqJNW5 Chickening Out Substack: https://happierinhollywood.substack.com See omnystudio.com/listener for privacy information.

Alex and Nick end season 1 of the WAYW New Hollywood Film Project with Alan J. Pakula's Paranoid Thriller Trilogy. KLUTE, THE PARALLAX VIEW, and ALL THE PRESIDENT'S MEN are three of the best New Hollywood films.The guys break down each film, Pakula's career, Gordon Willis' astonishing work as a cinematographer, the current state of journalism, Watergate, “Deep Throat,” JFK, sex work, and so much more.Part 10 of the WAYW New Hollywood Film Project.Follow @WAYW_Podcast on Instagram / Letterboxd / XSend mailbag questions to whatareyouwatchingpodcast@gmail.com

John Boorman's Point Blank (1967) has long been recognized as one of the seminal films of the sixties, with its revisionary mix of genres including neo-noir, New Wave, and spaghetti western. Its lasting influence can be traced throughout the decades in films like Mean Streets (1973), Reservoir Dogs (1992), Heat (1995), The Limey (1999) and Memento (2000). Eric Wilson's compelling study Point Blank (British Film Institute, 2023) examines its significance to New Hollywood cinema. He argues that Boorman revises traditional Hollywood crime films by probing a second connotation of “point blank.” On the one hand, it is a neo-noir that aptly depicts close range violence, but, it also points toward blankness, a nothingness that is the consequence of corporate America unchecked, where humans are reduced to commodities and stripped of agency and playfulness. He goes on to reimagine the film's experimental style as a representation of and possible remedy for trauma. Examining Boorman's formal innovations, including his favoring of gesture over language and blurring of boundaries between dream and reality, he also positions the film as a grimly comical exploration of toxic masculinity and gender fluidity. Wilson's close reading of Point Blank reveals it to be a film that innovatively inflects its own generation and speaks powerfully to our own, arguing that it is this amplitude, which encompasses the many major films it has influenced, that qualifies the film as a classic. Eric Wilson is Professor of English at Wake Forest University, USA. His publications include Secret Cinema: Gnostic Vision in Film (2006) and The Strange World of David Lynch: Transcendental Irony from Eraserhead to Mulholland Dr (2007). His writing has featured in Psychology Today, L.A. Times, The New York Times and Huffington Post. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

John Boorman's Point Blank (1967) has long been recognized as one of the seminal films of the sixties, with its revisionary mix of genres including neo-noir, New Wave, and spaghetti western. Its lasting influence can be traced throughout the decades in films like Mean Streets (1973), Reservoir Dogs (1992), Heat (1995), The Limey (1999) and Memento (2000). Eric Wilson's compelling study Point Blank (British Film Institute, 2023) examines its significance to New Hollywood cinema. He argues that Boorman revises traditional Hollywood crime films by probing a second connotation of “point blank.” On the one hand, it is a neo-noir that aptly depicts close range violence, but, it also points toward blankness, a nothingness that is the consequence of corporate America unchecked, where humans are reduced to commodities and stripped of agency and playfulness. He goes on to reimagine the film's experimental style as a representation of and possible remedy for trauma. Examining Boorman's formal innovations, including his favoring of gesture over language and blurring of boundaries between dream and reality, he also positions the film as a grimly comical exploration of toxic masculinity and gender fluidity. Wilson's close reading of Point Blank reveals it to be a film that innovatively inflects its own generation and speaks powerfully to our own, arguing that it is this amplitude, which encompasses the many major films it has influenced, that qualifies the film as a classic. Eric Wilson is Professor of English at Wake Forest University, USA. His publications include Secret Cinema: Gnostic Vision in Film (2006) and The Strange World of David Lynch: Transcendental Irony from Eraserhead to Mulholland Dr (2007). His writing has featured in Psychology Today, L.A. Times, The New York Times and Huffington Post. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

On Episode 461 we cover the latest Hollywood tragedy, the murder of Rob Reiner and his wife. We go over the crime and talk about Reiner's career and his presence in the industry. We also talk about a couple new trailers, both somehow featuring Jason Momoa. What We're Watching: Nouvelle Vague (Netflix) Nobody 2 (Peacock) Five Nights at Freddy's 2

The power of positive thinking and cocaine! The Kid Stays in the Picture By: Robert Evans Published: 1994 432 Pages Briefly, what is this book about? This is the autobiography of Robert Evans. It jumps around a lot, but it's mostly built around his time as head of production for Paramount pictures from basically 1966-1974. Evans had basically zero experience, but by working himself nearly to death he produced such films as: The Godfather, Love Story, Chinatown, and Rosemary's Baby. In the process he saved the studio and became one of the most iconic figures of "New Hollywood".  Or to come at it from another angle, imagine Hollywood in its most wheeling and dealing, debauched, and drug-fueled state, that's what this book is about. What's the author's angle? Evans is an obvious narcissist, and it's clear that he has axes to grind, scores to settle, and crimes to explain. But he also has people to thank, stories to embellish, and insights to dispense. This is the author's book in a way that few books are. If Evans had any kind of editor, or even a lawyer look over this book I'm sure he told them to piss off far more often than he listened to them.  If you pick it up on audio, Evans did the reading which adds a whole other layer to his stories. Who should read this book? If you enjoy meeting that person at the party, the person who name drops like each name is a bomb and he's over Germany in 1945. The guy who tells one insane story after another, stories so insane you can't believe they're not exaggerated. But it's also possible that they've actually been toned down for legal reasons. If you enjoy outrageous raconteurs, then this is the book for you. Specific thoughts: What does success look like?

In part two of Red Eye Radio with Gary McNamara and Eric Harley, living in a society of WOKE and DEI, the guys discuss some of the latest Hollywood directors, producers and actors that are producing quality material that is breaking box office and streaming records. From Landman to Yellowstone and others, Hollywood overall is shunning the liberal narrative. Also polling numbers are out in Texas and Jasmine Crockett makes her presence strong in political ads aiming at turning Texas from red to blue. For more talk on the issues that matter to you, listen on radio stations across America Monday-Friday 12am-5am CT (1am-6am ET and 10pm-3am PT), download the RED EYE RADIO SHOW app, asking your smart speaker, or listening at RedEyeRadioShow.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in reference to the 1975 Robert Altman film “Nashville” about the country music scene....which in itself serves as a political allegory. Welcome to episode 132 of See Hear. In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the actors, leaving the Nashville music fraternity annoyed that they weren't consulted, and that these pesky Northerner actors thought they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home Companion (a very early See Hear podcast focus). Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

In this updated and revised edition, James DiEugenio dissects the new Oscar-nominated film, The Post, and how it disingenuously represents the Pentagon Papers saga, to the detriment of the true heroes of the operation. The story of the film stems from the failed attempt of Academy Award–winning actor Tom Hanks and producer Gary Goetzman to make Vincent Bugliosi's mammoth book about the Kennedy assassination, Reclaiming History, into a miniseries. He exposes the questionable origins of Reclaiming History in a dubious mock trial for cable television, in which Bugliosi played the role of an attorney prosecuting Lee Harvey Oswald for murder, and how this formed the basis for the epic tome.JFK: The Evidence Today lists the myriad problems with Bugliosi's book and explores the cooperation of the mainstream press in concealing many facts during the publicity campaign for the book and how this lack of scrutiny led Hanks and Goetzman—cofounders of the production company Playtone—to purchase the film rights. DiEugenio then shows how the failed film adapted from that book, entitled Parkland, does not resemble Bugliosi's book and examines why.This book reveals the connections between Washington and Hollywood, as well as the CIA influence in the film community today. It includes an extended look at the little-known aspects of the lives and careers of Bugliosi, Hanks, and Goetzman. JFK: The Evidence Today sheds light on the Kennedy assassination, New Hollywood, and political influence on media in America.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.