Podcasts about Oak Street

Welcome to Director's Cut! A little spin-off series of Two Black Cats where Ethan & Christine go straight from the movie theater to the mics and review the movie they just watched. This has little to nothing to do with the actual TBC podcast - we just like watching movies and having opinions. For our very first episode we decided to watch The End of Oak Street, and boy oh boy. That was a choice.And we'd love to hear your opinions as well - did you like this movie? Does Anne Hathaway just really love dinosaurs? Head over to our instagram to let us know your thoughts! @twoblackcatsprod

Get your Japanese banana pants on because we're moving into Spooky Season and a brand new theme, “Austin, I'm so sorry, you're house is F***ED!” - Haunted House - movies brought to you by Cody and his pick of HAUSU! Guess what, it's one of the best movies ever. Guess what, we also have one of our best opening friendship segments ever as we dive into the MANY other films we've watched recently including numerous Ridley Scotts, Hokum, Nirvanna The Band The Show The Movie, and so dang much more!   Go to patreon.com/SHUDcast where you can sign up for all kinds of extra goodies!   00:00-7:00ish - Intros: Our Horror Movie Directors Draft, Lucas Longlegs' October Challenge.   7:00ish - 1:20:00ish - The other stuff we watched this time:   Cody - Hope, The Dark Crystal, Buddy, Poltergeist, How to Train Your Dragon (2010), Legend, The Last Duel, Onslaught, The Hobbit (all of them), The Lord of the Rings (animated), The Dog Stars, Bridesmaids, The Whisper Man, The Cable Guy, Romy and Michelle's High School Reunion, King of New York, Leon: The Professional, Travis Barker: Louder Than Fear,    Austin - Hokum, Encanto, The Hunchback of Notre Dame, The Northman, Mortal Kombat II, The End of Oak Street, Weapons   Curtis - Onslaught, Mother Mary, Perewangan, The Town That Dreaded Sundown (1976), The Town That Dreaded Sundown (2014), Deathstalker (2025), Lanterns, Rebel Ridge, Nirvanna The Band The Show The Movie, Child's Play 2, Psycho (1960), Human Lanterns, Supergirl, Practical Magic, Practical Magic 2   Lucas - Buddy, Onslaught, Nirvanna The Band The Show The Movie, Mutiny, Jungle Cruise, Pressure, Coyote vs. Acme, Frankenstein (2025), Promising Young Woman, Thrilling Bloody Sword, The Odyssey, 8 Mile, Runner, The Toxic Avenger (2025), Funny Games (2007), Send Help, Sharp Corner   1:20:00ish - 1:49:00ish - HAUSU - SHUDdown and discussion!   1:49:00ish - End - The next movie in our theme, “Austin, I'm so sorry, you're house is F***ED!” - Haunted House movies, brought to you by Curtis.

o barrete do ano cai num filme que, à partida, tinha tudo para ser um ganhador.

LexG is back, with an all new slate of recent reviews, including Anne Hathaway and Ewan McGregor in the dinosaur adventure End of Oak Street, Adria Arjona taking on super soldiers in Onslaught, the latest from Jason Statham in Mutiny, Ridley Scott's dystopian adventure The Dog Stars, Mark Wahlberg savin' the day as usual in By Any Means, and Gal Gadot running a lot in, er, The Runner.

Vimos la dilatada El final de la Calle Oak (The End of Oak Street, 2026) de David Robert Mitchell y... hubo ¡polémica!También nos ocupamos de las coyunturas más variadas, recomendamos películas para acompañar a la de esta semana y algo más.¿Qué más? Que quedan pocas entradas para el último hecho teatral de nuestro hijo bobo acá.Y si no querés ir al teatro, por lo menos entrá en hoytrasnoche.com que este papel higiénico no se va a pagar solo, eh.

This week, Mike reviews The End of Oak Street and quickly talks about The Last House, and we answer a variety of fan questions! 

Whose fault is it that all the baristas and also everyone getting coffee in America are incompetent? Maya declares that the world is unlivable because it's impossible to get coffee. Producer Tyler is on a schedule here, people! Maya's neighbors are moving. Don't celebrate yet…there's a catch. Maya and Amy launch into the filthy gangster rap that raised them and all the murder mysteries surrounding the scene. Why did it take so long to find Tupac's murderer? Who killed Biggie? Why isn't anyone solving these mysteries? Amy has the deets. Is there anyone scarier than Suge Knight? The ladies have differing opinions about the Incredible Hulk. Is there anyone cornier or worse than Sean Puffy Combs? Maya can't believe that someone is named Keffe D. Amy really goes deep on this case. Biggie vs. Tupac…who is the greatest rapper of all time? Next up, postpartum psychosis. Then Approved/Denied MN State Fair Foods edition! Amy reviews the movie The End of Oak Street. It's a real roller coaster, people. Maya reviews The Last House. Amy gets back into Project Runway thanks to Viva Paper Towels. Maya talks creative process. Tim Gunn, we love you.  

 Gabe and Matt finally get around to discussing The Drama and delve deep into what makes it such a compelling watch. Additionally, they discuss two films heavily inspired by genre conventions: The End of Oak Street and Onslaught. -  -  -  -  - Listen to us on Apple Podcast and Spotify!Send us a message!Music by Mike. Check out his Soundcloud.Like our content? Visit our website! 

After having differing thoughts on if they saw the TV glow, Josh and Andrew go nightswimming in Jane Schoenbrun's much-talked-about slasher romance Teenage Sex and Death at Camp Miasma. A wild departure from Schoenbrun's usual work, our hosts share a bigger appreciation for its big swings at the slasher genre, its thoughts on sex, fantasy and media, the best Counting Crows needle drop since Shrek 2, and for being a surprise contender for one of the funniest movies of the year.Grab a KFC 8-pc Family Bucket, munch on some Jolly Ranchers, and prepare to be dipped into a saucy episode that seems to cure Josh's ailment of skeptical-of-Schoenbrunitis (for the most part). Then, they get into One More Thing, bringing up the criminally underrated revenge gothic Is God Is and another film about female pleasure, Shōhei Imamura's final film Warm Water Under a Red Bridge.Next week, Josh and Andrew head on over to 80s Spielbergsploitation with The End of Oak Street, David Robert Mitchell's latest that'll have them seeing if it's up to par with his films that made him a Take-Up staple. Until then, read on at thetake-up.com and follow us @thetakeupstl on Instagram, Twitter, Letterboxd, and Facebook. Special thanks to Social Media Manager Kayla McCulloch and The Hole at the Bottom of the Lake Where the Episodes Come From Ethan Tarantella. Theme music by AMP.

In episode 126 of The Neon Crew Podcast, Kyle and Mac discuss Nathan Fielder's latest passion project, the two different voices present in the new dinosaur movie, and how Liam Neeson loves Kung Fu Hustle.LISTEN TO PODCAST HERE:YouTube: https://www.youtube.com/@theneoncrewpodcast/featured Spotify: https://open.spotify.com/show/3AI17IdYnujCrtSc7M5EKG?si=58d599af20514ae8 Apple Podcasts: https://podcasts.apple.com/us/podcast/the-neon-crew-podcast/id1585795358SOCIAL MEDIA:Facebook: https://www.facebook.com/NeonCrewPodcastYouTube Community: https://www.youtube.com/@theneoncrewpodcast/community Instagram: https://www.instagram.com/neon_crew_podcast/ MERCH: https://www.etsy.com/shop/TheNeonCrewPodcast?ref=shop-header-name&listing_id=1374844203&from_page=listing Music by Gideon HunterGideon's Channel: https://www.youtube.com/@wakerisefall Logo design by Lauren HunterLauren's Instagram: https://www.instagram.com/pineandsun/?fbclid=IwAR1zgGnVTNcnK6lji2A5NhDj-NCmD3f1PLqj1ckjr220HiWvsFJisfy9n8g Films covered on the podcast:https://boxd.it/UKmGq Kyle's Letterboxd profile:https://letterboxd.com/NeonKyle/ Timestamps:00:00 | Intro / You Can See Everything documentary18:03 | The End of Oak Street1:09:04 | Non-Stop2:19:00 | Mac's recommendation for episode 127

Chris and Erik get into the Lindsay Clancy mistrial and why people still push the husband theory when both sides agreed he wasn't a suspect, then a viral store-line "assault" video where the footage clears the guy and nobody cares. Matt Rife's Annabelle doll turns into a debate on belief: ghosts, God, and simulation theory. They watch the AI Denzel "slop" clip and argue about whether AI filmmaking is art, gatekeeping, or lazy, with Erik explaining why his John Thick video kept putting the cop inside the house. Erik reviews The Odyssey and the accent choices Nolan made, Chris can't tell Insidious from The Conjuring, and Erik breaks down End of Oak Street beat by beat, payphone and all. Erik updates on parenting Billy, and they close on AI animal videos, steroids, and GLP-1.Get two extra episodes every month at https://Patreon.com/TheGoldenHourPodcastTo submit to the show email: thegoldenhoursubs@gmail.com or Dropbox Link: https://www.dropbox.com/request/fqtbexhxyaky9X8f8MV1In the subject line, specify whether your submission is King It or Sting It, Debate Club, Rip My Drip, Relationship Advice, or Flaunt My Aunt. In the body of the email, include the attachment, your name, where you're from, and in the case of Flaunt My Aunt, the name of your relative.SUBSCRIBE to The Golden Hour Podcast: http://www.youtube.com/c/KingandtheSting Get your King and the Sting merch at https://thicccboy.com/collections/sale-home-pageFollow #TheGoldenHourInstagram: https://www.instagram.com/the.golden....Twitter:https://twitter.com/the_golden_hrFacebook: https://www.facebook.com/KingandtheStingAnd check out Brendan, Chris, & Erik on social media!Brendan Schaub:https://www.instagram.com/brendanschaubhttps://twitter.com/BrendanSchaubhttps://www.facebook.com/OfficialBren...Chris D'Elia:https://twitter.com/chrisdeliahttps://www.instagram.com/chrisdelia/https://www.facebook.com/chrisdeliaof...Erik Griffin:https://twitter.com/ErikGriffinhttps://instagram.com/erikgriffinhttps://www.facebook.com/erikgriffinc...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Game 6 was successful novelist Don DeLillo's first produced screenplay.  Written in 1991 but not produced until 2004, the film was shot for $500,000 in Manhattan and it's cast each worked for $100 a day.  Although several filmmakers were courted as director, those duties eventually went to Michael Hoffman (Restoration, Soapdish, The Last Station).  It stars Michael Keaton, Catherine O'Hara, Griffin Dunne, Robert Downey Jr and Tom Aldredge. Dan and Vicky discuss this forgotten film along with some recently seen like It Ends, Mutiny, Spider-Man: Brand New Day, The End of Oak Street, Colony, and the classic Harold and Maude. Our socials:  Hot Date Podcast website FB:  Hot Date Podcast Insta:  hotdatepod

This week the boys head to 1988 to discuss “Rain Man”, the Barry Levinson film that makes you wonder: is Tom Cruise a better actor than Dustin freaking Hoffman? Is he??? John also discusses “The End of Oak Street” and “Grab a beer, grab your card counter, and let's head to Vegas!  inktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 7:02 “End of Oak Street” mini-review; 13:07 “By Any Means” mini-review; 18:08 1988 Year in Review; 34:43 “Rain Man”: Films of 1988; 1:15:48 What You Been Watching?; 1:25:44 Next Week's Episode Teaser Additional Cast/Crew: Tom Cruise, Dustin Hoffman, Bonnie Hunt, Mark Wahlberg, Yahya Abdul-Mateen II, David Strathairn, Josh Lucas, Giancarlo Esposito, Ethan Embry, LaChanze, Elegance Bratton, Sascha Penn, David Robert Mitchell, Anne Hathaway, Ewan McGregor, Maisy Stella, Christian Convery, P.J. Byrne. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: The Rip, Lorne, Ted Lasso, Michael, Sisu: Road to Revenge, 28 Years Later, The Death of the Pastor's Wife, Silo, Lanterns, Strange New Worlds, Yellowjackets, DCU, The Bear, Frasier, The Rip, Lorne, Ted Lasso, Michael, Sisu: Road to Revenge, 28 Years Later, The Three Musketeers, The Man in the Iron Mask, Titanic, The Dark Knight, Batman begins, The Fast and the Furious, Undertone, Fraser. Additional Tags: Dolly Parton, Tim Curry, AMC A-List, Dolby Cinemas, Peter Parker, Stanley Kubrick, Argentina, Spain, England, France, The Odyssey, Christopher Nolan, Moana, Toy Story 5, Focus Features, A24, Curry Barker, The Tenant, Rosemary's Baby, The Pianist, Cul-de-Sac, AI, The New York City Marathon, Apartments, Tenants, AMC, IMAX Issues, Tron, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Academy Awards, BFI, BAFTA, BAFTAS, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show, The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg. 

On today's episode Kolby breaks down his thoughts on Bad Robot's latest installment, The End of Oak Street, starring Anne Hathaway, Ewan McGregor and Dinosaurs...

FIRST 34:30: Spoiler-Free Review with our See It/Skip It Verdict AFTER 34:30: Full Spoiler Review It's another edition of See It or Skip It and this time Ian is joined by James as they head to The End of Oak Street — David Robert Mitchell's strange new collision of suburban family drama, science-fiction mystery and dinosaur-filled survival adventure. Anne Hathaway and Ewan McGregor lead the Platt family, whose perfectly ordinary neighbourhood suddenly finds itself ripped out of suburbia and deposited somewhere very, very different. But does throwing a family, their house and apparently their entire street into the impossible make for a thrilling original blockbuster — or is The End of Oak Street trying to cram too many different movies into the same 99 minutes? Ian and James dig into whether Mitchell — the filmmaker behind It Follows — can make the leap into big-budget spectacle without losing the sense of unease and mystery that made his earlier work so distinctive. Does the film actually have something interesting to say about family, home and what happens when everything familiar is suddenly stripped away? Or are we really just here to watch Anne Hathaway and Ewan McGregor run away from dinosaurs? How well do Hathaway and McGregor sell the central family dynamic? Do Maisy Stella and Christian Convery give the younger Platts enough personality of their own? And when the film finally starts explaining exactly what has happened to Oak Street, does the answer make the mystery more satisfying — or was wondering what the hell was going on more fun than actually finding out? The pair also get into the film's action, Michael Giacchino's score, its use of IMAX-scale spectacle and that wonderfully odd mixture of Spielbergian adventure, creature feature and domestic drama. Is this the kind of original studio blockbuster people keep insisting Hollywood doesn't make anymore — and, if so, will audiences actually turn up when somebody finally makes one? Can a movie about a suburban family transported into the unknown balance genuine emotional stakes with the simple pleasure of DINOSAURS? Does David Robert Mitchell successfully go big without losing what makes his filmmaking interesting? And perhaps most importantly: once your entire street has been transported through space and time, does the homeowners' association still have jurisdiction? All this and more in this week's See It or Skip It review of The End of Oak Street — and of course, Ian and James will let you know if you should SEE IT or SKIP IT.

MEGA STUFFED EPISODE CATCHING UP ON SUMMER 2K26 BECAUSE JURGE HAD A BABY JUNE Backrooms (technically May) dir: Kane Parsons; Chiwetel Ejiofor, Renate Reinsve, Mark Duplass Scary MoVIe dir: Michael Tiddes; Marlon Wayans, Shawn Wayans, Anna Faris,Regina Hall, Teyana Taylor Disclosure Day dir: Steven Spielberg; Emily Blunt, Josh O'Conner, Colin Firth, Eve Hewson, Colman Domingo Leviticus dir: Adrian Chiarella; Joe Bird, Stacy Clausen, Mia Wasikowska CAMP dir: Avalon Fast; Zola Grimmer,Alice Wordsworth,Cherry Moore,Lea Rose Sebastianis, Ella Reece Supergirl dir: Craig Gillespie ; Milly Alcock,Mattias Schoenaerts, Eve Ridley, Jason Momoa, Krypto the Superdog JULY Evil Dead Burn dir: Sébastien Vaniček; Souheila Yacoub, Tandi Wright, Hunter Doohan,Luciane Buchanan, Erroll Shand, Maude Davey The Invite dir: Olivia Wilde; Seth Rogen, Penélope Cruz, Edward Norton The Odyssey dir: Christopher Nolan; Matt Damon, Little Tommy Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong'o, Samantha Morton, Zendaya, Charlize Theron Her Private Hell dir: Nicolas Winding Refn's Penis; Sophie Thatcher, Charles Melton, Havana Rose Liu Masters of the Universe dir: Travis Knight; Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Kristen Wiig, Jared Leto ,Idris Elba Avatar Aaang: The Last Airbender dir: Lauren Montgomery Spider- Man: Brand New Day dir: Destin Daniel Cretton; Little Tommy Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Florence Pugh. Tramell Tillman, Marisa Tomei, Mark Ruffalo AUGUST Soulm8te (from the world of M3gan) dir: Kate Dolan; Lily Sullivan, David Rysdahl, Claudia Doumit The End of Oak Street dir: David Robert Mitchell; Anne Hathaway, Ewan McGregor, Maisy Stella, Christian Convery Insidious: Out of the Further dir: Jacob Chase; Amelia Eve, Brandon Perea, Maisie Richardson-Sellers, Lin Shaye Tony dir: Matt Johnson; Dominic Sessa, Emilia Jones, Dagmara Domińczyk, Rich Sommer, Stavros Halkias, Leo Woodall, Antonio Banderas Teenage Sex and Death at Camp Miasma dir: Jane Schoenbrun; Hannah Einbinder, Gillian Anderson, Jack Haven The Last House dir: Louis Leterrier; Greta Lee, Wagner Moura The Whisper Man dir: James Ashcroft; Robert De Niro, Michelle Monaghan, Adam Scott, Michael Keaton Coyote vs. Acme dir: Dave Green; Wile E. Coyote, Will Forte, Lana Condor, John Cena Buddy dir: Casper Kelly; Cristin Milioti, Delaney Quinn, Patton Oswalt, Michael Shannon, Topher Grace, Keegan-Michael Key September? Fall 2: Deadpoint By Any Means Onslaught (from TGCU: The Guest Cinematic Universe) Tom and Jerry: Forbidden Compass Practical Magic 2 Resident Evil Forgotten Island Primetime Your Mother Your Mother Your Mother Unabomber Home --------------------------------------------------- iTunes: https://podcasts.apple.com/us/podcast/movies-are-reel/id1082173626 Spotify: https://open.spotify.com/show/2VE15E5fS0ZWtESo9bUWhn?si=e983275eb550499c&nd=1 Jurge - twitter: twitter.com/jcruzalvarez26 Letterboxed: letterboxd.com/jcruzalvarez26/​ Ryan- twitter: twitter.com/MrPibbOfficial Letterboxed: letterboxd.com/filmpiece/​ Karrie - twitter: twitter.com/kar_elyles Letterboxed: letterboxd.com/karrie/

We discuss some movies we're seen recently but haven't had a chance to talk about! Coyote vs. Acme The End of Oak Street Buddy Also - Gu Googles & we play "Great Cast, Bad Movie!" Join the conversation... FacebookInstagramTwitterTikTokYouTubeRate/Review/Subscribe:Apple PodcastsSpotifyYouTubeSee omnystudio.com/listener for privacy information.

LISTEN TO THE FULL BONUS EPISODE ON PATREON: https://www.patreon.com/sleazoidspodcast/posts/bonus-73-end-of-168606029 GET YOUR SLEAZOIDS SHIRT + HAT: https://blackbeltcinema.ca/search?q=sleazoids&options%5Bprefix%5D=last WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl/ Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller/

The End of Oak Street is David Robert Mitchell's 2026 dinosaur survival movie starring Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery, and it may be one of my favorite dinosaur movies ever made. Set in 1982, the film follows the Platt family after a mysterious cosmic event transports their ordinary Michigan neighborhood roughly 200 million years into the past. Suddenly, suburbia is surrounded by prehistoric wilderness, and dinosaurs aren't theme-park attractions - they're wild animals that can tear the neighborhood apart. In this episode, I give you five reasons you might want to watch The End of Oak Street. Order The End of Oak Street on 4K: https://amzn.to/4wG1X7d Buy a shirt: https://www.teepublic.com/user/forcefive Other helpful links: YouTube: https://youtu.be/LNWRY_X12Us Letterboxd: https://letterboxd.com/forcefive/ Website: www.forcefivepodcast.com Instagram: www.instagram.com/forcefivepodcast Email: forcefivepodcast@gmail.com

This week Glenn is joined by John Axelrad. John has edited such excellent films as We Own the Night, Two Lovers, Crazy Heart, The Lost City of Z, Papillon, Ad Astra, Antebellum, Chevalier, and Spaceman. Now he has crafted the thrilling adventure, The End of Oak Street.Thanks again to ACE for partnering with us on this podcast, check out their website for more.Want to see more interviews from Glenn? Check out "Editors on Editing" here.The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show!  

Episodio donde reseñamos la película The End of Oak Street, Pari ve la nueva de Ridley Scott llamada The Dog Stars, el actor Lee Pace como próximo Magneto, opiniones tempranas sobre la serie Lanterns, recomendación de Pari para que Wisto vea la serie de Darth Maul y regrese a ser fan de Star Wars, y terminamos con una idea para la próxima película de Predator sobre Ronins en Japón feudal. Escúchanos: Spotify / Apple Podcasts / YouTube Apóyanos: patreon.com/holamsupernova Síguenos: Instagram/ Twitter/ TikTok @holamsupernova Merch: holamsupernova.myshopify.com

On this fourth and final installment of “Everyone is Stupid Except For Me”, Austin enters the fray with Kevin Smith's divisive 2011 film, RED STATE. Will we finally approve or disapprove a movie in this theme, or will the Patrons have their say over all of them? Find out inside! Also: Spider-Man, The End of Oak Street, and awards plus our next theme brought to you by Cody!   Go to patreon.com/SHUDcast where you can sign up for all kinds of extra goodies!   00:00 - 9:20ish - Intros: Tinder and how to make money online   9:20ish - 1:03:00ish - The other stuff we watched this time!   Austin - The Odyssey   Cody - The Mandalorian and Grogu, The 13th Warrior, Predator: Badlands, The Sheep Detectives, Spider-Man: Brand New Day, The Long Walk, Cold Storage, The Odyssey (again), Wake Up Dead Man, Remarkably Bright Creatures, Caught Stealing, The End of Oak Street, Onward, Forbidden Fruits   Curtis - Spider-Man: Brand New Day, The End of Oak Street, The Martian, Twisters, The Devil Wears Prada 2, Masters of the Universe, The Devil's Mouth, Exit 8, Teenage Sex and Death at Camp Miasma, Troy, The Frighteners   Lucas - Spider-Man: Brand New Day, Friendship, Dungeons & Dragons: Honor Among Thieves, 300, Warcraft, Avengers: Age of Ultron, Paw Patrol: The Dino Movie, Eyes Wide Shut, Behind the Candelabra   1:03:00ish - 1:30:00ish - RED STATE - SHUDdown and discussion!   1:30:00ish - End - “Everyone is Stupid Except For Me” Awards and our next theme and movie selected by Cody!

Josh is joined by first-time guest Gracie to talk about all about one of the more bonkers films of 2026 to date, "The End of Oak Street." They discuss how effectively writer/director David Robert Mitchell told a story of a neighborhood in the 1980s that gets inhabited by dinosaurs, if the movie made one too many plot turns in the final act, the quality of the visual effects and action scenes, the performances from a cast that included Anne Hathaway, Ewan McGregor and Maisy Stella and much more!

The End of Oak Street is a sci-fi dinosaur movie starring Anne Hathaway and Ewan McGregor, written and directed by David Robert Mitchell I talk about it on this podcast enjoy!

We head to the theatre to see the Looney Tunes finally get their day in court, check out a foldable, portable, yet full-size accessory perfect for computing on the go, and play a brand new time-bending 3D action platformer. Participate in our listener questionnaire & automatically get entered in a drawing for a $50 gift card! genxgrownup.com/podsurvey (genxgrownup.com/podsurvey) (May contain some explicit language.) Patreon » patreon.com/genxgrownup (patreon.com/genxgrownup)Discord » GenXGrownUp.com/discord (genxgrownup.com/discord)Facebook » fb.me/GenXGrownUp (fb.me/GenXGrownUp)Twitter » GenXGrownUp.com/twitter (genxgrownup.com/twitter)Website » GenXGrownUp.com (genxgrownup.com/)Podcast » GenXGrownUp.com/pod (genxgrownup.com/pod)Merchandise » GenXGrownUp.com/merch (genxgrownup.com/merch)Theme: “Grown Up” by Beefy » beefyness.com (beefyness.com/) Apple » itunes.apple.com/us/podcast/genxgrownup-podcast/id1268365641 (itunes.apple.com/us/podcast/genxgrownup-podcast/id1268365641)CastBox » castbox.fm/channel/GenXGrownUp-Podcast-id2943471?country=us (castbox.fm/channel/GenXGrownUp-Podcast-id2943471?country=us)Pocket Casts » pca.st/8iuL (pca.st/8iuL)Audible » amz.run/6yhR (amz.run/6yhR)TuneIn » tunein.com/radio/GenXGrownUp-Podcast-p1020342/ (tunein.com/radio/GenXGrownUp-Podcast-p1020342/)Spotify » spoti.fi/2TB4LR7 (spoti.fi/2TB4LR7)iHeart » www.iheart.com/podcast… (www.iheart.com/podcast/269-genxgrownup-podcast-65363467/)Amazon Music » amzn.to/33IKfEK (amzn.to/33IKfEK) Show Notes Ted Lasso » youtu.be/Kk1KdTMhFs8?si=_-7s1MuGbWKqsC-g Coyote vs Acme » youtu.be/H-43VeYGiPM?si=S2AAlRGjyNdZoKaq End of Oak Street » youtu.be/3oB9AxspVow?si=bFveYNEKdlFihL3r MEETION Foldable Wireless Keyboard and Mouse Combo » amzn.to/45Ud4hN (affiliate) NEEWER X11 2 in 1 Teleprompter » amzn.to/45WSE7U (affiliate) RetroPie Build » retropie.org.uk/docs/ Replaced » store.steampowered.com/app/1663850/REPLACED/ Replaced Live Stream » www.youtube.com/live/qJFzzcuZ43M Firefighter Simulator: Ignite » store.steampowered.com/app/1669480/Firefighting_Simulator_Ignite/ Duskfade » store.steampowered.com/app/2542020/Duskfade Our Indirect Link to GMG » genxgrownup.com/gmg) (affiliate) The Gentlemen S02 » youtu.be/01IeKpHvgvM?si=lIroKuepkHcoIA7c RetroCon 2026 » retrocons.com/ Resident Evil » youtu.be/mNd1gb19A-c?si=1G6CKb4Wm2ULOBOq From Coin-Ops to Tabletops amzn.to/3UJGGMq (affiliate) Email the show » podcast@genxgrownup.com (mailto:podcast@genxgrownup.com) Visit us on YouTube » GenXGrownUp.com/yt (genxgrownup.com/yt) Learn more about your ad choices. Visit megaphone.fm/adchoices

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee is going Beneath the Surface — with two incredible artists, Margaret Cho and Masaki Fujihata. Both artists have been working in their fields for decades. Margaret Cho — stand-up comedy, sitcom, filmmaking, writing. Masaki Fujihata — a pioneer in new media art.And here's what they have in common: they've both shifted with the times… but never lost their own voice. Their vision has stayed singular, even as the world around them changed. Listen in to APEX Express   Check out: BeHere / 1942: A New Lens on the Japanese American Incarceration at the Oakland Museum from Friday, September 18, 2026—Sunday, December 27, 2026 Masaki Fujihata website Choligarchy at Berkeley Rep, September 15-19th, 2026  Margaret Cho website Interweaving: Indo-Persian Exchanges Interweaving: Indo-Persian Exchanges at Oakland Asian Cultural Center, September 11, 2026 7pm Artists featured: arjun-verma.com www.pezhham.com  MazdakAlipour.com emanhashimi.com   Show Transcripts [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   [00:00:34] Miko Lee: Tonight on Apex Express, I'm going beneath the surface with two incredible artists, Margaret Cho and Masaki Fujihata. I'm your host, Miko Lee.   [00:00:57] These are two artists who've been working in their fields for decades. Margaret Cho, stand-up comedy, sitcom, filmmaking, writing, and Masaki Fujihata, a pioneer in new media art. And here's what they have in common. They've both shifted with the times, but they never lost their own voice. Their vision has stayed singular, even as the world around them have changed. So stick with me. First up, my conversation with Margaret Cho   [00:01:29] Welcome Margaret Cho to Apex Express.    [00:01:32] Margaret Cho: Thank you.    [00:01:34] Miko Lee: I wanna start with my question I ask most of my guests, which is who are your people and what legacy do you carry with you?    [00:01:41] Margaret Cho: I think my people are Asian American, my people are queer, my people are all ages, my people are progressive, my people have hope for the future. That's what I'm hoping. I think that's it, and that's who I am too.    [00:01:56] Miko Lee: Thank you. You started stand-up so young in this very Bay Area, and I think you started at age 14. I'm wondering what's your earliest childhood memory of being a performer?    [00:02:08] Margaret Cho: My earliest childhood memory of being a performer was I was actually a singer. I was a singer in a band of children, and I was probably maybe five years old. We were on a show on KTVU. I believe it was called Asia Now, and it was filming in the studio and I wouldn't stop waving at my mother, who was just off camera. And after the performance the band leaders asked me not to come back. Aw. I remember that because I could not stop waving at my mother and so I kept breaking that fourth wall. That was my first memories of performance.   [00:02:47] Miko Lee: And what did that feel like to you?    [00:02:50] Margaret Cho: I didn't really get the idea. I didn't really understand television exactly quite. I didn't understand why we were performing. I didn't understand why I couldn't say hi to my mother while I was performing. I didn't have a real comprehension of like even like rejection of what that meant or even performance or what that meant or television. So all these things that I come to learn about very well, rejection, performance, and television is my whole life. But back then I didn't understand the importance of all those things.    [00:03:22] Miko Lee: But there must've been some kind of zhuzh for you that you said, “Ooh, I wanna keep doing this,” right?    [00:03:28] Margaret Cho: Yeah, I think so. Much later though, you know, I did perform as a pianist. I was a classical pianist. I was also a ballet dancer. So those things required performance, which actually would make me really, really nervous, I think because in piano you're playing a classical piece. You're playing Beethoven, you're playing Mozart. So if you make a mistake, everybody's gonna know. Also with ballet you're choreographed and you're in as a troupe. If you're doing choreography with a bunch of other people- If you make a mistake, everybody's gonna know. But with comedy, mistakes are a little bit more of, something you can gloss over a bit. There's a little more control there, a little more room for chaos, which I absolutely need, I think, as a performer.   [00:04:22] Miko Lee: Mm, this is interesting. You've already described some of the different types of performance that you do, and you've also done so many things in your life. But I'm wondering if there is a type of art form that still makes you nervous.    [00:04:34] Margaret Cho: Music. I think playing an instrument in front of people, I think because when I was a child and would perform these recitals, I would be so nervous. There were a couple of times in recitals where I had to start over, you know? When you're, like, eight or nine years old and you make a mistake and have to start over, and this audience is, like, hundreds of people, it's, like, really mortifying. I still carry that. I play m- numerous instruments, and I really dread playing them in public. What helped me a little bit is busking, which I did quite a lot of over, over the years because when you're playing out on the street, there's a… I don't know. It's like people are not really paying attention to you, and therefore you're kind of in this divide of I'm in performance, but I'm also kind of not. So that helped. In general, I refrain nowadays from when I do music, I don't usually play my instrument along with the band. I usually just focus on singing. Even that is quite nerve-wracking. Singing and doing music still, even though I've been doing it really my whole life, there is something about it that, that quite, um… because when you're singing, you're actually also the instrument. So there's a bit of more required. That's why I always prefer comedy. Your quality of voice doesn't matter because the music you're making doesn't have to sound pleasing.    [00:05:59] Miko Lee: And when you were busking, what instrument were you playing?   [00:06:02] Margaret Cho: Guitar. Ah. So I would play guitar, sometimes a six-string banjo, sometime, I'd play all manner of sort of guitar-necked instruments, which can go from, guitar to mandolin to a cello that's, it has a guitar neck, so I can play- Ah that as well. So all those things, I cheat at everything 'cause I have a guitar neck.    [00:06:21] Miko Lee: I love that. The improv just comes out of you in all different ways, I guess.    [00:06:27] Margaret Cho: Yeah.   [00:06:27] Miko Lee: So you have been a path maker, rule breaker in so many aspects of your life, from comedy obviously, and producing and starring in the first Asian American TV show, actor, fashion maven, author, rapper, podcast host, and out and proud queer role model. I'm wondering, what's a career dream that you aspire to?    [00:06:46] Margaret Cho: Ooh, well, I wanna be an old lady crime show, like Murder She Wrote. I wanna just solve crimes. I love, like, a British crime show, like an old lady solving crime. Like a Prime Suspect, like a Helen Mirren. I love that kind of genre of television, and so I would love to mature in that 'cause, like, it's so interesting and also so rich and, I feel really drawn to it. So that's something that I haven't… I'm a participant in a lot of those types of shows. I'm on a show called Bull Trent, which is very much that, which is really cool. And then I've been on Law & Order, which is the ultimate, SVU is the ultimate sort of crime show. So I would love to engage in that genre more.   [00:07:31] Miko Lee: Ooh, are you developing that on your own?    [00:07:34] Margaret Cho: I'm not, but I am participating in lots of other people's versions of it. They're not out yet, so they will be coming, forthcoming.    [00:07:44] Miko Lee: Coming soon, and then your own version starring you. Yes. The- Yeah … modern Murder She Wrote. I would love it. In what town would this be? In San Francisco or in-    [00:07:53] Margaret Cho: Oh, San Francisco would be great. Yeah. San Francisco or, like, Marin.    [00:07:56] Miko Lee: Oh, God. That would be really funny.    [00:07:58] Margaret Cho: Sausalito. Sausalito would be so fun. You know, Napa Valley. You know, something, like, very, like, th- this community that looks very, like Saint Helena, like Calistoga, s- community that's very quaint and peaceful and, like, kind of like foodie oriented and, like, very, you, you know, you think very upscale, but actually there's a lot of dirty dealings going on underneath the surface.   [00:08:20] Miko Lee: The wine country Murder She Wrote.    [00:08:23] Margaret Cho: Yes, I love it.    [00:08:24] Miko Lee: I would watch that. That's fun. So you also have expressed your art in so many ways. Your body is filled with so many tattoos. I think you have over 70. Which of your tattoos evokes the strongest emotion for you?    [00:08:38] Margaret Cho: Well, right now I'm in this, like, trend only getting art from Korean artists, and these are guys. People from Korea who are tattooing now are really the best in the world. They are the state of the art. Like, their eye and their talent is just so innovative. There it's semi-illegal, so they do it under duress, you know, and they have to sort of do all these different things to do it. But their ability to just visualize things that are just, that seemed impossible, you know, these miracles on skin that they can do. The art now I'm really resonating with. There's an artist now that works exclusively in Dancheong, which is a kind of the color scheme of Korean temple art. And so all of his tattooing reflects that. And so I'm working on a very, very large piece on my leg that is, all Dancheong, which you know, for me, like having had lots of different kinds of tattoo, like I had sort of Japanese traditional and a lot of American traditional, and a lot of just kind of different kinds of art. Now to just really delve into the art of my ancestors is quite powerful, and by being done by very young, very skilled tattoo artists from Korea. You know, so I get to speak in Korean to them. We communicate in a language that is shared, that's ours, which is very different from the way that I've communicated with all of the other artists that I've had over my time as a tattooed person. So, um, yeah, tattooing for me, it's, it's all about Korea right now.    [00:10:21] Miko Lee: And what inspired your first tattoo?    [00:10:25] Margaret Cho: My first tattoo was done by Don Ed Hardy, who is a legendary Bay Area tattooer, also, an amazing guy and he was a friend of the employees of my father, who, my father owned Paperback Traffic, which is his gay bookstore just going in the 1970s. And so a lot of people were getting tattooed by Don Ed Hardy. They were getting full body suits in the '70s and '80s, and the, the, um, images, like, so on our refrigerator as a… When I was a child, my father would put up, um, the full body tattoos of these guys that worked for him. So that's what I would see every day. Instead of, like, our graded papers or, like, stuff that you usually have on a refrigerator, it was photographs of completely tattooed people. Um, and that really stayed with me. And so when I was ready to be tattooed, and this is, like, 2002, um, my father's employees and all of our, like, old friends took me down to see Don Ed Hardy, who was doing these body suits, and, he gave me my very, very first very large Japanese-inspired piece on my stomach and back. And that kind of started it off. I got the most painful, most difficult place in your body tattooed first, which is, like, basically your stomach, and your sternum, your chest. All those areas are really, like, those are the worst, and I got that over with. And so I realized, oh, I could actually keep on doing this. And I always knew that I would be heavily tattooed because of that.   [00:11:59] Miko Lee: So your first one you chose really big, not just like a small something. You got a really big one.    [00:12:03] Margaret Cho: Yeah.    [00:12:04] Miko Lee: Wow. Yeah. Just jump in, girl. Just jump in.    [00:12:07] Margaret Cho: Well, I just knew that was right, and I knew also this was probably, like, the only time that I would be able to get a very large piece from Don Ed Hardy, you know? Yeah. People know him, of course, from the clothing line- That's right … and the sort of Y2K influence. But he is so much more than that. His influence on tattooing is really significant. That was towards the end of his tattooing career. He didn't have many years where he kept doing it after, 'cause he explained to me that he absorbs the pain of people. Wow. And so he realized, like, that probably wasn't so good for him physically as he aged, I was really lucky to get what I got from him, which is a very, very large piece and a very important piece.   [00:12:51] Miko Lee: Amazing. And as you're talking about your childhood and growing up in the bookstore, it just makes me reflect on how your childhood was so unique and so interesting. Mm-hmm. And I'm wondering if today you were to make a television show about your childhood, how very different… With, with more artistic freedom. It would be so fun. It would be so fascinating. There's so many more streaming options than just the three networks that we grew up with. Yeah. So, what would that be like for you to do a TV show on your childhood now?    [00:13:23] Margaret Cho: I would love it. I mean, I would love to create that world, recreate that world, because, you know, we had the influence of, like, people who were doing a lot of very early body modification, meaning these full, full body tattoos, and, like, body piercing, which was such a different thing. I mean, in the 1970s we had the rise of Harvey Milk you know, and his assassination.    [00:13:44] Miko Lee: Mm-hmm.    [00:13:44] Margaret Cho: We also had the devastation of the People's Temple, which was all San Francisco people.    [00:13:50] Miko Lee: Yep, yep.    [00:13:51] Margaret Cho: It happened in Guyana, people don't realize this originated in San Francisco and came from there. All the people who died were San Franciscans, and Oakland, Bay Area people. This is our people. My parents actually rented the recently vacated People's Temple for my grandparents' 50th wedding anniversary. Wow. Like, crossing the police tape. To go in and have a Korean party, and then my mother's, “Lot of ghosts.” She saw all the ghosts.   [00:14:19] Miko Lee: Yeah, I'm sure.   [00:14:21] Margaret Cho: “Ghosts, ghosts, lot of ghosts. Well, ghosts don't really do anything. They just make food get cold very fast.” You know, like that kind of a thing. So it would be a great TV show, I think.    [00:14:32] Miko Lee: Ugh, I would watch that too. We're talking about your new show, Choligarchy, which is gonna be at Berkeley Rep, and I read that you said it brings you back to your roots as a political comedian. Can you share more about this?    [00:14:44] Margaret Cho: Well, I had the luxury of the Obama administration where I didn't feel like I had to fight so hard to be heard and seen as a queer Asian American woman, 'cause I worked on the Obama campaign, I worked on, getting people registered to vote in 2008 in Philadelphia. I worked on all these different things with Cal Penn in 2008 to assure a kind of future where we are gonna have something different, and then we did. And then so I got to spend about eight years where I could do dance, I could do music, I could kinda like drift into these other arenas of work that I hadn't been able to do because, before, had been, like, so much about fighting the Bush administration, so much about fighting what was going on. So now to be able to return to a thing that I'm very used to, like political commentary, where I'm really focused on using my voice to affect change and to create change, and it's really profound, you know? I love doing this show. It's got me thousands and thousands of death threats, which is also really terrifying and bizarre. I've always had a kind of very confrontational relationship with conservatives, but now it's escalated to the point of, like, oh, I actually do fear for my safety. But I think that it's worth it. The message is worth it, and I'm proud to do this show, and I'm very, very excited to bring it to very progressive Berkeley, which they're gonna hear it better than anyone. I do think Berkeley is even more progressive than San Francisco. So it's exciting.    [00:16:27] Miko Lee: Well, San Francisco is filled with tech bros now, so it's a very- Yeah … different vibe than when we were-   [00:16:32] Margaret Cho: That's right.   [00:16:32] Miko Lee: growing up. I'm wondering, I heard you say about how different it was during the Bush regime, which is actually relatively tame in retrospect compared to the fascistic times we're living in now. I'm wondering how different, now that you're going back to the kind of political roots, how different is it from that Bush time in your approach to your comedy?    [00:16:51] Margaret Cho: Well, Bush never descended into a cult. Bush never had the sort of magnetism as a person, to demand the cult-like sort of atmosphere that sort of exists now, where we have a leader who will gladly let all of his followers be on a decoy plane while he rushes away in a catering van. We think the decoy plane, that's really America. Like, the decoy– we are all, as a nation, on the decoy plane. He's happily content to let us all die to ensure his safety. It's like they're, and they're still gonna follow him after that. So that's a cult, you know? This is a different beast than we're dealing with just sort of patriotism or the idea of like xenophobia or the idea of wanting this kind of America that Bush wanted. Bush couldn't create that because he was not a cult leader, whereas now we have a bona fide cult and cult leader on a path to destruction.    [00:17:57] Miko Lee: So given this time that we're living in and how complicated it is, I'm wondering, especially as you're going on tour with this show, what brings you comfort and makes you feel connected to home when you're on tour or when you're away?   [00:18:10] Margaret Cho: Well, my dog is with me all the time, so that's really special. She'll be there at Berkeley. She's really, really amazing. I'm a big fan of social media. It's connecting with people on there, and people are encouraging me through there. There's a lot of points where I carry home with me. I'm also, at home on the road, because I've been traveling and performing for over 40 years, so it's a place that I feel a great deal of comfort in.    [00:18:35] Miko Lee: Because you mentioned social media, I'm just wondering, isn't that where the death threats are coming from, though, is social media? Or are you getting them in—   [00:18:42] Margaret Cho: Yes. But I'm also get, I get them on my phone. I get them, like they—   [00:18:45] Miko Lee: Oh, you, they- Yeah … find your cellphone and contact you—   [00:18:47] Margaret Cho: Yeah.   [00:18:48] Miko Lee: directly? Wow.    [00:18:49] Margaret Cho: Yeah, I get them, like, you know… I'm also concerned about, I've been doxxed, you know, they threatened to kill my dog, and I'm like, “She's white. She's one of you. Why would you kill her?” It's kind of funny.   [00:19:01] Miko Lee: But you don't respond to any of these folks, right?    [00:19:04] Margaret Cho: No, you can't, because you just don't know what… I always think about, like, Melissa Hortman. They killed her dog. I don't wanna be another example of, like, MAGA lunacy. When you speak out and you are a symbol of what they don't want. They don't want women, they don't want people of color talking. When you are that you're really in the line of fire. That's why traveling works for me, I get to be very, very stealth and hidden. Um, and that's kinda also why I travel so much, is to be stealth. Mm. I get so much encouragement from social media. I don't wanna cut myself off from it. But yeah, you have to be careful.    [00:19:42] Miko Lee: So you feel like that balance outweighs it?    [00:19:45] Margaret Cho: Yeah, for sure.   [00:19:45] Miko Lee: And I'm wondering if you think there's something that's misunderstood about you?    [00:19:49] Margaret Cho: When I'm talking and people don't like what I'm saying, they will say, “Oh, look at this has-been talking again.” And I'm like, “I'm not talking because I think I'm a celebrity. I'm talking because I am alive, and everybody who is alive has the right to speak.” I think this is really important. I don't talk because I feel like I have a responsibility to talk because I represent anything. No, I talk because we should all be talking. We should all have a voice. I don't have a sense of importance about myself or who I am or what I do. I think that everybody should be talking, and now we should all be talking because now we are all on that decoy plane, and he will leave us to die. So I'm going to say something about it. People have a myth about celebrity that somehow it involves our ego, and that's why we feel compelled to have a voice. But I think we should all have a voice no matter who we are.    [00:20:41] Miko Lee: I've heard you call yourself the patron saint of outsiders. Can you talk about what that means to you?    [00:20:47] Margaret Cho: I think for me it means to be able to have, my queerness front loaded, my Asianness front loaded, my gender front loaded, all these things that I want to be able to talk to those who feel like they don't feel represented by mainstream culture, by white supremacy. If you have felt rejected or even just not included by society at large, I wanna hear your voice. I wanna hear your opinion, and I wanna know you.    [00:21:15] Miko Lee: And last question, why should folks go and see Oligarchy at Berkeley Rep?    [00:21:20] Margaret Cho: Oh, it's Choligarchy.   [00:21:20] Miko Lee: Choligarchy.   [00:21:22] Margaret Cho: It's my nation. It's my dictatorship. In my dictatorship, we have universal healthcare. In my dictatorship, we have a universal living wage. If we actually made the billionaires pay their share, if we actually stopped supporting Israel and Argentina, other countries which I don't know why we give them so much money, but we do, if we stop doing that, we stop supporting the billionaires, if we stop giving corporations handouts, we could actually have a universal living wage where everybody in this nation would just be able to just live. We could just live because we are American. We could just live. And then your work could be what you really wanna do. That would be such an important change to the way that we exist as Americans. And we could do that if we actually stopped giving b- bailouts to corporations, actually made billionaires pay their share, and stopped giving money to countries that are not ours. That's what my platform is. That's what I run on, and that's what I plan to do.    [00:22:35] Miko Lee: And folk can find out more by going to see the show at Berkeley Rep, and we'll put a link in our show notes. Thank you so much, Margaret Cho, for joining us on Apex Express.    [00:22:45] Margaret Cho: Thank you.    [00:22:46] Miko Lee: Next up, get a preview of an upcoming unique performance at Oakland Asian Culture Center. Listen to Sawaal Jawaab    MUSIC   [00:24:01] Miko Lee: That was Sawal Jawab with Arjun Verma, Eman Hashimi, and Pezhham Akhavass in Interweaving: Indo-Persian Exchanges, a one-night-only performance on Friday, September 11th at the Oakland Asian Culture Center. The concert's a rare opportunity for Bay Area audiences to experience the interplay of some of Asia's richest classical music traditions from India, Iran, and Afghanistan. Next up, we hear from two voices, multimedia artist Masaki Fujihata and Carin Adams, senior curator at the Oakland Museum. Masaki Fujihata is a world-renowned sound, installation, interactive, and new media artist. He's also a professor at Keio University. His work has been shown all around the world, and now it's coming to the Oakland Museum, opening September 18th and running through the end of December. The piece is called BeHere / 1942, A New Lens on the Japanese American Incarceration, and it's a new augmented reality work. So tune in to my interview with Masaki and Carin Welcome to Apex Express, multimedia artist Masaki Fujihata and Carin Adams, senior curator at Oakland Museum.    [00:25:13] I'm so happy to have you both with me, and we're talking about the new exhibit BeHere / 1942: A New Lens on the Japanese American Incarceration, which opens at the Oakland Museum from Friday, September 18th to Sunday, December 27th. So thank you so much for joining me. I wanna start with a question I ask all of my guests. I'm gonna start first with you, Carin, and then I'll go to Masaki, and the question is, who are your people, and what legacy do you carry with you?    [00:25:53] Carin Adams: Oh, wow. I think there are lots of different facets of my family and who I think of as my people. Um, I think in, in this work in particular, I'm really, um, thinking a lot about my grandparents, my, my mother's parents, and, um, my mom, who's turning 91 in, um, October, and, um, her and her siblings' experience, um, being incarcerated in Tule Lake. So- Mm … that, I think has, has a lot to do with wh- why I'm here, and thank you so much for having me.    [00:26:36] Miko Lee: Mm-hmm. Thank you so much. And Masaki, what about you? Who are your people, and what legacy do you carry with you?    [00:26:43] Masaki Fujihata: Yeah, in my case, my, career started with the computer graphics long time ago in the '80s, so I came in, uh, Bay Area and, uh, West Coast quite frequently to join a big, uh, conference and so on. But then in '90s, I was very many times to be invited to be in Europe, so-called media art, i- is so dominant. So my curiosity is about the visual arts plus computer technology. Then nearly 10 years ago, I started to play with augmented reality. I recognized AR is a very good technology to put the history in actual moment. So the title Be Here 1942 means, I try to call the people in the past in the present. After one of my friend, the professor at UCLA invite me to be in Los Angeles, then we started to focus onto the Japanese Americans' history. That was the first, a kind of coincidence, but it was, very interesting to me because, I was born in Tokyo and grew up here in Tokyo, so usually I didn't think about who is a Japanese. [00:28:10] Along with this production, I studied a lot, not only the racial problems, but also the identity, , not only the personal identity, but also identity of Japanese and also American. It's really difficult to understand what's is the identity in the America because so many different people are living together and of course there are several conflicts. This is very good study for me, through the new media technology and, through the meeting with the people. Some of them really had, severe experience inside the camp. I never had a chance to think about these opportunities. Then I really want to recreate what had happened in the 1942. That was my point of view for this project.    [00:29:08] Miko Lee: I'm wondering when you were growing up in Japan, did you learn about the Japanese American incarceration?    [00:29:15] Masaki Fujihata: Maybe, maybe, but a tiny. Most of the young students just thought, oh, this is the history, not mine    [00:29:27] Miko Lee: And did you… Were there kibei that were there? Cause I know there were a lot of Japanese Americans that had been pushed out and repatriated to Japan. Did you grow up knowing any of those people?    [00:29:39] Masaki Fujihata: Mm, not, not really. Not really. Um, how can I say? Mm, maybe this is the education, the Japanese education. They didn't talk much about the history. The first part is an ancient moment, is very, very, you know, impressive. But, at the end of the term, so the modern age usually passing very, very fast.    [00:30:10] Miko Lee: Oh, interesting.    [00:30:11] Masaki Fujihata: Yeah, so n- not only about, history between America and Japan, but also China and Japan.   [00:30:18] Miko Lee: Mm-hmm.    [00:30:19] Masaki Fujihata: We have very few knowledge in, on the context of, uh, history education. I mean—   [00:30:24] Miko Lee: So sort of World War II- I mean- and forward? From World War II—   [00:30:27] Masaki Fujihata: Yeah, yeah …   [00:30:28] Miko Lee: You didn't really learn about it?   [00:30:28] Masaki Fujihata: Yeah, modern age. Modern age. I believe this is very big problem in the education.    [00:30:35] Miko Lee: That's so interesting. So the first that you really learned about the Japanese American incarceration was during, when you started this project at UCLA? Is that right?    [00:30:44] Masaki Fujihata: Yeah, yeah. I know something about the history in the US, but when I started to do research, there are many details, and every people's history is very, very different. So the textbook of the history is just the surface- So that's why I wanted to show more the detail through a new media technology.    [00:31:16] Miko Lee: I read a quote from you that said, “My aim was to peer deeply into photographs to derive from them more than was visible on the surface.” Can you talk a little bit more about what that means to you?   [00:31:29] Masaki Fujihata: Yes, because, I started to think about to focus on the moment when they ride the bus. So then, of course, I did some research to read some oral history, but, most of them didn't tell about the moment because I think this was just one hour or two hours for waiting. I suppose they usually don't want to remember, and also they thought that this is not important day, then they forgot.   [00:32:04] Miko Lee: What was it about the bus that you were curious about?    [00:32:08] Masaki Fujihata: We planned to realize our project, to think about the beginning. What is the beginning? There, there are quite many novels and writings about the life in the camp because of, of course, this is so heavy. Four years in the camp is unbelievable. According to my research, some people said they thought the war will ends in three months. But in there they spend in the camp, over four years. So of course, this is a heavy story and also while in the inside the camp. There are some conflict between the first generation, second generation or American side or Japanese side. The beginning is, of course, the Pearl Harbor raid, but, the bus, suddenly one day the bus came into your town and you were asked to ride the bus, and before riding they didn't tell them where they are going. So so if it happened now, how can we behave? So this is my question. This is the beginning, and they didn't know what will happen in the future. And then in parallel, I did some research to see the photographs because, there are many documentary photographs were in the archive, in National Archive, and also Library Congress. I tried to, see the photography, but as I said, when see the picture, you know, the detail is telling a different story, against the comment. The comment is just they are lining up for riding a bus or something, or Japanese American families get together and waiting. Of course they have some name card. At last I found through one of small girl's eye, there is a reflection of the photographer. But, not only the photographer, there are two, three, or four more people standing with the cameraman. Then, of course I understand they are all Caucasians. They are not Japanese American people. So for the little lady, for the little girl, when she was surrounded by, white officer, perhaps military police, she has nothing to do. But on the surface of the photography, she's smiling. So this contrast is the beginning. So this is a problem about media, visual media. So then I really want to share this experience with the other audiences through the exhibition. That was my intention.   [00:35:18] Miko Lee: And had you seen the photographs from Dorothea Lange and Russell Lee prior to working on this project?   [00:35:25] Masaki Fujihata: Of course, I know these names because they are very famous,, documentary photographer, the magazine Life started to publish from the year 1933, it was hit, so popular. I was really surprised because they did the job to make a document for Japanese Americans, and there is over 4,000 pictures left in the archive. I saw all of these so many times, so I can tell each picture. I can tell what is the difference, between the Dorothea and Russell Lee. So each photographer has, different characteristics. But I really surprised because, Dorothea Lange's photography is very different from others. And—   [00:36:18] Miko Lee: And the government didn't like them. They locked them away for years because they were too real.    [00:36:25] Masaki Fujihata: Yeah, and because, Dorothea's photography is always associated with the object inside the photography. She tried to understand who is she, who, who is—-    [00:36:38] Miko Lee: Mm-hmm …    [00:36:39] Masaki Fujihata: and try to have a good relationship with the object. Most of the photographer, like a press cameraman, it's just go there, “Hey, smile,” and shot is their, you know, way of business. But Dorothea's way is very different, so sometimes, I can tell she is always calculating the distance from her to the object. I enjoyed very much to have a chance to see all of these details. Of course, another luckiness because all of these photograph were shot by the government, then all of these are now public domain. Even me from Tokyo, I can see so many photographs with high resolution. I think those are made after year 2000 because of the technology came in. Then now they are supplying 3,000 by 4,000 pixels. That's why I could enlarge and to see the reflection on the girl's eye. It's a coincidence, but also it's the evolution of computer technology from analog photography. So this is also interesting part to share with the audience.   [00:38:01] Miko Lee: Thank you. Carin, I wonder if you could talk about what an audience will see when they come in to see the exhibit.    [00:38:08] Carin Adams: The exhibition is going to happen inside and outside the gallery. So if people are visiting the museum coming up through our entrance on Oak Street, they will have an opportunity to enter the augmented reality application that Masaki has designed where they're, standing there grounded in, the architecture of the Oakland Museum. But they're also seeing people, dressed as if they were in 1942, waiting with their belongings and their family members. They'll be able to see the buses that lined up on Oak Street in '42. There was a civil control station that was across the street, and Dorothea Lange took some very famous photographs of people waiting with their belongings in front of their houses that, on the museum side of the street. Masaki has adapted the augmented reality that he first developed for Los Angeles for Oakland. So people on entrance onto our campus will have that experience, and then if they come into the gallery, then they'll really be entering into the gaze of these eyes. They'll be surrounded by very high resolution images that Masaki has blown up, to mural size. You're forced to encounter the people that were reflected in the eyes of the subjects that Lange photographed.    [00:39:45] Miko Lee: Thank you, and I know that in the collection, you've had these Dorothea photos for a long time, right, in the Oakland Museum's—   [00:39:53] Carin Adams: Yeah. The Oakland Museum is the holder of the Dorothea Lange archive, including some of her images of the incarceration. The Bancroft Library also has extensive holdings of her work and material , related to this history. And of course, Masaki did lots of research in the National Archive and Library of Congress.   [00:40:16] Miko Lee: Masaki, I know this is the second version of the show since you have opened it first at JAMM and at UC, with UCLA. Yeah. What was it like for you to recreate it for the Oakland Museum? How has that experience been?   [00:40:30] Masaki Fujihata: I'm very, very lucky to find OMCA. Mm-hmm. We started to think about the production in OMCA. I made a research through, of course Dorothy Lang's photography. Then there is a number of the street, 1117 Oak Street is the place where people apply their address and family name. The Civil Control Station is that address. I was very surprised because this is a street in front of the museum, and actually the other side of the street was the Civil Control Station where the bus came in. So this is exact place I really wanted to put my augmented reality models. So I was very shocked because I never think about the museum is a real place.   [00:41:24] Miko Lee: So it's truly a place-based piece of art because that is the history coming alive in that very spot.    [00:41:31] Masaki Fujihata: Yes. Yeah. So, all the projects start from the realization of augmented reality.    [00:41:39] Miko Lee: Mm-hmm.    [00:41:40] Masaki Fujihata: So augmented reality is a kind of tech term, but augmentation is adding some information rather than the first wa- surface or rather than the display. In this case, we are putting the happenings in the 1942 in present, and then try to make a contrast between now and the past. The exhibition inside the gallery is showing a kind of process of the research to make this augmented reality piece because for making the 3D model data, we invite many volunteers into a special studio. I have to direct them. I have to prepare some scenario for them. In some cases, you are the university students. Coincidentally, you met the professor, while waiting for the bus. This is a fiction I made. When I need to make a scenario, I really need a research what is possible, what is not possible. So then the photography help me a lot to make a small scenario.    [00:43:01] Miko Lee: How many volunteers worked with you on this?    [00:43:04] Masaki Fujihata: I think totally 64 volunteers.    [00:43:08] Miko Lee: Wow. That is amazing.    [00:43:10] Masaki Fujihata: Each one was asked to walking towards the point where the bus would come, and then the second part is waiting, and then the third part is just lining up for the bus. So there is three different scenario. Then each person appears three times. Then totally you will see nearly 200 people.    [00:43:37] Miko Lee: Wow. And I understand that you use, in order to utilize the AR, you use cameras that kind of replicate those used during the incarceration, and I'm wondering what made you decide to choose that?   [00:43:53] Masaki Fujihata: So I try to know the core idea of each technology, because the technology is usually used for capitalism. My manifest is liberate technology from capitalism. So technology has another dimension, not only for serving for the capitalism to make money for your life more rational, but the technology also can give you a chance, who are you? What is life? What is the world? So I really want to use the technology another dimension of the technology usually used by the companies, and capitalism. In this case, this project is really good because very nice photography was left in the archive. But imagine in the 1942, photography was a high technology. Very few technicians or rich people could have the camera. Now so popular everybody has a camera inside their mobile phone, but it was high tech. And now augmented reality is somehow popular technology, but no one didn't use the AR technology to think about what we are doing as an art. So I wanted to use augmented reality to, to think about what is our life    [00:45:32] Miko Lee: Ooh, that is so interesting. I really appreciate that. And I'm wondering because you've seen audiences go through the first exhibit, I'm wondering if anything surprised you by audiences that have seen it and what, what you'd like people to walk away with after going to your installation.    [00:45:51] Masaki Fujihata: I was really surprised because this was my first case the audience had a tear. So after they saw the augmented reality, some of the person said, “Masaki,” I suppose, she suppose that, “Perhaps my grandfather was here.” Could feel the same impression or imagine, she could imagine what had happened on her grandfather So it's a bit like a cinema, but there is no written story, so each person can explore the images through a tablet. But, uh, maybe five minutes later, uh, the user will feel inside the scene. So In another words, I can say you are going to feel you are inside a cinema studio. You will be captured by the camera. And also another, okay, another interesting aspect because, I could develop this project because the photographs were left made by Dorothy and other people, uh, professional documentary photographer made these photography. So photography was left. And then, um, while you are using iPad in the entrance plaza of, Oakland Museum, you will see many Japanese people wearing the costume and, waiting for the bus. But now you are the cameraman. You believe you are seeing what had happened through the display, but, imagine for them inside the image were looked by you. So this is the viewer you are going to see, but also from them, from the object, you are the cameraman.   [00:48:04] Miko Lee: So you want people to feel both sides, both being the watcher but also in it—   [00:48:09] Masaki Fujihata: Yeah.   [00:48:10] Miko Lee: Immersed in the experience.    [00:48:11] Masaki Fujihata: Yeah, hunter.    [00:48:13] Miko Lee: Mm.    [00:48:13] Masaki Fujihata: Image hunter, yeah.    [00:48:15] Miko Lee: Image hunter, mm. I, I feel like you're saying utilizing technology as a tool for your emotions as opposed to a capitalistic gain. I'm wondering if you're working with AI at all, and your thoughts about it. Because you've really been on the forefront of so much multimedia since the '80s and I'm just wondering now people are just talking about AI and the impact of artists  and I wonder what your thoughts are about that.   [00:48:39] Masaki Fujihata: I, I think, uh, it's too early to, uh, work with AI as an artist because, uh, e- even the developer of, uh, AI didn't know what happened inside, so it's a black- totally black box. So that's interesting part of AI. Uh, maybe you know some, some story about this. Very recently, uh, the AI ju- just hack the connection, then they escape from the inside the laboratory to go outside the internet. So this could happen. Uh, that's why, because a human couldn't imagine. So the AI doing something different, and it's really a black box. Then, uh, that's interesting point. If I can be inside the development company as an artist, I can make something interesting hacking software, but it's a huge business, and, uh, I think this is not the moment for the artist. And also, as you know, all the data inside the AI is, uh, happenings in the past.    [00:50:02] Miko Lee: Right.    [00:50:04] Masaki Fujihata: And then, right, the present is important for the humans. What is the role of the artist? There is some, uh, sentence, artist is the person who is creating something new which has not exist before. so, uh, we are not AI, so w-we have to know who, what we should do in contrast to AI is the important moment    [00:50:37] Miko Lee: Thank you so much. I wonder if you would want to just reflect briefly on how this, this piece that you're presenting at Oakland Museum is very resonant right now in America because of the current politics of incarceration of peoples and you know, we're at the same, at the exact same concentration camps where Japanese Americans were held. Immigrants are being detained and put there right now. I'm wondering how this piece speaks to the moment that we're living in in the United States right now.   [00:51:13] Masaki Fujihata: Um, please do not make more mistakes that American government did before in 1942. So Our project can be a kind of reference what the American government did after the Pearl Harbor.    [00:51:39] Carin Adams: Masaki, would you wanna talk a little bit about the new piece that you're making?    [00:51:45] Masaki Fujihata: Oh, I see, I see. I think- That's a good idea. I, I totally forgot. Yeah. Thank you, Carin. Because I proposed to Carin and museum about to make a new piece. The idea is about, uh, the poster. The, that they… So the, in Okura case, maybe, uh, to l- late April in 1942, the poster paste on anywhere, everywhere inside the town, and talking about the, at the certain day, you cannot be stay here. You will be criminal. So, so this is the s- starting point. Then they need to come to the civil control station to sign up, and then one week later, the bus came in, then they need to go to the camp. Then the poster is now very famous, but, uh, usually, people didn't read it Then I, I asked to, collect volunteers to ask read this text on the poster, uh, several different locations inside the Oakland. So when you see the final result, the view of the people reading the text aloud is very peaceful, very bright, California sunshine and there is a lake behind and sometimes, you know, the buses came and stop and go there. So this is very peaceful, but the content is very strong- strongly contrast- co- contrasted. So it's a command from the government. I really wanted to, to make this contrast through this new production. So you, you will see three vertical monitors, and, 25 different group of people. I think there was nearly 45 people helped me to realize this   [00:54:02] Miko Lee: What is it you hope to evoke by adding this new piece of the relocation poster?   [00:54:08] Masaki Fujihata: I really wanted to involve some of the young generation and family and also, known Japanese American people. So all of these people, of course, have some fear against the, this moment, and then try to, uh, send messages. So they helped me to realize this.   [00:54:39] Carin Adams: The video is really going to provide the soundtrack for the exhibition. There is no sound in any of the other film elements or in the AR other than what visitors bring in conversation into the space. But they'll be able to hear the local volunteers that Masaki assembled reading the exclusion order text and we're expecting that to be very profound- impactful. And yes, some of the people who volunteered for this new video element were incarcerated themselves, others are descendants, and then there are just people who are representing different immigrant experiences who wanted to participate. So it's a very local production, and it really cites us in the present moment with this really chilling text from the past.    [00:55:33] Miko Lee: Thank you so much for joining me and chatting with me about the exhibit BeHere / 1942. I'm really excited to check it out, and I hope our audience gets a chance to go and see it all the way through the end of December at Oakland Museum.   [00:55:48] Carin Adams: Thank you so much for having us.    [00:55:50] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 9.3.26 – Beneath the Surface with Margaret Cho & Masaki Fujihata appeared first on KPFA.

Matty Durkin (@mattydurkin) is BACK with an extended episode of The Pop Corner—and this time, he's bringing one of his favorite Poppers along for the ride!

The End of Oak Street Coming Off the Reels Download I know that everything out there is still all about Spider-Man, but others movies have been released, and this week we are talking about one of the. The End of Oak Street is not a perfect movie, and it may not even be a good movie, but it might be. It really could go either way. I've seen the movie, and I am still not sure yet. Anyway…Enjoy!

Welcome back to Poppin' In! This week, we're getting prehistoric as we dive into our review of The End of Oak Street (1:05). Speaking of Anne Hathaway, we're also talking the wild internet rumors about her fake baby bump (18:19). We're also reviewing the Netflix Australian period drama series My Brilliant Career (22:44) and discussing the new Dancing with the Stars cast announcements (30:21). Don't forget to follow us on Instagram and TikTok at @poppininpodcast!

The Platt family is barely surviving, and that’s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs. The End of Oak Street isn’t nearly as concerned with explaining that premise or exploring its characters as it is with facilitating dino mayhem and nostalgia for the films of writer-director David Robert Mitchell’s youth. That can be to the film’s benefit and detriment, both of which we cover in this week’s discussion, before bringing Steven Spielberg’s War of the Worlds back in to see how these two family survival narratives compare in their respective ideas about flawed parents, imperiled children, and the universal human desire to not get eaten. Then in Your Next Picture Show we consider a couple of possible alternate pairing for Oak Street, one featuring aliens, one featuring dinosaurs, and both underrated. Please share your thoughts about War of the Worlds, The End of Oak Street, or 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. Next Pairing: Alexander Ullom’s It Ends and Andrei Tarkovsky’s Solaris This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.See omnystudio.com/listener for privacy information.

Who says the late-summer schedule is slow? First, Ben Lindbergh talks to Ringer contributor Adam Nayman about a trio of recent big-screen releases: 'The End of Oak Street,' 'The Dog Stars,' and 'Coyote vs. Acme.' In addition to those three films, they discuss the summer box office, the year in movies as a whole, and the best live-action and animation hybrid movies. Then, Jomi Adeniran and Daniel Chin join for an animation roundup as they explore some superhero and 'Star Wars' stories that slipped through the cracks in a month headlined by 'Lanterns,' 'X-Men '97,' and 'Star Wars Zero Company.' They look at 'My Adventures With Superman' Season 3, 'Batman: Caped Crusader' Season 2, 'Batman: Knightfall Part 1: Knightfall' and 'Star Wars: Visions Presents—The Ninth Jedi.' Ben concludes with a listener recommendation and a bonus nomination.(0:00) Intro(8:48) ‘The End of Oak Street'(26:57) ‘The Dog Stars'(42:03) ‘Coyote vs. Acme'(58:08) ‘My Adventures With Superman' Season 3(1:10:01) ‘Batman: Caped Crusader'(1:16:50) ‘Batman: Knightfall Part 1: Knightfall'(1:29:47) ‘The Ninth Jedi'(1:47:46) OutroHost: Ben LindberghGuests: Adam Nayman, Jomi Adeniran, and Daniel ChinProducer: Devon RenaldoAdditional Production Support: Arjuna RamgopowellStudio Production: Remy Hernandez Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Platt family is barely surviving, and that’s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs. The End of Oak Street isn’t nearly as concerned with explaining that premise or exploring its characters as it is with facilitating dino mayhem and nostalgia for the films of writer-director David Robert Mitchell’s youth. That can be to the film’s benefit and detriment, both of which we cover in this week’s discussion, before bringing Steven Spielberg’s War of the Worlds back in to see how these two family survival narratives compare in their respective ideas about flawed parents, imperiled children, and the universal human desire to not get eaten. Then in Your Next Picture Show we consider a couple of possible alternate pairing for Oak Street, one featuring aliens, one featuring dinosaurs, and both underrated. Please share your thoughts about War of the Worlds, The End of Oak Street, or 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. Next Pairing: Alexander Ullom’s It Ends and Andrei Tarkovsky’s Solaris This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.Support the show: https://www.patreon.com/join/NextPictureShowSee omnystudio.com/listener for privacy information.

James and David are joined by dinosaur expert Marcus to tackle this toothy tale of a fractured family whose lives aren't a walk in the (Jurassic) park; they're running for their lives as dinosaurs stomp through suburbia and test the mettle of this modern stone age family, exposing issues of pride, contentment, faith and how we find salvation and reconciliation.  Chapters 00:00 - Intro & Welcome 03:22 - Popcorn & Theology Ratings 06:26 - Subscribe, Share, Support 07:18 - SPOILER WARNING 11:14 - Believable Characters & Animals 21:55 - Dinosaur Identification 29:20 - Prehistoric Plants and Sex  41:19 - Things we didn't like 55:01 - Gruesome Death 59:23 - Ads 1:02:11 - No God on Oak Street 1:06:28 - Jurassic Salvation 1:13:19 - Every family for themselves? 1:22:56 - Modern feminist counter-message 1:42:46 - Lightning Round 1:50:35 - Until Next Time… Don't forget to SUBSCRIBE and click the notification bell. Follow & connect: https://linktr.ee/popcorntheology Support: https://www.patreon.com/popcorntheology Rate and review to get 2 FREE Popcorn Theology Stickers! Write a 5-star review and send a screenshot, along with your mailing address, to feedback@popcorntheology.com, and you'll receive 2 FREE stickers! iTunes link here: https://podcasts.apple.com/us/podcast/popcorn-theology/id990110281  #endofoakstreet #ewanmcgregor #annehathaway #FaithAndFilm #MoviePodcast #FilmReview #ChristianPodcast #MediaLiteracy #ReformedTheology #christianmoviereview Intro Music by Ross Bugden: https://youtu.be/Bln0BEv5AJ0?si=vZx_YiHK3hNxaETA

The Nerds have returned just in time to get teleported to the past! They find themselves in prehistoric times listening to Walk the Dinosaur as they review The End of Oak Street (2026). Will they be able to teleport this movie to a spot on the Certified Nerd list? Or will it get buried under a massive pile of Dinosaur poop?

and the least plot This week Nando, DJ, and Diggins lock in and lock down to watch the Netflix movie about COVID or global warming or something, The Last House. They nitpick the dog, the chimney, and of course the doors.   Recommendations: DJ - My Lil Everdell (board game), Gloomhaven Buttons & Bugs (board game) Diggins - Lisztomania (movie), Master and Commander: The Far Side of the World (movie), I Want Your Sex (movie) Nando - The End of Oak Street (movie), Lanterns (series), Grand Designs Batman (video)   Plugs Mostly Nitpicking on Bluesky The Nando v Movies Discord Roses and Rejections Diggins' Substack - A Little Perspective All of Nando's Links   Mostly Nitpicking theme by Nick Porcaro Logo by Michelle Chapman

Josh and Drusilla watch Joaquim Trier's lesbian genre exploration, Thelma (2017). From wiki: “Thelma is a 2017 supernatural thriller drama film directed by Joachim Trier, who co-wrote the screenplay with Eskil Vogt. The film stars Eili Harboe, Kaya Wilkins, Henrik Rafaelsen, and Ellen Dorrit Petersen. Thelma tells the story of a sheltered young woman who discovers she has an inexplicable power that materializes when she feels desire for a female student at her university. Thelma was selected as the Norwegian entry for the Academy Award for Best Foreign Language Film at the 90th Academy Awards,[4][5][6] but did not receive the nomination.[7][8]”Also discussed: The End of Oak Street (2026), Revenge (2017), You're Next (2011), The Worst Person in the World (2021), Sentimental Value (2025) and more. NEXT WEEK: Pin (1988)Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

As the sun sets on another spectacular summer, we look back at the Hollywood blockbusters of olde! Big stars, bigger spectacles, long lines, popcorn, and movies that became events. We're heading to the theater for a trip through the history of the summer blockbuster! From Jaws and Star Wars to superheroes, animated adventures, and the biggest movies of the '80s and '90s, we're guessing which films ruled the summer box office. Plus, Jay and Shua talk about what made going to the movies such a memorable experience and whether the true summer blockbuster can still happen today.   News Follow Up: It's Working! Some Pizza Hut Locations Are Finding Success by Embracing the Past.   Golden Axe to Be an Animated TV Show  Artist Trevor Burbage brings the colorful characters of Dungeon Crawler Carl to life in a new video. An Illinois Man Built All Six Magic Kingdom Lands Out of LEGO in His Basement  A new landmark collection celebrates John Williams conducting some of his most iconic film scores. Many beloved entertainers have left us. We remember several legendary performers we've lost recently   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua checks out The End of Oak Street, the new sci-fi adventure starring Anne Hathaway and Ewan McGregor. When an entire suburban neighborhood is mysteriously transported somewhere unknown, one family has to stick together to survive their bizarre new surroundings. Jay revisits the hilarious 2018 comedy Game Night, where what begins as a friendly evening of competitive fun turns into a surprisingly dangerous real-life mystery. A totally fun rewatch with Jason Bateman. MCU Location Scout MCULocationScout.com is Jay's ongoing project documenting and exploring real-world filming locations used throughout the Marvel Cinematic Universe and related Marvel television productions. Through detailed research, photos, and travel guides, fans can discover where their favorite Marvel moments were filmed. This time Jay has been adding locations from Season 1 of Luke Cage, including Genghis Connie's Chinese Restaurant, a Harlem location that appears in the series. You can explore the locations and see exactly where the MCU came to life at MCULocationScout.com. And don't forget to check out all of Jay's Sci-Fi Saturdays on RetroZap. You can also tune in to SHIELD: Case Files where Jay and Shua breakdown Marvel properties and Superhero Suite for news on comics, movies, TV and more.   Enjoy Blockbusting! The summer blockbuster wasn't always the centerpiece of the moviegoing calendar. We head back to 1975 and Jaws to explore how Hollywood transformed summer into the season of giant movies, huge audiences, massive marketing campaigns, memorable merchandise, and lines that seemed to stretch around the block.   Then we take a trip through decades of summer movie history as Jay challenges Shua to identify the biggest movies of each year. Along the way, we'll revisit some beloved sci-fi adventures, superhero spectacles, animated classics, comedies, action movies, and plenty of films that made summer feel like the greatest time of year to go to the movies. So grab some popcorn, save your seat, and whatever you do, don't forget to turn off your phone! What are your favorite blockbusters? Do you have stories about standing in long lines?  Let us know! First person that emails me with the subject line, "Save me a seat!" will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com 

Editor – John Axelrad, ACE The End of Oak Street editor John Axelrad, ACE returns to The Rough Cut to discuss cutting a science-fiction thriller that takes an ordinary suburban family and abruptly removes every familiar rule of the world around them. Working with writer-director David Robert Mitchell, John had to balance large-scale spectacle and mystery with a story that remains grounded in the relationships between the members of one family. Written and directed by David Robert Mitchell, The End of Oak Street begins when a mysterious cosmic event rips an entire suburban neighborhood from its surroundings and transports it to someplace unknown. The Platt family soon realizes that understanding where they are may be less immediately important than simply surviving, forcing them to depend on one another as the familiar streets and homes around them become increasingly dangerous and unrecognizable.  JOHN AXELRAD, ACE John Axelrad, ACE is an editor whose credits include Ad Astra, The Lost City of Z, Papillon, Antebellum, Chevalier, Spaceman, Krampus, Crazy Heart, Two Lovers and We Own the Night. A graduate of the USC School of Cinema-Television, John began his career in assistant editorial before moving into the editor's chair and has worked across science fiction, drama, horror and historical filmmaking. He is also an active mentor to emerging editors through organizations including American Cinema Editors and the Academy Gold program. The Credits Visit ExtremeMusic for all your production audio needs. Hear John discuss his work with assistant editor Jared Simon on ANTEBELLUM. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.

0:00 SEGMENT 1: Ogie Banks talks about voice acting, video games vs cartoons, recording in the same room as the other actors, and meeting Stan Lee.https://www.instagram.com/ogiebanks/ 15:56 SEGMENT 2: Ogie Banks talks about mentors like Rob Paulsen, advice for getting into voice acting, Muppet Babies, singing in other voices, his favorite Spider-Man voice actor, Newsies34:46 SEGMENT 3: ‘The End of Oak Street' review with producer Joey V.41:03 Jane Atkins on 'Lion', a documentary on National Geographic directed by John Favreauhttps://www.nationalgeographic.com/tv/show/bec4dd04-f555-4871-97a9-499597d9bbdc Keep up to date with 2 Rivers Comic Con, coming back to St. Charles in 2027 https://2riverscomiccon.com/ Check out the ‘Justice League Revisited Podcast' with Susan Eisenberg and James Enstall at https://anchor.fm/justiceleague Thanks to our sponsors Historic St. Charles, Missouri (https://www.discoverstcharles.com/), Bug's Comics and Games (https://www.facebook.com/profile.php?id=100070575531223), HW Kia (https://www.hwkia.com/)Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon -   https://www.patreon.com/GeekToMeRadio Website -   http://geektomeradio.com/   Podcast -   https://anchor.fm/jamesenstall Facebook -   https://www.facebook.com/GeekToMeRadio/  Twitter -   https://twitter.com/geektomeradio  Instagram -   https://www.instagram.com/geektomeradio/ Producer - Joseph Vosevich https://twitter.com/Joey_Vee 

Halloween season is almost here, and Monthly Spooky is kicking off the countdown with haunted houses, Bigfoot, UFOs, cryptids, unexplained mysteries—and bat people living on the Moon.In the August 2026 edition of Monthly Spooky, Henrique Couto and Michelle are getting ready for Halloween with another strange trip through paranormal news, ghost stories, cryptid sightings, UFO and UAP reports, weird history, unexplained phenomena and creepy mysteries before diving into one of the most wonderfully bizarre media sensations of the nineteenth century: The Great Moon Hoax of 1835.Beginning in August 1835, newspaper readers were treated to astonishing reports supposedly describing life discovered on the Moon—including extraordinary landscapes, animals, beavers and winged bat people. Henrique and Michelle dig into how the Great Moon Hoax spread, why people believed it, and how an outrageous piece of fiction became an early example of a sensational story going viral. But first, there is plenty of fresh spooky news to get everyone into the Halloween spirit.Inside this episode:A new haunted renovation series sends designers into a reportedly haunted Ohio mansion, where they have to live and work inside the property while confronting its supernatural reputation.The possible “Croc Ness Monster” causes a stir after what appears to be a crocodile is photographed near an Italian lake.Officials in Brussels receive and examine unusual UFO and UAP reports, including material submitted by amateur astronomers.A reported Bigfoot sighting in Connecticut gets the attention of cryptid investigators.Scientists find a mysterious molecular signature associated with both Pluto and Titan.A mysterious large cat sparks discussion near Dundee, Scotland.An extremely strange planetary system raises questions about a possible enormous exomoon.Seattle embraces Hot Jimothy Summer as an exceptionally round raccoon becomes an internet celebrity.Sailor Matt Rutherford attempts the dangerous feat of navigating the Arctic Ocean alone.Henrique shares a spoiler-free look at the dinosaur horror adventure The End of Oak Street.And Michelle brings a perfectly timed Halloween haunted-house mystery involving two college students, a strange room and an archive extension that the library later claims it knows nothing about.Then it is off to the Moon for the main event: The Great Moon Hoax of 1835, complete with lunar wildlife, bizarre civilization and the unforgettable image of humanoid bat creatures soaring across the lunar landscape.Whether you're already building your Halloween podcast playlist, looking for scary stories for spooky season, or just love ghosts, paranormal mysteries, Bigfoot, UFOs, cryptids, folklore, weird history and unexplained encounters, this month's Monthly Spooky is your early ticket into Halloween.Follow Monthly Spooky on Apple Podcasts, Spotify, iHeartRadio or your favorite podcast app so you don't miss the next round of spooky news, strange history, paranormal stories and creepy discoveries as the countdown to Halloween continues.

A little bit of a bonus episode for you this week. Dex was away, so Teej and Royden talk about probably the last romantic comedy that will ever be released in theaters, "One Night Only". Plus we talk about Anne Hathaway's continued success this year with "The End of Oak Street". Email the show: onetakepodcastshow@gmail.com SUBSCRIBE!!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCIEE7gxjqxihTlQhha5fn6g⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@1TakePod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ApolloHOU⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠@stilldexhinton⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Less_HumbleTeej⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This is a free preview of a paid episode. To hear more, please visit our Patreon. Ben Lindbergh and Meg Rowley banter about a baseball reference in summer sci-fi flick The End of Oak Street and new reporting on players’ unwillingness to wear cups, then (32:30) discuss career years for Pete Alonso and Gabriel Moreno, Mason Miller’s changeup, Cal Raleigh’s swing change, and whether MLB will follow other leagues’ leads in establishing a tournament or trophy apart from the playoffs, before Stat Blasting (1:17:47) about the worst/least-experienced lineups ever, the most prolifically .500 teams, and the hierarchy of double-play frequency. Audio intro: Kite Person, “Effectively Wild Theme” Audio outro: Ian Phillips, “Effectively Wild Theme” Link to The End of Oak Street wiki Link to David Robert Mitchell wiki Link to Detroit references in movie Link to Parrish 1982 gamelog Link to Doctor Strange Tigers reference Link to protective cups article Link to Luke 22:42-44 Link to Chisholm article Link to Forbes article on JKG Link to Time article on JKG Link to best hitters in August Link to on-pace leaderboard Link to pitch run values since 2025 Link to Miller’s changeup count Link to Cruz homer clip Link to Miller article 1 Link to Miller article 2 Link to game theory meme Link to Cal swing article Link to Neil on alternate champions Link to Neil on the NBA Cup Link to Knicks NBA Cup decision Link to regular-season-champion article Link to regular-season-champion episode Link to Yankees’ six-run win Link to Stat Blast wiki Link to Giants loss article 1 Link to Giants loss article 2 Link to Giants unfun fact Link to Sam post 1 Link to Sam post 2 Link to 2022 White Sox .500 records Link to Rochester Hop Bitters info Link to Preston’s FB post Link to “9 to 5” video Link to double-play data Link to Hembekides clip Link to Hembekides graph Link to Molina 3-2-8 double play Link to Nootbaar play Sponsor Us on Patreon Give a Gift Subscription Email Us: podcast@fangraphs.com Effectively Wild Subreddit Effectively Wild Wiki Apple Podcasts Feed Spotify Feed YouTube Playlist Facebook Group Bluesky Account Twitter Account Get Our Merch! var SERVER_DATA = Object.assign(SERVER_DATA || {}); Source

To access AD FREE versions of our episodes, as well as bonus episodes and uncut audio and video,⁠ subscribe to our Patreon!⁠  If today's episode makes you laugh or scream, please do us a favor and rate our show 5 STARS on⁠ Apple⁠ or⁠ Spotify⁠ This is the easiest way for us to grow our community! Get your Cutie ⁠MERCH!⁠ We're on YOUTUBE! Be sure to⁠ subscribe⁠ so you don't miss a second of our hijinx - now on video! Follow Us on Social Media! Chelsea:⁠ @ohnochels⁠ Donny:⁠ @realdonnywood Learn more about your ad choices. Visit megaphone.fm/adchoices

David Robert Mitchell’s The End of Oak Street drops an ordinary family into extraordinary circumstances, forcing them to focus all their energy on surviving— and maybe, just maybe, learning to understand each other along the way. That structure, combined with Oak Street’s Spielbergian spectacle, pointed us toward 2005’s War of the Worlds, which fuses H.G. Wells’ 1898 novel to images and emotions that draw on the attacks of 9/11. How that approach holds up a quarter-century removed from the events that inspired it is up for discussion this week, along with where War of the Worlds falls on the Steven Spielberg Alien-Encounter Continuum, and just how close that sentimental ending comes to ruining the movie entirely. Then in Feedback, a listener, with an assist from Orson Welles, invites us to get galaxy-brained on the nature of homage as it relates to cinema generally and this podcast specifically. Please share your thoughts about War of the Worlds, The End of Oak Street, or 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. This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.See omnystudio.com/listener for privacy information.

Dave and Alonso dig into late-summer horror of widely varying stripes. Leave us a five-star review on Apple Podcasts, follow us @linoleumcast on Bluesky, Instagram, and Facebook, I won't go Hollywood. Join our Patreon, won't you?: https://patreon.com/LinoleumKnife Check out a FREE episode (cw: language) of our Patreon show Linoleum Nights: https://www.patreon.com/LinoleumKnife/posts/ln-431-ask-us-167482510  Subscribe to Dave's magazine of the internet: https://sluggish.ghost.io 

David Robert Mitchell’s The End of Oak Street drops an ordinary family into extraordinary circumstances, forcing them to focus all their energy on surviving— and maybe, just maybe, learning to understand each other along the way. That structure, combined with Oak Street’s Spielbergian spectacle, pointed us toward 2005’s War of the Worlds, which fuses H.G. Wells’ 1898 novel to images and emotions that draw on the attacks of 9/11. How that approach holds up a quarter-century removed from the events that inspired it is up for discussion this week, along with where War of the Worlds falls on the Steven Spielberg Alien-Encounter Continuum, and just how close that sentimental ending comes to ruining the movie entirely. Then in Feedback, a listener, with an assist from Orson Welles, invites us to get galaxy-brained on the nature of homage as it relates to cinema generally and this podcast specifically. Please share your thoughts about War of the Worlds, The End of Oak Street, or 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. This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.Support the show: https://www.patreon.com/join/NextPictureShowSee omnystudio.com/listener for privacy information.

Movie Mike ranks all 11 theatrical Spider-Man movies from Tobey Maguire's original trilogy and Andrew Garfield's two films to Tom Holland's MCU movies and the animated Spider-Verse films. Plus the messy Spider-man rights, controversy of who actually created the character, and how did Jake Gyllenhaal almost play Spider-Man before becoming Mysterio?! In the Movie Review, Mike talks about The End of Oak Street starring Anne Hathaway. It’s about a mysterious cosmic event that rips Oak Street from suburbia and transports a family’s neighborhood to someplace unknown. Mike talks about why it’s no Jurassic Park but that’s a good thing, Anne Hathaway’s great physical performance and why it caught him by surprise. In the Trailer Park, Mike talks about Primetime starring Robert Pattinson as former "To Catch a Predator" host Chris Hansen during the height of the show's success. Mike talks about the amazing run Robert Pattinson is having and wonders how some actors feel about being cast as the ‘predators’? New Episodes Every Monday! Watch on YouTube: @MikeDeestro Follow Mike on TikTok: @mikedeestro Follow Mike on Instagram: @mikedeestro Follow Mike on Threads: @mikedeestro Follow Mike on X: @mikedeestro Follow Mike on Letterboxd: @mikedeestro Email: MovieMikeD@gmail.comSee omnystudio.com/listener for privacy information.

Is The End of Oak Street the best Spielberg movie of 2026? Or is one of your hosts committing movie heresy? Adam and Josh review David Robert Mitchell's dinosaur-filled family adventure and consider whether there's more on its mind than blockbuster thrills. Plus: thoughts on the Anthony Bourdain biopic Tony, Willem Dafoe in Late Fame, and Adam's conversation with the creators of the Table Read podcast. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. ⁠Use code FILMSPOT26 to take 15% off.⁠ Filmspotting Podcast (Timecodes will not be precise with ads.) Intro (00:00:00-00:02:23) The End of Oak Street (00:02:24-00:49:09) Spoiler Talk: The End of Oak Street (00:49:09-01:10:34) Filmspotting Family (01:10:35-01:17:04) Tony (01:17:05-01:22:22) Late Fame (01:22:23-01:41:26) MLB at Field of Dreams on Netflix (01:41:27-01:45:52) Introducing: Table Read Podcast (01:45:53-01:59:42) Massacre Theatre (01:59:43-02:08:57) Credits / Releases (02:08:58-2:11:44) Notes: -Myth of the American Sleepover Review | Ann Arbor Observer ⁠https://annarborobserver.com/myth-of-the-american-sleepover/⁠ Feedback: -Email us at ⁠feedback@filmspotting.net⁠⁠⁠ ⁠⁠⁠⁠-⁠⁠Ask Us Anything⁠⁠⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Use code "summer" for 20% off a Filmspotting Family membership ⁠http://filmspottingfamily.com⁠ -Filmspotting Shop for T-shirts and more. ⁠⁠https://www.filmspotting.net/shop⁠⁠⁠⁠⁠ Follow: -Watch Filmspotting on YouTube: ⁠⁠https://youtube.com/filmspotting⁠⁠ -Adam/Filmspotting: ⁠⁠Letterboxd⁠⁠ |⁠⁠ Instagram⁠⁠ |⁠⁠ Facebook⁠⁠ |⁠ ⁠Bluesky⁠⁠ -Josh/LarsenOnFilm: ⁠⁠Letterboxd⁠⁠ |⁠ ⁠Instagram⁠⁠ |⁠⁠ Facebook⁠⁠ |⁠ ⁠Bluesky⁠See omnystudio.com/listener for privacy information.

Is The End of Oak Street the best Spielberg movie of 2026? Or is one of your hosts committing movie heresy? Adam and Josh review David Robert Mitchell's dinosaur-filled family adventure and consider whether there's more on its mind than blockbuster thrills. Plus: thoughts on the Anthony Bourdain biopic Tony, Willem Dafoe in Late Fame, and Adam's conversation with the creators of the Table Read podcast. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. ⁠Use code FILMSPOT26 to take 15% off.⁠ (Timecodes will not be precise with ads.) Intro (00:00:00-00:02:23) The End of Oak Street (00:02:24-00:49:09) Spoiler Talk: The End of Oak Street (00:49:09-01:10:34) Filmspotting Family (01:10:35-01:17:04) Tony (01:17:05-01:22:22) Late Fame (01:22:23-01:41:26) MLB at Field of Dreams on Netflix (01:41:27-01:45:52) Introducing: Table Read Podcast (01:45:53-01:59:42) Massacre Theatre (01:59:43-02:08:57) Credits / Releases (02:08:58-2:11:44) Notes: -Myth of the American Sleepover Review | Ann Arbor Observer ⁠https://annarborobserver.com/myth-of-the-american-sleepover/⁠ Feedback: -Email us at ⁠feedback@filmspotting.net⁠⁠⁠ ⁠⁠⁠⁠-⁠⁠Ask Us Anything⁠⁠⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Use code "summer" for 20% off a Filmspotting Family membership ⁠http://filmspottingfamily.com⁠ -Filmspotting Shop for T-shirts and more. ⁠⁠https://www.filmspotting.net/shop⁠⁠⁠⁠⁠ Follow: -Watch Filmspotting on YouTube: ⁠⁠https://youtube.com/filmspotting⁠⁠ -Adam/Filmspotting: ⁠⁠Letterboxd⁠⁠ |⁠⁠ Instagram⁠⁠ |⁠⁠ Facebook⁠⁠ |⁠ ⁠Bluesky⁠⁠ -Josh/LarsenOnFilm: ⁠⁠Letterboxd⁠⁠ |⁠ ⁠Instagram⁠⁠ |⁠⁠ Facebook⁠⁠ |⁠ ⁠Bluesky⁠See omnystudio.com/listener for privacy information.