Podcast appearances and mentions of noel murray

This week on "BETA," ... Britain's greatest living songwriter, Nick Lowe, joins us to talk about his newest album, “Indoor Safari.” Also, Emily St. James and Noel Murray take us back to the island to revisit the significance of the TV series, “Lost.” And Dan Kois revisits selling newspaper subscriptions on a cold winter's night in Milwaukee.

Bearded Comic Bro got to sit down and talk with Emily St James and Noel Murray who are the writers behind the new book "Lost: Back to the Island".  Make sure you watch the video and check out all the links below and go check out his book.Follow Emily St James on Social Media Bluesky: @emilystjams.bsky.socialNoel Murray Blueesky: @noelmu.bksy.social

Hello cult leaders and self-loathing playwrights and all the ships at sea and welcome to A Very Good Year. As you probably know by now we are retiring this show and coming back in 2025 with a whole new show, Guide for the Film Fanatic, this Sunday! The show is based on a film-by-film run through of Danny Peary's seminal 1986 book of the same name, where one of our fabulous guests picks a film and we dive in. In the meantime we're revisiting some of our favorite guests and favorite movies by decade. This week we're looking back at the 1990s, objectively a great decade for movies and a very formative one for many of our guests (and hosts).In this episode we've got Mac Welch, David Simms, Keith Phipps, John Early, Karen Han, Hunter Harris, Alissa Wilkinson, Roxana Hadadi, Daniel Waters, Kristen Meinzer, Siddhant Adlakha, Allison Herman, Abby Olcese, Noel Murray, and Emily St. James.Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

The moments in NICKEL BOYS that nod to 1958's THE DEFIANT ONES are less direct citations than stylized invocations by director RaMell Ross, who incorporates a number of abstractions and flourishes into the film's visual language. Chief among those stylistic gambits is the film's use of first-person perspective, which kicks off our discussion of NICKEL BOYS' uniquely textured take on Colson Whitehead's Pulitzer-winning novel. From there we consider the deeper meaning and intent behind NICKEL BOYS' use of visuals and audio from THE DEFIANT ONES, and where the two films overlap in their ideas about racial justice in the Jim Crow South and clashing philosophies of idealism and realism. Then our returning guest co-host Noel Murray offers a Your Next Picture Show recommendation for another social-issue film from the team behind THE DEFIANT ONES. Please share your comments, thoughts, and questions about THE DEFIANT ONES, NICKEL BOYS, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stanley Kramer's 1958 feature THE DEFIANT ONES, a film very much of its time, makes multiple on-screen appearances in RaMell Ross' new NICKEL BOYS, a film about the way the past haunts the present. Both movies take place in the Jim Crow-era South and engage with that setting's lopsided ideas about justice, but THE DEFIANT ONES does so from a much more straightforward approach, operating as both a stylish thriller about two escaped prisoners, one black (Sidney Poitier) and one white (Tony Curtis), and an earnest allegory about interracial acceptance. That latter quality makes it easy to lump in with Kramer's other “message movies,” which are often dismissed from a modern vantage point as stodgy and sanctimonious, so we're revisiting THE DEFIANT ONES, with an assist from critic and pal Noel Murray, to see whether it earns or defies that reputation. And in Feedback we revisit our WIZARD OF OZ discussion with a reader suggestion of another child female protagonist who rivals Dorothy when it comes to teary helplessness. Please share your comments, thoughts, and questions about THE DEFIANT ONES, NICKEL BOYS, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on "BETA," ... Britain's greatest living songwriter, Nick Lowe, joins us to talk about his newest album, “Indoor Safari.” Also, Emily St. James and Noel Murray take us back to the island to revisit the significance of the TV series, “Lost.” And Dan Kois revisits selling newspaper subscriptions on a cold winter's night in Milwaukee.

Merriam-Webster's Word of the Day for October 16, 2024 is: exact • ig-ZAKT • verb To exact something (such as payment or revenge) is to demand it and get it, especially by using force or threats. Exact is also used in phrases like "exact a terrible toll" and "exact a high/heavy price" to say that something has caused a lot of suffering, loss, etc. // The novel's protagonist is undeterred by either time or circumstance in her effort to exact revenge. // Our mistakes exacted a heavy price. See the entry > Examples: "... Milo did fake his death last season and has ever since been lurking in the shadows, waiting to exact revenge on Iris and others." — Noel Murray, Vulture, 28 July 2024 Did you know? To exact something is to not only demand it, but also obtain it. The most common things exacted—revenge, retribution, and that ilk—often require physical force, but other things exacted—such as penalties and prices, promises and concessions—can be obtained with gentler forms of persuasion. The variation is present in the word's Latin ancestor too: exigere means “to drive out; to demand; and to measure.” Do not confuse the verb exact with the more common verb extract. Extract is primarily about removing something, and need not involve a demand: a dentist extracts a tooth from (we hope) a willing patient, and extracting juice from an orange carries no connotation of insistence. Note, though, that there are cases in which either verb can be used: confessions, for example, are sometimes said to be exacted or extracted, with both typically implying significant effort by the one obtaining the confession.

This week, we swing into action with Spider-Man 2, Sam Raimi's superhero masterpiece that redefined the genre. Noel Murray (@noelmu) joins us as we dive into the film's incredible character development, from Peter Parker's internal struggles to Doc Ock's tragic villain arc. Along the way, we discuss the stunning visual effects, and thrilling action scenes. Get ready for an episode packed with web-slinging fun and heartfelt moments!Patreon: http://patreon.com/PodcastlikeitsTwitter: http://twitter.com/podcastlikeitsInstagram: http://instagram.com/podcastlikeitsReddit: http://reddit.com/r/podcastlikeits Hosted on Acast. See acast.com/privacy for more information.

TV critic, author, podcaster, and television writer Emily St. James is the co-author (along with previous guest Noel Murray) of the book “LOST: Back to the Island” (out Tuesday), so she joins us to geek out with Mike over that show and discuss the unusual offerings of the very odd year of 2020, including “Wolfwalkers,” “Da 5 Bloods,” and “The Empty Man.”  For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

Co-authors of LOST: Back to the Island, Emily St. James (Yellowjackets) & Noel Murray (The New York Times, The A.V. Club), rank the 7 best films ever made about CASTAWAYS!

Film critic and O.G. AV Club member Noel Murray does not usually suffer from recency bias, but he thought it would be fun to glance back just five years to 2019, which gave us the hang-out pleasures of “Once Upon a Time in Hollywood,” the stinging commentary of “Parasite,” and the shocks and thrills of “Us.” For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

What's beneath the planet of the apes? I dunno, something normal? Probably more Apes? We're joined by Noel Murray to meet this film's cast of telekinetic weirdos and watch a world die. Check out Noel's writing at the New York Times: https://www.nytimes.com/by/noel-murray Subscribe to our Patreon!: patreon.com/authorizedpod Follow us on Twitter: Twitter.com/authorizedpod Instagram: instagram.com/authorizedpod This Thursday on Authorized: We Escape from the Planet of the Apes --- Support this podcast: https://podcasters.spotify.com/pod/show/authorizedpod/support

What's beneath the planet of the apes? I dunno, something normal? Probably more Apes? We're joined by Noel Murray to meet this film's cast of telekinetic weirdos and watch a world die. Check out Noel's writing at the New York Times: https://www.nytimes.com/by/noel-murray Subscribe to our Patreon!: patreon.com/authorizedpod Follow us on Twitter: Twitter.com/authorizedpod Instagram: instagram.com/authorizedpod This Thursday on Authorized: We Escape from the Planet of the Apes --- Support this podcast: https://podcasters.spotify.com/pod/show/authorizedpod/support

Jeff's been waiting to pull this one out for all of the other hosts for a while now. Please join us in our conversation about Pontypool! Noel Murray's review for AV Club:https://www.avclub.com/pontypool-1798206316 Follow us on social media! https://twitter.com/CasualHorrorPod https://www.tumblr.com/casualhorrorpod https://www.facebook.com/CasualHorrorPod https://podcasters.spotify.com/pod/show/casual-obsession Follow the hosts on their individual accounts Emma https://twitter.com/Emmapanada https://twitch.tv/emmapanada Nina https://twitter.com/ninawolverina https://www.tumblr.com/ninawolv3rina https://twitter.com/HouseUsherRises https://bsky.app/profile/ninawolverina.bsky.social Noah https://letterboxd.com/Bubbadabad https://www.tumblr.com/bubbadabad https://bsky.app/profile/bubbadabad.bsky.social https://twitter.com/Bubbadabad https://www.twitch.tv/bubbadabad Jeff https://www.tumblr.com/whatisityouprayfor https://letterboxd.com/thefakestfan https://www.instagram.com/thehammerofjeff

Special treat for the fine folks of Many Paths! This is a bit of audio Will Rose and I got to lay down at THEOLOGY BEER CAMP last year talking about how to read pop culture in a healthy, nuanced and helpful way! Feels like something we all might need or know someone who could use it. Be sure to check out information about this year's THEOLOGY BEER CAMP at this link: https://www.eventbrite.com/e/theology-camp-the-return-of-the-god-pods-tickets-824208298207?aff=erelexpmlt Consider supporting MANY PATHS on Patreon: https://www.patreon.com/user?u=65477484 --- Send in a voice message: https://podcasters.spotify.com/pod/show/ryan-does2/message

We were honored to be a part of Theology Beer Camp last October to discuss the intersection of faith and fandoms! In session 1, Will Rose was joined by Ryan Does (of the Many Paths podcast) to interview Donna Bowman and Noel Murray about their work in critical analysis of Pop Culture. How do we think deeper about the fandoms we love, without engaging in negativity when stories don't go the way we had hoped!Mentioned in this episode:Theology Beer Camp 2024: The Return of the God PodsCome see us at this year's Theology Beer Camp in Denver, CO!Theology Beer Camp 2024Anazao Ministries Podcasts - AMP NetworkCheck out other shows like this on our podcast network! https://anazao-ministries.captivate.fm/

Ira Sachs' new PASSAGES centers on a relationship broadly similar to the one at the center of SUNDAY BLOODY SUNDAY, but approaches it with a different level of intimacy and intensity (one that earned it an NC-17 rating before the filmmakers opted to release it unrated). We're joined once again by freelance critic and friend of the show Noel Murray to talk through the different points of characterization and performance on PASSAGES' love triangle, before looking at how the two films compare and contrast in their critiques of hetero-monogamous normativity, their ideas about suppressed jealousy and art, and their frank, arguably “graphic” depictions of homosexual desire. And in Your Next Picture Show, we offer a mini-revisitation of another John Schlesinger film that is impossible to avoid when considering this pairing.  Please share your comments, thoughts, and questions about SUNDAY BLOODY SUNDAY, PASSAGES, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Emma Seligman's BOTTOMS and Michael Lehmann's HEATHERS Learn more about your ad choices. Visit megaphone.fm/adchoices

Ira Sachs' new PASSAGES is treading ground that was broken in part by John Schlesinger's 1971 British drama SUNDAY BLOODY SUNDAY, which also concerns the tortured intimacies of an MMF love triangle, albeit with a bit more reserve. We're joined by freelance critic and friend of the show Noel Murray to talk over our responses to that reserved approach in relation to SUNDAY BLOODY SUNDAY as a product of its era and as a counterpoint to Schlesinger's previous film, MIDNIGHT COWBOY; how this portrayal of a love triangle balances desperation and dignity; and whether this movie actively hates kids, or if the Hodson children serve a greater thematic purpose. Then we reopen the BARBIE discussion with the help of a couple of listener comments in Feedback. Please share your comments, thoughts, and questions about SUNDAY BLOODY SUNDAY, PASSAGES, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

The second episode of our season on the awesome movie year of 2012 features our pick for a notable filmmaking debut, Brandon Cronenberg's Antiviral. Written and directed by Brandon Cronenberg and starring Caleb Landry Jones, Sarah Gadon, Joe Pingue and Malcolm McDowell, Antiviral premiered at the 2012 Cannes Film Festival.The contemporary reviews quoted in this episode come from Megan Lehmann in The Hollywood Reporter (https://www.hollywoodreporter.com/news/general-news/david-cronenberg-brandon-antiviral-review-cannes-326883/), Gary Goldstein in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2013-apr-18-la-et-mn-antiviral-review-20130419-story.html), and Noel Murray in The AV Club (https://www.avclub.com/antiviral-1798176420).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment featuring the year's biggest flop, Andrew Stanton's John Carter.

Greg Mottola's new CONFESS, FLETCH has so far flown under the radar in a modern-day moviegoing landscape to which it is not particularly suited, but we were won over by Jon Hamm's take on the character first portrayed by Chevy Chase, who here takes on a slacker-detective persona more reminiscent of the protagonist of Robert Altman's THE LONG GOODBYE. We're joined once again by longtime friend of the show and longer-time FLETCH quoter Noel Murray to dissect what makes this new iteration tick, before bringing Altman's film back into the picture to consider what these protagonists share, and what distinguishes them, in their ability to enter spaces uninvited, their propensity for comedic asides meant for an audience of themselves, and the supporting cast of quirky characters who surround them. Plus, Keith offers some follow-up viewing with his Your Next Picture Show pick, Robert Benton's THE LATE SHOW. Please share your comments, thoughts, and questions about THE LONG GOODBYE, CONFESS, FLETCH, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, leaving a short voicemail at 773-234-9730, or commenting on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes and more.  Outro music: Hank Mobley, “This I Dig of You” Next Pairing: David Lean's BRIEF ENCOUNTER and Park Chan-wook's DECISION TO LEAVE Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg Motolla's new CONFESS FLETCH revives the character of Irwin Fletcher, popularized by Chevy Chase in the mid-‘80s, but its low-key, shaggy-dog quality is less reminiscent of those films than Robert Altman's 1973 comic neo-noir THE LONG GOODBYE. So we brought longtime friend of the show and Altman aficionado Noel Murray in to join us in revisiting the director's hazy, distinctly '70s Los Angeles take on Raymond Chandler's Philip Marlowe (Elliott Gould), a chain-smoking detective who's like a magnet for trouble — but that's okay with him. Plus, we address an oversight from our recent discussion of THE THIEF OF BAGDAD. Please share your comments, thoughts, and questions about THE LONG GOODBYE, CONFESS FLETCH, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Outro music: “The Long Goodbye,” by John Williams, performed by Jack Sheldon Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to PARTISAN, a podcast exploring politics and history in film and entertainment. Join your host, Tony Black, as he is joined by film writer Eric Gilliland to discuss, as 50 years are marked since the Munich Olympic Massacre, Steven Spielberg's 2005 historical thriller epic MUNICH... Next time on Partisan, we're joined by Carl Sweeney to discuss Babak Anvari's 2022 class-based Hitchcockian thriller, I CAME BY... Host / Editor / Producer Tony Black Guest Eric Gilliland SHOW NOTES Interviews: Roger Ebert talks to Steven Spielberg: https://web.archive.org/web/20121012031729/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F20051225%2FPEOPLE%2F512250311 Steven Spielberg talks to TIME Magazine: https://content.time.com/time/subscriber/article/0,33009,1137684,00.html Michael Kahn talks to Cinemontage: https://cinemontage.org/michael-kahn-interview/ Steven Spielberg talks to Spiegel: https://www.spiegel.de/international/spiegel/spiegel-interview-with-steven-spielberg-i-would-die-for-israel-a-397378-amp.html Eric Bana talks to IGN: https://www.ign.com/articles/2006/05/08/interview-eric-bana Analysis: Spielberg's “Munich” by Gabriel Schoenfeld: https://archive.ph/20120724130900/http://www.commentarymagazine.com/viewarticle.cfm/spielberg-s--munich--10025 The History Behind Munich by Aaron J. Klein: https://slate.com/news-and-politics/2005/12/separating-truth-from-fiction-in-spielberg-s-munich.html The year's most audacious sex scene by Jim Emerson: https://web.archive.org/web/20110805123450/ ‘Munich' Refuels Debate Over Moral Equivalency by Stewart Ain: https://web.archive.org/web/20071009000948/http://www.thejewishweek.com/news/newscontent.php3?artid=11809 Don't See Spielberg's 'Munich' Unless You Like Humanizing Terrorists & Dehumanizing Israelis by the ZOA: https://web.archive.org/web/20070928044216/http://www.zoa.org/2005/12/zoa_dont_see_sp.htm The Morality of Revenge by Erich Follach & Gerhard Sporl: https://www.spiegel.de/international/spiegel/steven-spielberg-s-munich-the-morality-of-revenge-a-397183.html Review by Noel Murray: https://thedissolve.com/reviews/1397-munich/ The war on "Munich" by Michelle Goldberg: https://www.salon.com/2005/12/20/munich_3/ Like our Facebook page: https://www.facebook.com/partisanpod Follow us on Twitter: @partisanpod_ Support the We Made This podcast network on Patreon: www.patreon.com/wemadethis We Made This on Twitter: @we_madethis wemadethisnetwork.com Title music: Progressive Progress (c) Howard Harper-Barnes via epidemicsound.com

Welcome back to PARTISAN, a podcast exploring politics and history in film and entertainment.Join your host, Tony Black, as he is joined by film writer Eric Gilliland to discuss, as 50 years are marked since the Munich Olympic Massacre, Steven Spielberg's 2005 historical thriller epic MUNICH...Next time on Partisan, we're joined by Carl Sweeney to discuss Babak Anvari's 2022 class-based Hitchcockian thriller, I CAME BY...Host / Editor / ProducerTony BlackGuestEric GillilandSHOW NOTESInterviews:Roger Ebert talks to Steven Spielberg: https://web.archive.org/web/20121012031729/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F20051225%2FPEOPLE%2F512250311Steven Spielberg talks to TIME Magazine: https://content.time.com/time/subscriber/article/0,33009,1137684,00.htmlMichael Kahn talks to Cinemontage: https://cinemontage.org/michael-kahn-interview/Steven Spielberg talks to Spiegel: https://www.spiegel.de/international/spiegel/spiegel-interview-with-steven-spielberg-i-would-die-for-israel-a-397378-amp.htmlEric Bana talks to IGN: https://www.ign.com/articles/2006/05/08/interview-eric-banaAnalysis:Spielberg's “Munich” by Gabriel Schoenfeld: https://archive.ph/20120724130900/http://www.commentarymagazine.com/viewarticle.cfm/spielberg-s--munich--10025The History Behind Munich by Aaron J. Klein: https://slate.com/news-and-politics/2005/12/separating-truth-from-fiction-in-spielberg-s-munich.htmlThe year's most audacious sex scene by Jim Emerson: https://web.archive.org/web/20110805123450/‘Munich' Refuels Debate Over Moral Equivalency by Stewart Ain: https://web.archive.org/web/20071009000948/http://www.thejewishweek.com/news/newscontent.php3?artid=11809Don't See Spielberg's 'Munich' Unless You Like Humanizing Terrorists & Dehumanizing Israelis by the ZOA: https://web.archive.org/web/20070928044216/http://www.zoa.org/2005/12/zoa_dont_see_sp.htmThe Morality of Revenge by Erich Follach & Gerhard Sporl: https://www.spiegel.de/international/spiegel/steven-spielberg-s-munich-the-morality-of-revenge-a-397183.htmlReview by Noel Murray: https://thedissolve.com/reviews/1397-munich/The war on "Munich" by Michelle Goldberg: https://www.salon.com/2005/12/20/munich_3/Like our Facebook page:https://www.facebook.com/partisanpodFollow us on Twitter:@partisanpod_Support the We Made This podcast network on Patreon:www.patreon.com/wemadethisWe Made This on Twitter: @we_madethiswemadethisnetwork.comTitle music: Progressive Progress (c) Howard Harper-Barnes via epidemicsound.com

Friends! We are BACK and this week we have taken a step back from the macabre. Sarah Jane tells the amazing story of two Dublin schoolboys Keith Byrne and Noel Murray who skipped school on an August evening in 1985 and managed to fly to New York completely undetected. Also Emma has a rant and Sarah Jane has gout. Story begins at 34:06 Have a fab week! References: https://www.newyorker.com/culture/the-new-yorker-documentary/the-boys-who-ran-away-from-home-on-a-747 https://www.rte.ie/radio/doconone/646486-radio-documentary-dont-go-far https://www.rte.ie/radio/doconone/646486-radio-documentary-dont-go-far

Clubforce, the Irish tech business making sport happen, has partnered with the Rio Ferdinand Foundation to drive inclusivity in sport. The Rio Ferdinand Foundation is a youth and community development charity. Clubforce will be teaming up with the charity which works in the heart of the UK's most disadvantaged communities. The Rio Ferdinand Foundation was set up in 2012 by Rio Ferdinand OBE, an English former professional footballer, following issues of inequality he experienced in his own life. Since its inception, the Foundation is now working in communities across Ireland and the UK, with regional hubs in Belfast, Manchester, and London. The Foundation supports more than 10,000 youths, helping them to realise their potential. The Foundation empowers young people to tackle the inequalities they face. They do this by creating opportunities so they can achieve their personal potential and also so they can drive social change on a greater scale. The charity provides support under four strategic themes: safe spaces; health and wellbeing; strong, safe, and inclusive communities; and progression, skills, and employability. The partnership comes as both organisations' missions are so similarly aligned. Clubforce strives to encourage health and well-being through sport as well as inclusivity, diversity, and participation for all. Clubforce sees the value in sport as the big leveller where prejudices have always had to take a backseat. Sport can be used as a tool for good in that it brings people joy, impacting their mental and physical wellness positively, and connecting them with a community where they are supported through friendship. The Rio Ferdinand Foundation sees the potential in sport as a universal platform for inclusivity. The partnership will enable Clubforce and the Rio Ferdinand Foundation to tackle inequality issues faced by young people and encourage everyone on and off the field to participate. In addition to positioning both organisations to achieve their mission, the partnership enables Clubforce to follow through on its plans to expand into the UK. Rio Ferdinand, Foundation Founder said of the partnership “We are delighted to collaborate with a community-focused software company developing technology to promote sports participation and make sport accessible to all. We are on the same journey.” Noel Murray, CEO, Clubforce commented “As we grow in the UK we are delighted to partner with Rio Ferdinand, Gary Stannett and his team, and support the excellent work they are doing on the ground.” Rachel Kavanagh CMO, Clubforce added “We are full of admiration for the work done by the Rio Ferdinand Foundation, especially for girls. I'm especially excited to hear about programs such as GoGirl, building the confidence of young women and girls to achieve their potential. We're looking forward to contributing to the efforts made by the Foundation to drive inclusion and sports participation across genders in both geographies.” Clubforce is the only all-in-one sports club management platform that enables club volunteers to manage all aspects of their club on a single platform. Currently, the tech business is helping more than 2000 clubs to grow and thrive. The business has been operating in Ireland since 2009 and is proceeding with its plans to enter the UK market. Clubforce has seen massive development over the past year, entering strategic partnerships with numerous sports tech businesses and appointing a new CEO, Noel Murray. Clubforce is excited to enter the UK by partnering with an inspiring foundation that is helping so many youths to tackle the inequality issues they face on a daily basis. The team is thrilled to add to the Rio Ferdinand Foundation's current impressive efforts and build the bridge to make sport accessible to all. See more stories here.

We like to remember the swinging sixties fondly - the music and the fashion and the dancing. The exploitation, murder and neon-soaked blood splatter? Ehh, maybe not so much. This week, the crew geeks out about the Texas switches in Edgar Wright's glamourous neo-giallo. Also, Taiwan's biggest horror movie is headed to Netflix and Laotian ghosts are dropping soon on Shudder. Motion Picture Terror Scale: 3. Quality: 5. Enjoyment: 5. Articles mentioned in this episode: "For Diana: Last Night In Soho's Opening Tribute Message Explained," by Sarah Moran for Screen Rant "What Is a Texas Switch and How Can You Use It In Movies?" by Jason Hellerman for No Film School "What is giallo, really?" by Noel Murray for Polygon "Last Night in Soho's Edgar Wright doesn't want to give you homework… but he will," by Tasha Robinson for Polygon "Inside Last Night in Soho's breathtaking trick dance sequence," by Tasha Robinson for Polygon "LAST NIGHT IN SOHO (2021) | Behind the Scenes of Anya Taylor-Joy & Thomasin McKenzie Horror Movie," on YouTube

After a man is shot in his home, the ensuing investigation brings to light a murder-for-hire plot.Season 25, Episode 04Originally aired: March 31, 2019Watch full episodes of Snapped for FREE on the Oxygen app: https://oxygentv.app.link/WsLCJWqmIebSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In 1985 two boys from Darndale, Dublin, Keith Byrne and Noel Murray, made headline news around the world after hopping on a Dart and ending up in New York. They escaped the authorities in three countries in the process. The unbelievable tale has now been made into a TV documentary by Garrett Daly.

Guillermo del Toro's new NIGHTMARE ALLEY is a first for the director, a film with no supernatural or fantasy elements at all, and yet it is still arguably more recognizable as a del Toro film than as a remake of the 1947 Edmund Goulding noir of the same name. Why this project, for this director, and with these actors? We're joined once again by our friend and critic Noel Murray to hash out our varied reactions to del Toro's project, before bringing Goulding's version of NIGHTMARE ALLEY back into the discussion to examine what makes each version of this story distinct. Plus Your Next Picture Show, where we share recent viewing experiences in hopes of putting something new on your radar. Please share your comments, thoughts, and questions about either version of NIGHTMARE ALLEY, both versions, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Works Cited: • “The Theme That Ties All of Guillermo del Toro's Movies Together” by Tasha Robinson (gizmodo.com/io9) Your Next Picture Show: • Noel: VOIR on Netflix • Tasha: Jasmila Žbanić's QUO VADIS, AIDA? • Scott: Maggie Gyllenhaal's THE LOST DAUGHTER Outro Music: “Spookshow Baby” by Rob Zombie Learn more about your ad choices. Visit megaphone.fm/adchoices

Guillermo del Toro has emphasized that his new NIGHTMARE ALLEY is not a remake of Edmund Goulding's 1947 noir of the same name, but rather an attempt to more faithfully adapt the 1946 novel by author William Lindsay Gresham, about a carnival con artist who expands his hustle into spiritualism and subsequently opens himself up to disaster. Nonetheless, this week in preparation of our discussion of del Toro's NIGHTMARE we're taking a deeper look at Goulding's, with an assist from our friend and critic Noel Murray, to see how it follows and diverts from the noir tradition, particularly in its trio of distinctive female characters and performances, and how the morality of its tacked-on ending undercuts its deeper themes. Plus, our recent episode on THE POWER OF THE DOG has inspired a lot of feedback, which we begin digging into with some thoughts on its Hitchcockian and literary connections. Please share your comments, thoughts, and questions about either version of NIGHTMARE ALLEY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Outro music: “Carnival Games” by Nelly Furtado Learn more about your ad choices. Visit megaphone.fm/adchoices

If you follow me on social media, you'll recall that earlier this year, I fell head over heels for Columbo. From creating a popular episode-by-episode mega-thread on Twitter to deciding that Peter Falk (who I'd long loved) was going to be one of my most-watched actors for the year on Letterboxd, I soon began steering even the most casual conversations with acquaintances back to my new favorite television obsession.Interacting with a number of fellow fans on Twitter, I started getting requests for an episode devoted to the series and eagerly recruited the great Noel Murray to join me to discuss five of his favorite Columbo mysteries. His selections include "Murder By the Book," "Étude in Black," "An Exercise in Fatality," "By Dawn's Early Light," and "Columbo Goes to College."An Arkansas-based freelance writer who covers TV, movies, and pop culture for The A.V. Club, The New York Times, The L.A. Times, Polygon, Vulture, and more, it was so great to chat with Noel about all things Columbo in this celebratory, fast-paced episode.Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveOriginally Posted on Patreon (10/15/22) here: https://www.patreon.com/posts/57445815

The new ROADRUNNER plumbs some of the darker emotional depths of the late Anthony Bourdain, and has come in for scrutiny about some of its methods for doing so. That combination reminded us of another documentary about a similarly unlikely public figure: CRUMB, Terry Zwigoff's 1995 examination of his old friend and underground comics legend Robert Crumb, alongside some other more troubled members of his deeply troubled family. We're joined this week by an old friend of our own, freelance critic Noel Murray, to discuss how CRUMB navigates its subject's fraught upbringing and the often controversial ways it was manifested into art. Plus, a call from a listener prompts us to share some of our favorite “overlooked masterpieces” that due to timing or context haven't received their proper due. Please share your comments, thoughts, and questions about CRUMB, ROADRUNNER, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Outro music: “Fine Artiste Blues,” by R. Crumb and His Cheap Suit Serenaders Learn more about your ad choices. Visit megaphone.fm/adchoices

On this weeks episode in a slight reshuffle Paul Butler Lennox @paulbutlerlennox is joined by  Director, Producer Garret Daly. Garret Daly  Garret is a multifaceted and hugely assertive Film, TV and Audio and education professional who's productivity is self evident in his wide range of work across broadcast media over the years. This is testament to his brilliant attitude and determination.  His latest film "NOTHING TO DECLARE" screens at the Galway Film Fleadh this week and trust us when we say. It's unbelievably entertaining. Keith Byrne (10) and Noel Murray (13) from Darndale had run away before, but evading the authorities in three countries was a first – even for them ! On August 4th, 1985 they began an incredible adventure that would see the young duo leaving home and eventually ending up in New York! His credits include:  'The Secret Market '(Short Film)  A Nightingale Falling ' .(Feature)  'A Grand Experience ' (Feature Documentary) .  Who ls Dervla Murphy?' (Feature Doc )  Grassroots of the GAA ' (TV Series) 6 30  Rental Boys' (Rte Storyland)  "The Road of Souls" (Short Film Broadcast on RTE2)  Edge of Europe (Documentary)  'Hoodwink ' (Short Film Screened dn RTE Network 2 July 2004)  'Limerick Yau're A Lady (Documentary ) He has also produced a number of shows across national tv broadcasting and Radio. With Rte and Tv3.   Radio Credits include:  Producer of  the Gerry Ryan Show -  The John Creedon Show ' Rte Radio O  The Show Today with Pat Kenny  The Big Adventure  'Kerry & The Tramp ' 'A Light From the Grave 'The Greatest Stories Ever Told, Lyric FM 'Soundscapes of Ireland ' (26 Part Series for RTE Lyric FM) 'In My Place' (30 Part Series for Rte Junior) the A-z of Ireland, (26 Part Seizes for RTE Junior) His Film Awards include:  'A Nightingale Falling'  Jury Prize - Outstanding Achievement in Film Making - Newport Beach Film Festival, Best Feature Film - Sky Road Film Festival, Best Feature Film - Underground Film Festival IFTA Nomination 2015 - LeadActress  New talent Award nomination Galway Film Fleadh 'Who is Dervla Murphy?' Best Feature Documentary Waterford Film Festival 2010 Check out our brilliant new Membership and mentor scheme on WeAreFni.com/mentors or perhaps our professional Filmmaking facebook group with over 18,000 members.  https://www.facebook.com/groups/filmnetworkireland #WeAreBuilding #WeAreEncouraging #WeAreSupporting #YouAreFni  #WeAreFni Learn more about your ad choices. Visit megaphone.fm/adchoices

On this weeks episode in a slight reshuffle Paul Butler Lennox @paulbutlerlennox is joined by  Director, Producer Garret Daly. Garret Daly  Garret is a multifaceted and hugely assertive Film, TV and Audio and education professional who's productivity is self evident in his wide range of work across broadcast media over the years. This is testament to his brilliant attitude and determination.  His latest film "NOTHING TO DECLARE" screens at the Galway Film Fleadh this week and trust us when we say. It's unbelievably entertaining. Keith Byrne (10) and Noel Murray (13) from Darndale had run away before, but evading the authorities in three countries was a first – even for them ! On August 4th, 1985 they began an incredible adventure that would see the young duo leaving home and eventually ending up in New York! His credits include:  'The Secret Market '(Short Film)  A Nightingale Falling ' .(Feature)  'A Grand Experience ' (Feature Documentary) .  Who ls Dervla Murphy?' (Feature Doc )  Grassroots of the GAA ' (TV Series) 6 30  Rental Boys' (Rte Storyland)  "The Road of Souls" (Short Film Broadcast on RTE2)  Edge of Europe (Documentary)  'Hoodwink ' (Short Film Screened dn RTE Network 2 July 2004)  'Limerick Yau're A Lady (Documentary ) He has also produced a number of shows across national tv broadcasting and Radio. With Rte and Tv3.   Radio Credits include:  Producer of  the Gerry Ryan Show -  The John Creedon Show ' Rte Radio O  The Show Today with Pat Kenny  The Big Adventure  'Kerry & The Tramp ' 'A Light From the Grave 'The Greatest Stories Ever Told, Lyric FM 'Soundscapes of Ireland ' (26 Part Series for RTE Lyric FM) 'In My Place' (30 Part Series for Rte Junior) the A-z of Ireland, (26 Part Seizes for RTE Junior) His Film Awards include:  'A Nightingale Falling'  Jury Prize - Outstanding Achievement in Film Making - Newport Beach Film Festival, Best Feature Film - Sky Road Film Festival, Best Feature Film - Underground Film Festival IFTA Nomination 2015 - LeadActress  New talent Award nomination Galway Film Fleadh 'Who is Dervla Murphy?' Best Feature Documentary Waterford Film Festival 2010 Check out our brilliant new Membership and mentor scheme on WeAreFni.com/mentors or perhaps our professional Filmmaking facebook group with over 18,000 members.  https://www.facebook.com/groups/filmnetworkireland #WeAreBuilding #WeAreEncouraging #WeAreSupporting #YouAreFni  #WeAreFni

Rohit Karn Batra, Film Producer, Story Writer -  Director Of Line of Descent, The Future of Fim, AIRohit Karn Batra is a film producer, story writer and director. Originally from India, Rohit Karn Batra wrote, produced and directed the 2019 crime film Line Of Descent, starring Ronit Roy, Brendan Fraser and releasing worldwide on theatres and Video on demand in the United states and on ZEE5 India. Rohit is the new guest in this Dinis Guarda citiesabc openbusinesscouncil YouTube Series. Hosted By Dinis Guarda.Rohit Karn Batra Questions1. Introduction from you, background, overview, educational background2. Career highlights. How did you start?3. How did you start in the film industry?4. Can you tell us more about your filmography?5. Can you tell us about Line Of Descent and working with Hollywood star Brendan Fraser?6. New films - what do you have in pipeline?7. How do you see the film industry at the moment?8. What are your views on film, creative industries, technology and digital transformation?Rohit Karn Batra BiographyRohit Karn Batra was born in India. Originally, Rohit came from a non-film background. His parents are both teachers and he went through a traditional route. Rohit went on to study Computer Science at university, he got an Mba in New York and started his professional career in corporate America. But soon enough he turned to the film industry in 2010, his “true passion.”Rohit started doing music videos, then started to get into other aspects, namely post production and line production. It gave him the ground experience to learn about the different facets of film-making. Rohit has acted as producer of a number of short films at the start of his career, including Roundabout (2010), which was his debut as a director and story writer too. Other works include directing and producing one episode of 2012 TV documentary series Eco Fashion and the short film Goggles (2013).He then jumped into feature film after understanding the financial and technical end of things, which allowed him to raise money and make his debut film, Line of Descent.Line of DescentOriginally known as The Field, Line of Descent is a 2019 crime film written and directed by Rohit Karn Batra, which became his first feature film, and starring Ronit Roy, Brendan Fraser, Abhay Deol, Prem Chopra, Neeraj Kabi, and Ali Haji. The plot revolves around three sons of a mafia patriarch who fight over the future of their crime family. The film was simultaneously released on 4 December 2019 in theaters and video on demand in the United States while in India it was released on ZEE5.Pre-production started on 18 April 2016 and filming began on 18 June 2016. Brendan Fraser was in Mumbai for two weeks in May to film his scenes, which feature dialogue in Hindi and English.The film was well received by the press, with Noel Murray from Los Angeles Times saying: “[Rohit Karn Batra] does a fine job of exploring the dynamics of a potentially lethal sibling rivalry; and he gets an entertaining wild-card performance from American Canadian actor Brendan Fraser. (...) There's something to be said for drawing memorable characters, which Batra definitely does. This is less a movie about cops and crooks than a soapy melodrama about rich brothers at odds over the future of a family business that just happens to be illicit.”About Dinis Guarda profile and Channelshttps://www.openbusinesscouncil.orghttps://www.dinisguarda.com/https://www.intelligenthq.comhttps://www.hedgethink.com/https://www.citiesabc.com/

This week, Joanna, Dave, and Neil seem to have finally stopped skipping through time for  Season 5,  Episode 8 -  "LaFleur" - In one of Lost's best episodes we find out what happened for the three years Sawyer, Jin, Juliet and Miles were left behind. This week features an interview with Noel Murray who has written for The New York Times, The AV Club, The LA Times and Vulture. Plus he was writing Lost recaps of high calibur. You can and should follow him on Twitter @NoelMu (http://twitter.com/NoelMu) This podcast is split into two sections THE CALM where we talk about just the episodes we've watched up to this point and do not discuss facts and knowledge from later in the series and THE STORM where make use of all the knowledge that 6 seasons of Lost and 15 years of Lost fandom has generated, plus our own crazy brains. Send your Lost comments to @StormPodcast (http://twitter.com/StormPodcast) on Twitter and e-mails to Hosts@Stormpodcast.com to talk back at the show! You can send e-mails about ANY of the remaining episodes of Lost, just include the title of the episode you're addressing. Follow Neil (@rejects (http://twitter.com/rejects) ), Joanna (@jowrotethis (http://twitter.com/jowrotethis) ), Da7e (@da7e (http://twitter.com/da7e) ) and the show (@StormPodcast (https://twitter.com/StormPodcast) ) on Twitter!  Subscribe to get exclusive content!  - https://www.patreon.com/stormofspoilers Check us out at Stormpodcast.com (http://stormpodcast.com/) This week's podcast is brought to you by Magic Spoon!  Get your variety pack at a discount at MagicSpoon.com/STORM (http://magicspoon.com/STORM) and use code STORM at checkout. Theme by DJ EMPIRICAL TIMECODES: THE CALM (Through Season 5, Episode 8 discussion)  - 21 minutes, 21 seconds THE INTERVIEW (No Spoilers) - 1 hour, 25 minutes, 20 seconds THE STORM - (SPOILERS!) -  1 hour, 49 Minutes, 49 seconds

If you’re seeing double--do not adjust your set. Paul and Arlo, podcasting’s own dynamic duo, have done a Geek Challenge involving dos doppelganger dramas. Well, drama might be a strong word for such a picture as Peter Medak’s 1981 spoof Zorro, The Gay Blade, starring George Hamilton as Don Diego Vega and his brother Ramon Vega, who are charged with taking up their father’s mantle of El Zorro. That’s Paul’s challenge to Arlo, of course--and Paul’s challenge to himself (listen and find out!) is Krzysztof Kieslowski’s 1991 film The Double Life of Veronique, a mysterious and possibly supernatural film featuring Irène Jacob as Polish singer Weronika and French music teacher Veronique, who share an indefinable connection. Get ready to swash some buckles and contemplate some existences!   NEXT: after a week off, it’s that time again. Leaves are on the ground and blood is on the screen. It’s time for Gobbledyween. Greg Sahadachny joins us to discuss The Autopsy of Jane Doe. BREAKDOWN 00:00:32  -  Intro / Guest 00:07:20  -  Zorro, The Gay Blade 00:57:25  -  The Double Life of Veronique 01:58:41  -  Outro / Next LINKS   “In ‘Joker’ Do We Think The Wayne Family Enjoyed ‘Zorro, The Gay Blade’?” by Mike Ryan, Uproxx   “The Double Life of Véronique: Through the Looking Glass” by Jonathan Romney, The Criterion Collection “The dizzying hall of mirrors that is The Double Life Of Veronique” by Tasha Robinson, The Dissolve   “Fantasy, emotion, and the unsolved mysteries of Double Life of Veronique” by Noel Murray, Keith Phipps, Tasha Robinson, and Scott Tobias, The Dissolve   “The Depths of What We Cannot Know: On ‘The Double Life of Véronique’” by Jessica Ritchey, RogerEbert.com “Behind the Curtain: The Double Life of Véronique” by David Braga, Bright Wall/Dark Room “Have you ever felt strangely as if you were somewhere else?” by Roger Ebert, RogerEbert.com MUSIC “It Takes Two” by Rob Base & DJ E-Z Rock, It Takes Two (1988) “I Think I’m a Clone Now” by Weird Al Yankovic, Even Worse (1988) GOBBLEDYCARES Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Richard and Linda Thompson - I Want To See The Bright Lights Tonight (1974) The Free Design - 2002 - A Hit Song (1969) Noel Murray from the AV/Club wrote: By 1969, the New York sunshine-pop act The Free Design had released two albums and a string of singles, and all the band had to show for that effort was a handful of well-received TV appearances and one minor regional hit (1967’s “Kites Are Fun”). So on album number three, Heaven/Earth, Free Design frontman Chris Dedrick briefly set aside his usual lyrics about pretty days and happy vibes, and wrote a song about his group’s predicament. One of the most talked-about movies of 1968 was 2001: A Space Odyssey, a mind-blowing vision of a nigh-inconceivable future. With “2002: A Hit Song,” Dedrick imagined something that at the time, to him, seemed even more far-fetched. Sonically, “2002” resembles nearly every other Free Design song. It’s airy and upbeat, with an arrangement that emphasizes the harmonies of Dedrick and his bandmates (who were mostly his siblings). The Free Design was like an east coast adjunct of California pop combos The Association, The 5th Dimension, and The Mamas And The Papas, but with lyrics more in line with the burgeoning “bubblegum” movement, and instrumentation the wouldn’t have sounded out of place on one of The Anita Kerr Singers’ easy-listening albums. They were simultaneously freakier and squarer than any other young band trying to make the charts at the time. That quirkiness is the best explanation for the oddity that is “2002: A Hit Song.” Beginning with a little studio trickery courtesy of engineer Phil Ramone (later the go-to producer for Billy Joel and Paul Simon), the speeded-up voices of the Dedricks sing hello to DJs and “teenyboppers,” before launching into a pitch for the song itself. The Free Design insists that “2002” is unique, fast-paced, well-promoted, and sung “with reckless abandon,” which means there’s no way it won’t be a “hit hit hit.” The band then tacks on a twist ending, admitting that all their previous songs were equally catchy, but failed anyway. PSA - Englewood Police Department - Boys Beware (1961) Ralph was sick! Ralph was a homosexual! Jimmy No!!! PSA - Batman, Robin, Batgirl, and the Federal Equal Pay Law. (1966) As things change... The Citizens - Go, Goldwater (1964) Billy May and His Orchestra - Marrakesh Express (1970) From LP #10 in the Reader's Digest 1969/70 album, "Up, Up & Away" Brady Kids - Candy (Sugar Shoppe) (1972) "Come on, Sugardrop, and give me some." Or "Come on, Sugar. Drop and give me some..." ? Does anyone care? Why am I doing this?  Internal Recording - Nobody Can Do It Like McDonalds Can (1979) In many styles. One sounds like a direct rip-off of Maxine Nightingale's "Right Back Where We Started From". Movie Trailer - Brother Theodore - "Superstition" (1985) From Phil Rosenthal's (Everybody Loves Raymond) autobiography: Bobby Darin - Bullfrog (1969) From the album Born Walden Robert Cassotto. Burgess Meredith (as The Penguin) - The Escape (1966) How to Undress in Front of Your Husband (1937)  From IMDB: Elaine Jacobs was a 16-year-old high school student in New York in 1931 when she went to see the John Barrymore film Svengali (1931). From that moment, she later said, she fell in love with Barrymore and vowed that one day she would marry him, even going so far as to change her name to Elaine Barrie. A few years later she read in the newspaper that Barrymore was in a New York hospital due to an "illness" (he was actually undergoing one of his periodic "cures" for his severe alcoholism). She sent him an adoring fan letter asking for an interview, and Barrymore wrote back and granted her one. After that first interview she returned to see him every day for more "interviews", and when Barrymore was finally discharged from the hospital he moved into the Jacobs' family apartment in New York City. Barrymore's divorce from actress Dolores Costello was still not final, and Elaine was 30 years younger than Barrymore, and when the press discovered the situation, they had a field day. Barrymore took Elaine and her mother out to nightclubs, parties and theaters all over the city, with reporters and photographers in hot pursuit. The coverage of the pair was so extensive that in 1935 the Associated Press named Elaine (along with presidential candidate Alf Landon) as one of the people who made that year most interesting.Barrie and Barrymore were finally married in 1936, and it turned out to be a stormy one. She appeared in one of his films and made two shorts (one of which, How to Undress in Front of Your Husband (1937), was made by low-rent exploitation legend Dwain Esper) capitalizing on her status as Barrymore's wife. She also co-starred with him on Broadway and in several radio dramas. However, Barrymore's heavy drinking and serial infidelity resulted in several trial separations, and they finally divorced in 1940. Clint Eastwood - I Talk To The Trees (1969) Coca-Cola of Germany - Wir Bleiben Am Ball (?)  Filmstrip Soundtrack - Breakfast on Mars (?) Donny Osmond - Ronny Be Good (1981) ? - Donna (?) From the musical Hair. I guess? Hartz - How To Teach Your Parakeet To Talk (1960) Ed Ames - Hello Lyndon (1964)  Anti-KKK, Anti-Goldwater - Alabama Political Ad (1964) Nixon Now (1972) The 1972 "Nixon Now" advertisement is memorable for its uncharacteristic nature. Not many would associate Nixon, a firm Cold Warrior who excelled at fierce anti-liberal attack ads, with a spot that scrolls from stills of young people frolicking in the sun to clips of a smiling Nixon shaking hands with constituents. All the while, a festive song hails Nixon for "reaching out to find a way to make tomorrow a brighter day, making dreams reality. More than ever - Nixon now for you and me." Oscar Brand - Why Not The Best? (1976) or (1999) Herman Silvers & Cornell Tanassy - Hello Ronnie, Goodbye Jimmy (1980) Wayne Newton - Hard To Handle (1994) Lou Rawls - The Girl From Ipanema (1966) Awesome.  L Ron Hubbard - Thank You For Listening (1986) Rolling Stones - Fingerprint File (1974) Connie Francis - Nixon's The One (1968)  Barry's The Man For Us (1964) Sammy Davis Jr. - She is Today (1970) Johnny Cash - Houston Hash (1969) Sunny Side Rice (1969) For more, please visit Zero to 180. 

Where the unsettling illness metaphor at the center of Todd Haynes’ 1995 film SAFE tendrils out in a manner that defies easy resolution, Carlo Mirabella-Davis’ newly released debut SWALLOW tracks a similarly metaphorical affliction toward a more finite ending point. But within those two very different arcs, the two films explore complementary ideas about isolation, gender roles and archetypes, and societal expectations about sickness and recovery, all of which we get into following an in-depth discussion of SWALLOW’s successes and failures as both film and metaphor. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about SAFE, SWALLOW, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Works Cited: • “Op-ed: Ban the backstory!” by Noel Murray (thedissolve.com) • “Safe: Nowhere to Hide,” by Dennis Lim (criterion.com)  Your Next Picture Show: • Genevieve: Jimmy Chin and Elizabeth Chai Vasarhelyi’s FREE SOLO • Scott: Crystal Moselle’s SKATE KITCHEN • Keith: John Sayles’ EIGHT MEN OUT • Tasha: Bernard Rose’s CANDYMAN Outro music: The Wailin’ Jennys, “Swallow” Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey, folks! It's time for a brand-new episode of Mousterpiece Cinema, and the best way for you to listen to it is just by heading into this soundproof booth here, placing these old-school headphones on and waiting to be given a question. Just one question and you could win a lot of money! OK, don't mid that you were given the answer a day ago, just do your best to make it seem exciting. That, in a way, is the premise of the movie we're talking about this week, the 1994 drama Quiz Show, directed by Robert Redford, starring Ralph Fiennes, John Turturro, Rob Morrow, and many more. Josh and Scott are joined today by Five-Timers' Club inductee Noel Murray to talk about the Best Picture nominee, Robert Redford's career as a director, and which of the three actors listed above is giving a real clunker of a performance. Listen to the show to find out who!

I speak with Bethany Noel Murray, a painter whose large canvases reveal the difficult and often transcendent moments of living with chronic migraines. Bethany details the technical tricks she uses to entice the eye as well as the practical steps she’s taken to build her art business.

Hey, folks! It's time for a brand-new episode of Mousterpiece Cinema, and to listen to this one, you better make sure you've gathered the whole Roundup gang, from Jessie the Yodeling Cowgirl to that trusty horse Bullseye to even Stinky Pete the Prospector. You probably already guessed, but we're talking about the Pixar Animation Studios film Toy Story 2 on the podcast this week, as yet another of our Revisited shows. Scott and Josh are joined by friend of the show and freelance writer Noel Murray to talk about the now-20-year old film, and whether or not it truly is the best Toy Story film. (One of the three of them would say not!) In advance of our Toy Story 4 podcast next week, we're looking back at the first sequel in the franchise, talking about everything from parental metaphors to the inevitable Woody prequel. Check out the show now!

The guys chat with pop culture writer and film critic Noel Murray about the critical reception of Excellent Adventure, time travel in Avengers: Endgame, and also get some excellent parenting advice.

DC is joined by Noel Murray from Vulture to talk about some of the greatest movie soundtracks of all-time. Where does your favorite soundtrack rank? Noel's article: https://www.vulture.com/2018/10/best-movie-soundtracks-ever.html Music Vibes Podcast is sponsored by Neat Neat Neat Records and Music located at 1836 South Calhoun Street in downtown Fort Wayne. Neat Neat Neat stocks LPs and CDs across all genres and is an authorized dealer for Ortofon, Audio Technica, Emotiva, Wharfdale, Project and more. Please visit Neatneatneatrecords.com for more information.

This week on The Spectator Film Podcast… Ministry of Fear (1944) 12.20.18 Featuring: Austin, Maxx Commentary begins at 24:00 — Notes — We watched the Criterion Collection release of Ministry of Fear for this episode. “The sprawling, obsessive career of Fritz Lang” by Noel Murray from The Dissolve — Here’s an incredibly thorough and enjoyable article discussing the entirety of Lang’s career, devoting space to each movie along the way. “Lang, Fritz” by Dan Shaw from Senses of Cinema — The “Great Directors” page at Senses of Cinema is a great resource for learning more about your favorite directors, and their profile of Fritz Lang is characteristically exciting and informative. The Films of Fritz Lang: Allegories of Vision and Modernity by Tom Gunning — This was the book we used to help framed our discussion of the film, and while it doesn’t discuss Ministry of Fear directly, it’s a fantastic resource for anyone trying to learn more about Fritz Lang’s work. I’ve come to expect excellence from Tom Gunning’s film criticism, and this book is no exception. We’ll include some of the relevant passages below. On the Destiny-machine: “To define a concept I will discuss in detail, The Destiny-machine determines the environment in which Lang's characters struggle, serving in most cases as an obstacle. This corresponds in many ways to the theme of fate or destiny…which has become such a cliché of Lang criticism that recent commentators have tended to treat it with scorn.” (10) “The point is that for Lang destiny is not a metaphysical concept (and actually not a fight against the gods) but a material one, less a meaning than a structure. Destiny appears in Lang's films, not as a philosophy, but as a machine, whose mechanical nature in most of the films remains very literal. This is not to say that Lang's films are about a Luddite struggle against machines (although Metropolis does dramatize such a revolt). The machine in Lang does stand for something beyond itself. But, rather than a metaphor for a view of human nature or metaphysics, the machine is a metonymy, a fragment which stands for the whole systemic nature of the modern world which Lang sees as a complex determining destiny” (10). “…[Lang’s] plots trace the attempts by different characters to control or at least work in concert with a system that operates separately from their desires and according to its own mechanical logic. Lang stages again and again the varying relations characters can have with this system which I term the Destiny-machine” (16). “This struggle with a systematic order often becomes staged as a battle to control the narrative structure of the film itself, as if the attempt of these characters to seize control of the Destiny-machine mimicked the power of the director over the film. Lang at points seems to confuse the clear separation between diegetic story and action and extra-diegetic style, as characters seem to assert control over the visual devices of the film itself, especially its editing” (16). Gunning utilizes Lang’s dubious tale of encountering Goebbels to elaborate on the concept of Destiny-machine and how it works in Lang’s films: “The clock provides the suspense of the story, the sense of the need for immediate escape…The turning hands of the clock (…Lang said the clock ‘moved and moved and moved'), its relentless motion stressing Lang's immobility, stuck in Goebbels' office. But the clock also relates Lang to the world outside this office, a network of clock-determined deadlines – the banks which will close, the train schedules which could take him out of Germany. The clock hands tick towards ‘the last moment you can be sure of getting out of Germany'” (10). “The subjection that the character Fritz Lang feels to the clock inside Minister Goebbels' window inscribes his place within a system he cannot control. Lang does not describe his dilemma simply in terms of his fear of Goebbels' power and tyranny. His dramatic agony comes from the possibility that he might not be able to make it in time, get to the bank, get his money, make his train – and from the second-by-second frustration of his intentions” (15). “The question becomes not which is more powerful, an individual's will or the decree of the gods, but rather who is in control of a system by which events are interrelated and characters' destinies become interlocked, who can make use of its order and power and who will be crushed by it? Will Lang be able to leave the office and carry out his plans by making the connections the system of train schedules and banking hours allows? Or will Goebbels seem to work in concert with the clock…and frustrate Lang's intentions?” (16) On the “visionary moments” experienced by Lang’s characters: “He balances his exposition of the Destiny-machine with another device, equally important to his narrative style: moments of revelation, visionary moments in which characters must read reality in a different manner than they did previously. The revelations offered by these visionary moments also provide the film's viewer with a deeper insight into the dynamics of the film in the form of visual emblems which the viewer, as well as the character, must interpret” (16). “Visionary moments are granted to many of Lang's characters, and they mark and motivate turning points in the plots. For the most part, these are moments when a character sees through the surface of things and gains a vision of the Destiny-machine pulsing beneath… These images do not simply visualize a hallucination or fantasy. In Lang's films, they trigger a moment of realisation and interpretation, a reading of signs, in which the true mechanism controlling reality is perceived by a character. These readings contradict the ordinary view of things and astonish the characters who experience them. Most often the characters become alienated from their previous sense of existence through these visions” (22).

Carvell, Rebecca, and Gabe are joined by Noel Murray to discuss Slate’s new package on family games: the best, the worst, and more, including Rebecca’s spirited defense of the game Clue. Then, is a mother-in-law’s insistence on saying dinner prayers with atheist kids grounds for a confrontation? Plus, watching your kids fail creatively, a laundry-based triumph, and watching swim lesson money swirl down the drain. In Slate Plus, another installment in Rebecca’s continuing family saga.  This episode is brought to you by American Express. Don’t do business without it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Carvell, Rebecca, and Gabe are joined by Noel Murray to discuss Slate’s new package on family games: the best, the worst, and more, including Rebecca’s spirited defense of the game Clue. Then, is a mother-in-law’s insistence on saying dinner prayers with atheist kids grounds for a confrontation? Plus, watching your kids fail creatively, a laundry-based triumph, and watching swim lesson money swirl down the drain. In Slate Plus, another installment in Rebecca’s continuing family saga.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Are the United States and China headed toward a trade war? Do the Trump administration’s actions help or hurt the economy and national security of the United States? Our panel of experts weighs in. Participants included Hal Brands, Frank Lavin and Noel Murray. Filmed at the Richard Nixon Presidential Library and Museum on September 17, 2018.

The new Jason Statham late-summer vehicle THE MEG, like so many middling shark movies before it, can trace its lineage directly to the 1975 film that made us afraid to go into the water: Steven Spielberg’s JAWS. In this half of our sharktastic discussion, we’re diving in (cautiously) to what your NPS crew considers a perfect movie, considering what gives JAWS its hidden depths, what it told us about the director Spielberg would become, and whether its impact on the blockbuster model is a net positive for movies. Plus, some feedback on our recent MISSION: IMPOSSIBLE and SORRY TO BOTHER YOU episodes. Please share your comments, thoughts, and questions about JAWS, THE MEG, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Show Notes Works Cited: • “The great lost Jaws rip-off” by Keith Phipps • “The men, monsters, and troubled waters of Jaws” by Noel Murray, Keith Phipps, Nathan Rabin, Tasha Robinson, and Scott Tobias Outro Music: Dwight Twilley Band, “Shark” Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Jarmusch’s new PATERSON is one of 2016’s best films, and plays like a natural mirror to his breakthrough, STRANGER THAN PARADISE. After waxing rhapsodic about PATERSON for a while, we talk about how the two movies are connected, through their observational approaches, their quirky relationships with time, and their appreciation for the small things in life. We also try in vain to determine whether Jarmusch actually hates dogs, or just finds them unpredictable. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about STRANGER THAN PARADISE, PATERSON, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Your Next Picture Show: * Tasha: John Schlesinger’s COLD COMFORT FARM * Scott: Fritz Lang’s American films, specifically FURY, YOU ONLY LIVE ONCE, SCARLET STREET, and HOUSE BY THE RIVER (as curated from this Noel Murray overview of Lang’s career: thedissolve.com/features/career-view/222-the-sprawling-obsessive-career-of-fritz-lang) * Keith: Wim Wenders’ KINGS OF THE ROAD * Genevieve: Alexis Bloom and Fisher Stevens’ BRIGHT LIGHTS Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you have what it takes? Can you pick up the cue and knock in the nine-ball at the right time? It's time to head into the pool hall for a new episode of Mousterpiece Cinema, as Josh and Gabe are joined by friend of the show Noel Murray to talk about The Color of Money, from some dude named Martin Scorsese. Yes, really, we can talk about a Scorsese movie on the show, and you'll find out why here. As The Color of Money celebrates its 30th anniversary, it's high time to ask if this movie gets an unfair shake from cinephiles and Scorsese fans, or if its status as a good-but-not-great film remains correct. The question is answered on the episode, so listen to find out!

Writer and film critic, MATT ZOLLER SEITZ, joins me to talk about his new book, The Oliver Stone Experience, a beautifully conceived, edited & photographed retrospective on the career of one of America's last great auteurs. We talk about Stone's personality and aesthetic, the creation of the book and how his films fit into the world today. Lots of detours with Matt's personal view of the state of film and a great talk! Enjoy! Please note: I misattributed my quotes about digging on esoterica to Nathan Rabin; they were written by Noel Murray. The Oliver Stone Experience on Amazon TV (The Book) on Amazon (with Alan Sepinwall) Matt's Blog at RogerEbert.com Matt on Twitter Music on this podcast: Artist: Beastie Boys Song: Hello Brooklyn Song: Song for Junior Copyrights are owned by the artists and their labels. No money is made from this podcast.

Mo is off on a secret mission, so "Talking TV" brings back guests Donna Bowman and Noel Murray (back after a two-year hiatus from this show) to talk two premieres and one finale. Apologies for the slightly muffled audio, as Skype decided to play some tricks on us. 0:00 - 9:36: The Comedians 9:36 - 25:39: Louie 25:39 - End : Better Call Saul Be sure to subscribe to the new feed for the podcast here if you like to listen on iTunes. You'll see plenty of ways in each post to stream or download MP3s if you hate iTunes as much as Clarke hates her choices on any given day. You can also subscribe on Stitcher if you like. Also, we have an email for the podcast now! Click here to email us questions for future podcasts.

With but one shopping day until Christmas, it's time for Josh and Gabe to open up their own gifts on this new episode of Mousterpiece Cinema, as they travel back in time to the era when the Walt Disney Company was merely the Walt Disney Studios, back when live-action and animation didn't co-exist nearly as freely as they do today. On this new episode of the show, Josh and Gabe are joined by Noel Murray of The Dissolve to talk about The Reluctant Dragon, the 1941 hybrid of live-action and animation, of fiction and documentary, wherein Robert Benchley walks around the Disney studios to see how the animation process is completed, from sound effects to storyboards all the way to the finished product. Is this more than just a quaint relic? Is it a compelling look into the past? Is Robert Benchley annoying or hilarious? Or both? You can only find out by listening to the new show! (A warning/apology: due to issues on Josh's side of the recording, there is an echo that persists throughout the episode. It will sound like Josh is cutting in on either Noel or Gabe at various points, but he wasn't. Just a nasty echo/delay issue. Again, apologies!)

Inspired by this great article about prequels by Noel Murray for The Dissolve, Joe and Ed use this week's episode as an opportunity to talk about the weaknesses of the prequel model of storytelling. It's not entirely about laying into the Star Wars prequels (though that is somewhat unavoidable where this topic is concerned) since it also encompasses a discussion of the differences between gap-filling, mythology-based prequels and standalone adventures, which prequels they perceive as being especially cynical and mercenary, and examples of prequels that are actually good because they use their pre-established endpoint to build tension. Mainly, it's just an excuse for Ed to talk about how rad NBC's Hannibal is, especially when compared to some of the other Hannibal Lecter prequels.

As home theaters get more and more impressive, studios are fighting back with visually epic films like Gravity, which take the theatrical format to its current limits. Gravity’s huge box-office success and 10 Oscar nominations suggest the renewed focus on scale might work both financially and aesthetically, but what happens when movies made to get people into theaters leave the theaters, and home viewing is the only option? This week, we discuss movies where the presentation might be as important as the content, from Gravity to Jaws 3D. Then we check in with Nathan Rabin and Noel Murray, live from the Sundance Film Festival, for their picks on the best films soon to hit theaters, and their impression of how Sundance has changed since they started attending. We bring back Parental Guidance Suggested, where players have to identify a film from some of its IMDB Parent’s Guide warnings, then have Keith Phipps and Scott Tobias present their dueling recommendations in 30 Seconds To Sell. Spoiler: It’s a really close call this week.

The tepid reception from critics and audiences toward Spike Lee’s recent remake of Park Chan-Wook’s dark, stylish 2003 film Oldboy is indicative of some of the problems and preconceptions surrounding American remakes of foreign films. We try to set aside our knee-jerk dislike for such films to discuss what they say about our filmgoing culture, and try to come up with a few successful Hollywood re-imaginings (other than The Ring). In the second segment, host Tasha Robinson talks to Jason Bailey, writer of the new book Pulp Fiction: The Complete Story Of Quentin Tarantino’s Masterpiece, about the film’s genesis, shooting, and impact on the current movie landscape. Then Tasha asks Keith Phipps, Noel Murray, and Nathan Rabin to perform some movie algebra with a new game called Icon Vs. Icon, whose simple-enough name belies a complicated—but fun—premise. Then Noel and Scott Tobias wrap it up with some rapid recommendations in 30 Seconds To Sell. PLEASE NOTE: The Dissolve Podcast is going on hiatus over the holiday break. It will return in January with new episodes. 

Opening on IMAX 3-D screens across the country today, Metallica: Through The Never goes bigger than most concert films, attaching a post-apocalyptic narrative to the expected Metallica performance footage. On this week’s podcast, we use this opportunity to talk about the evolution of the concert film, unconventional approaches to the genre, and some of our oddball favorites. Then Matt Zoller Seitz, esteemed TV critic for New York magazine and editor-in-chief of RogerEbert.com,  joins us via Skype to talk about his new book, The Wes Anderson Collection, a gorgeous hardcover full of essays, interviews, photos, and graphics related to Anderson’s seven features. And our game this week is “Double Vision,” wherein the host gives clues from two movies with a lot in common and asks the panelists to guess which one matches the description. And when those two movies are Dante’s Peak and Volcano, the competition is every bit as explosive as you’d expect. (No adorably scruffy dogs or young Joseph Gordon-Levitts were harmed by lava in the recording of this game.) Finally, Tasha Robinson and Noel Murray touch gloves in the recommendation cage match that is 30 Seconds To Sell.

According to Aesop, familiarity breeds contempt, but that doesn’t always hold true. In the case of filmmakers, actors, and other creators with long, well-established careers, familiarity can help us isolate their particular talents and interests. Sometimes, though, Aesop’s right, and seeing too much of someone’s work makes us respect it less. This week, we discuss what the long careers of Danny Elfman, Robert De Niro, and many others have taught us about their work. In a second segment, Scott Tobias and Noel Murray report in from the Toronto International Film Festival via Skype, laying out the best films coming to America soon, and the best films they’ve seen that are still looking for distribution. Our game segment this week is Famous Last Words, in which panelists struggle to identify a film character from the last lines they speak before dying. Finally, Nathan Rabin and Keith Phipps square off in our competitive recommendation segment, 30 Seconds To Sell.

You read the title right, friends. This week, Josh and Gabe tackle one of the most controversial films in American cinema, and arguably the most challenging in Disney's filmography: the 1946 live-action/animated hybrid Song of the South, which tells the tale of white and black characters living in harmony in the Reconstruction-era Deep South. To unwrap all of its complications, Josh and Gabe are joined by Noel Murray of The Dissolve, and they ask the big questions: should this movie be shown publicly? Should Disney profit as much as they do on its theme-park inspiration, Splash Mountain? And is Gabe a racist? (For liking this movie, that is.) If the bluebird is on your shoulder and you're whistling a very specific tune, tuck in and listen to the new show for the answers!

It’s been a solid week of TV, with the comedies in particular having strong showings, but this week on the podcast, the focus is on Fringe, which concluded its five season run this past Friday. After talking through Our Week in TV, including Tuesday Comedies (Ben and Kate, New Girl, The Mindy Project, Happy Endings, ... The post The Televerse #73- Fringe with Noel Murray appeared first on PopOptiq.