Podcasts about Orson Welles

In Southern Oregon, the historic Wolf Creek Inn has welcomed travelers, celebrities, and curious guests since the 1800s. Originally built along the Applegate Trail, it became a popular stop for settlers, miners, stagecoach passengers, and later railroad and highway travelers. The inn has hosted famous guests including Jack London, John Wayne, Clark Gable, Carole Lombard, Orson Welles, and Sir Anthony Hopkins. Jack London especially loved the inn, spending a summer writing there, and his former room is now preserved in his honor. Today, Wolf Creek Inn is the oldest continuously operating hotel in the Pacific Northwest and a historic Oregon landmark. But Wolf Creek Inn may have more than just famous guests. Visitors and staff have reported footsteps, mysterious voices, flickering lights, apparitions, strange dreams, and objects flying across rooms. Ghostly entities reportedly include a female stagecoach driver, the spirit of Jack London, and even stories of a bizarre vampire-like creature roaming the hotel! Just a few miles away, the Golden State Heritage Site, a former mining town now considered a ghost town, has its own spooky reputation, including shadow figures and the spirit of a preacher. With decades of paranormal activity, the Wolf Creek Inn may be one of Southern Oregon's most intriguing haunted hotels. Visit our website! Find us on Facebook, Instagram, TikTok, Patreon, & more! There are so many ways that you can support the show: BuyMeACoffee, Spreaker, or by leaving a rating & review on Apple Podcasts. Sources

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.

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.

Our Bedroom to Box Office journey has been a bit of a wild ride so of course the final stop would be Orson Welles' long lost movie. The adult film industry connection was already discussed in a bonus interview we dropped right before this episode (check it out, lots of fun) but there is a lot more to unpack about THE OTHER SIDE OF THE WIND. For example: did we actually like it? Listen to this Real Talk segment to find out!TIMELINE00:01:26 $40 Million00:02:21 Real Talk00:52:25 The Future & Patreon Stuff- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemoniospe on Instagram or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!Up next, we do our best to capitalize on current Greek mythology enthusiasm by tackling Wolfgang Petersen's TROY! In the meantime, let us know what you thought of The Other Side of the Wind: Is it even remotely interested in appealing to a casual viewer? Would it have been better to let the mystery of the final Welles movie go on forever? Will this ever play at midnight screenings anywhere? E-mail us at wearethecontrarians@gmail.com or share your thoughts with us on Threads or BlueSky!

Man, we cut Orson Welles way too much slack. The guy makes Citizen Kane at the beginning of his career, then he gets to coast for the rest of his life - and posthumously too! THE OTHER SIDE OF THE WIND, a Welles' joint he didn't even get to finish, was received with pure adoration by critics even though it's basically just a pretentious improv session from Orson and his buddies. Listen to Alex & Julio as they try to focus on the unexpected return of Peter Bogdanovich to the main feed, and close the Bedroom to Box Office Summer Event in style!TIMELINE00:01:24 The Other Side of the Wind00:14:55 Contrarians Corner- Wanna know how we really feel about THE OTHER SIDE OF THE WIND? Check out the Real Talk (RT) episode, on your feed RIGHT NOW! (or pretty soon — Spotify can be a pain when it comes to refreshing the feed)- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemoniospe on Instagram or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!

Gary Graver was the cinematographer on Orson Welles' final feature film, THE OTHER SIDE OF THE WIND. As a warm-up to our upcoming episode giving that movie the Contrarians Treatment, here's a special treat for all of you: an interview with Adam Graver, one of Gary's nephews.And yes, Gary Graver is the final adult movie industry connection in our Bedroom to Box Office Summer Event!Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemoniospe on Instagram or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!

To celebrate the podcast's one-year anniversary, Gilbert and Frank round up an all-star cast of their favorite guests — Craig Bierko, Drew Friedman, Tom Leopold, Bill Persky and Paul Shaffer — for a lively, no-holds-barred discussion of a host of essential topics, ranging from George Kirby's drug bust to the rumored love affair between Clark Gable and Andy Devine. Also: Paul plays the “Hogan's Heroes” theme, Tom obssesses over George Maharis, Craig praises Don Knotts, Drew stalks Marlon Brando and Bill babysits Orson Welles. PLUS: Troy Donahue! Jack Palance! Mario Lanza takes his revenge! Brian Wilson meets Jay Silverheels! And the return of Rickie Layne and Velvel! https://www.gilbertpodcast.com/54-54-anniversary-special-pt1/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Who was Pier Paolo Pasolini—and what made him one of the most fascinating, controversial, and uncompromising artists of the 20th century?A poet, filmmaker, writer, intellectual and provocateur, Pasolini approached cinema differently from almost anyone around him. He saw cinema as a "language of reality" and developed a visual grammar shaped by poetry, literature, painting, faces, landscapes, religion and politics.In this episode of The Artists Podcast, we explore how Pasolini thought, created and saw the world with Robert S. C. Gordon, Serena Professor of Italian at the University of Cambridge and a Fellow of the British Academy. Gordon is one of the leading scholars of modern Italian literature and cinema, and has written extensively on Pasolini, including the influential study Pasolini: Forms of Subjectivity.What is the central theme of a great artist? How does childhood shape an artist's imagination? Why did Pasolini's lack of conventional film training allow him to develop such a distinctive cinematic language?We explore his relationship with Federico Fellini and Orson Welles, his "cinema of poetry," The Gospel According to St. Matthew, Oedipus Rex, his fascination with faces and landscapes, and the complicated relationship between intellectualism and artistic ego.And finally: Which Pasolini films should Gen Z watch today?This is a conversation about Pasolini—but also about what happens when an artist refuses to fit into the world around him.⏱️

Julian Schlossberg - MovieTalk, Memoirs & the Magic of Show Business Learn more about Julian at: JULIAN SCHLOSSBERG - Home    Listen to his podcast at: Home | Julian Episode Highlights   The Radio That Fueled Imagination: Julian grew up with radio first—imagining the Lone Ranger's range and Jack Benny's vault. Television's arrival felt like magic: free shows, baseball games, and variety programs, all in his home.   The Audition That Never Happened: On his first day job hunting, Julian told a white lie to an interviewer—"You don't remember me, but you told me to finish college and come back." The interviewer said, "I remember." He got the job. His mother couldn't believe it happened on day one.   The Ziegfeld Miracle: As a 27-year-old running the "white elephant" Ziegfeld Theater, Julian booked *That's Entertainment*, *Tommy*, and *Roller Coaster*—grossing $3 million in one year when top tickets were $3-$4. Studios decided he "must know something."   The Barry Diller Negotiation: When Paramount's Barry Diller wanted Julian in LA, Julian refused to leave New York. Diller offered two weeks in NY, two in LA. Julian said no again—and got hired anyway.   “Nobody But You": Early in his marriage, Julian complained about his office messing up. His wife said, "Nobody but you." It took the wind right out of his sails—and kept him grounded.   The Orson Welles Restoration: Julian's proudest achievement: restoring and distributing Orson Welles' *Othello*, which had languished in a vault for 40 years. No one else wanted it. He spent eight months raising money and fixing the film so the world could finally see it.   Stay on the Ledge: Julian's advice to aspiring creatives: "You don't let go of the ledge. Actors are wounded people—they've been rejected constantly, yet they kept going because they wanted the prize.   Show Notes   

Pier Paolo Pasolini remains one of cinema's most fascinating contradictions: poet, filmmaker, writer, intellectual, provocateur—and an artist who refused to fit comfortably into any category.He approached cinema as a poet, not simply as a filmmaker. Without conventional film-school training, he developed a visual language entirely his own, drawing from literature, painting, mythology, religion, politics and the faces of people rarely given space on screen.He worked with—and around—some of the greats of Italian cinema, including Federico Fellini and Orson Welles, while creating films that could be as beautiful as they were disturbing and controversial.His life was as provocative as his cinema. His sexuality, politics and outspoken public persona repeatedly put him at odds with Italian society, while his violent death in 1975 remains surrounded by unanswered questions.Watch the episode to find out.Dropping Soon!Follow @the.artistspodcast#TheArtistsPodcast #Pasolini #PierPaoloPasolini #ItalianCinema #WorldCinema #FilmTheory #CinemaStudies #Cinephile #FilmPodcast #AuteurCinema #FilmHistory

427 The Trial (1962) w/Joshua Kennedy Steven and Joshua Kennedy continue their Orson Welles retrospective series with 1962's The Trial! Back on episode 180, we covered Touch of Evil to launch the series. Joshua has directed numerous movies, including his Rondo nominated The Innsmouth School for Girls! Which is currently available on Amazon Prime. You can follow Josh on Facebook at Joshua Kennedy Man of the Arts.Send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page.Thanks for listening!

Imagine a movie directed/edited/starring Orson Welles as himself commenting on the making of this very movie while he wears big hats and capes, smokes giant cigars, DOMINATES heaping plates of raw oysters, does some magic tricks, constantly shows off his gorgeous girlfriend, and monologues about the nature of art and immortality… and all the while the whole movie is about someone else. Sounds fake, right? *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Ingmar Bergman's Summer with Monika (1953).

On this week's Aftermath REWIND, Rebecca is back in the recording studio with national bestselling author William Hazelgrove discussing Orson Welles' War of the Worlds broadcast. Williams 2024 book Dead Air: The Night that Orson Welles Terrified America illustrates the level of pandemonium that ensued and he shares a few more interesting tidbits that really alter our understanding of this moment in American history. Afterwards, Patreon subscribers can revisit the board with Fact Checker Chris Smith and Producer Clayton Early to see if Brilliant Natural Acting remains in The Alarmist Jail. Not on Patreon?! Join us below!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on TikTok @thealarmistpodcastSupport this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

This episode was originally released on 6/1/2022. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 128 we wrap up our six month look at 1954 by ending in June with network cancellations. —————————— Highlights: • The State of Radio and The Union • The End of Escape with John Dehner • News with Frank Edwards on Mutual • Let's Pretend with Arnold Stang • Autolite Drops Suspense • Goodbye To Jack Benny (For Now) • What's At Stake in the Fall 1954 Midterm Elections • CBS Cancels The Lux Radio Theatre • The End of James Stewart's The Six Shooter • Looking Ahead to July and Roswell —————————— The WallBreakers: thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • On the Air — By John Dunning • Network Radio Ratings — by Jim Ramsburg • The Complete Escape and Suspense Logs — By Keith Scott As well as articles from: • Broadcasting Magazine • LIFE Magazine • Newsweek • Radio Guide —————————— On the interview front: • Parley Baer, Ken Carpenter, Elliott Lewis, and Paula Winslowe spoke to Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Herb Ellis, Virginia Gregg, Jack Johnstone, Elliott Lewis, and Herb Vigran spoke to SPERDVAC. For more info, go to SPERDVAC.com. • John Gibson, Elliott Lewis, Vincent Price, and Arnold Stang spoke to Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these full interviews at Goldenage-WTIC.org. • John Dehner and Vic Perrin spoke with Neil Ross at KMPC. • Dennis Day spoke with John Dunning for 71KNUS. • Morton Fine was with Dan Haefele. • Orson Welles with Johnny Carson. • Jimmy Stewart with Larry King. • Jack Benny spoke with CBS. —————————— Selected music featured in today's episode was: • Living Without You and Too Much Between Us — By George Winston • The Last Rose of Summer — By Tom Waits • Seance on a Wet Afternoon — By John Barry

En su obra más controvertida, Chaplin nos muestra el lado oscuro del guiñol. Ahora sin chistera, Henri Verdoux se presenta entre rosales con unas tijeras de podar, se compadece de una oruga y le salva la vida mientras al fondo incinera los restos de su última víctima en el horno. El extraordinario cómico plantea una comedia de asesinatos, esto fue chocante para el público, nos cuenta unos actos abominables desde un estilo frívolo, hasta el punto de que el sentimental asesino mira a la cámara, nos quiere hacer partícipes de sus fechorías, y se justifica al final en el estrado, en un discurso tan incisivo como el de El gran Dictador. El protagonista, inspirado en un asesino de mujeres real, el francés Landrú, un Barba Azul despechado tras ser despedido de la empresa a la que dedicó su vida. pondrá en prácticas una metodología destinada a matar mujeres y a hacer negocio. Un hombrecillo remilgado , epítome del vicio y la virtud. Este conjunto escandalizó a críticos y a público. Boicoteado en los Estados Unidos, sospechoso de comunista y también de depravado tras varios escándalos en su vida privada con amantes, Chaplin terminará volviendo a Europa pocos años después. Con una concisión y perfeccionismo meticuloso, se rodeó del director de arte John Beckman, y su director asistente Robert Florey para planificar cada secuencia. Los planos de las casas donde Verdoux corteja a sus potenciales víctimas, las calles de París. El propio Chapin dibujó a carboncillo plano por plano escenas importantes como la hilarante del bote en medio del lago con la escandalosa y dura de pelar Annabella -Martha Raye-. En los títulos de crédito se anuncia que todo parte de una idea de Orson Welles, quien telefoneó a Chaplin para que diera vida al asesino, le respondió que prefería dirigirse él mismo como siempre había hecho, y compró los derechos por 5000 dólares. Esta noche vemos en el lago una barca que se tambalea más de la cuenta… Zacarías Cotán, Salvador Limón y Raúl Gallego

Orson Welles Great Mysteries (1973) episode 1: Captain Rogers

What if a single animated film could forever change the way we perceive our childhood heroes? Join host Kevin Reid on this special episode of The K. B. Radio Network as he celebrates the 40th anniversary of the iconic 'Transformers: The Movie,' released in 1986. With a blend of nostalgia and heartfelt storytelling, Kevin takes listeners on a journey back to a time when the stakes were high, and the battles between Autobots and Decepticons were more than just mere entertainment—they were a pivotal part of growing up.As he reflects on the emotional turmoil of witnessing the traumatic death of Optimus Prime, Kevin shares personal anecdotes that resonate deeply with fans of his generation. This episode captures the essence of what made the film a groundbreaking experience, marking a significant departure from the animated series that preceded it. With its darker themes and intense storytelling, 'Transformers: The Movie' left an indelible mark on the hearts of many, including Kevin, who vividly recalls the feelings of devastation that washed over him and countless others during that pivotal scene.Listeners will also enjoy an in-depth discussion about the film's remarkable voice cast, featuring legendary talents such as Orson Welles and Leonard Nimoy, whose performances added layers of gravitas to the animated characters we loved. Kevin highlights the unforgettable heavy metal soundtrack that further enriched the film's atmosphere, making it a timeless classic that continues to resonate with audiences today. As he contrasts the storytelling of the original animated film with the later live-action adaptations, Kevin expresses skepticism about whether these newer films can ever truly capture the magic and emotional depth of the original series.Throughout the episode, Kevin invites fans to reflect on their own memories and feelings about 'Transformers: The Movie,' encouraging a dialogue about its lasting impact on pop culture and individual lives. Whether you were a child of the '80s or a new fan discovering the franchise, this episode of The K. B. Radio Network promises to evoke nostalgia, provoke thought, and celebrate the enduring legacy of a film that shaped the lives of many. Don't miss this chance to relive the excitement and heartbreak of a true cinematic milestone!Hosted on Ausha. See ausha.co/privacy-policy for more information.

We're back with another Recommend or Refute conversation.  John finally decides to watch a good movie and is blown away by Paul Thomas Anderson's epic character piece The Master (2012), Ryan goes dumpster diving with Richard Pryor in The Toy (1982), and Dixon tackles one of cinema's all-time greats with Orson Welles' debut film Citizen Kane (1941).  Pull up a chair, grab a drink, and join us.

This week we step into the darkness with two classic adventures from The Shadow, starring the legendary Orson Welles as Lamont Cranston and Agnes Moorehead as the ever-resourceful Margo Lane. When Orson Welles took over the title role in 1937, he was only 22 years old, yet his commanding performance helped define one of radio's greatest heroes. Paired with Agnes Moorehead, whose remarkable talent made every scene come alive, the two created radio magic that still captivates listeners nearly ninety years later. These two stories also showcase something that made The Shadow unique. Being invisible wasn't enough—The Shadow succeeded because he understood how criminals thought. Whether facing a ruthless counterfeiting ring or solving a murder aboard an ocean liner, he always stayed one step ahead. So dim the lights, let your imagination take over, and enjoy an evening of radio at its finest. In This Episode Introduction to The Shadow and the legendary partnership of Orson Welles and Agnes Moorehead. The League of Terror (January 9, 1938) Thoughts on why The Shadow was the perfect hero for radio. Aboard the Steamship Amazon (May 8, 1938) Reflections on imagination, suspense, and why these stories continue to entertain today. Featured Stories The League of Terror Originally aired January 9, 1938- A ruthless counterfeiting gang uses extortion and murder to protect its criminal empire. With the help of the daughter of one of the gang's victims, The Shadow devises an ingenious plan to bring the organization crashing down. Aboard the Steamship Amazon Originally aired May 8, 1938 - A relaxing ocean voyage turns deadly when Randolph Todd is murdered aboard the Steamship Amazon. With Lamont Cranston locked inside his stateroom, only The Shadow can uncover the truth before the killer strikes again. Ron's Amazing Stories Is Sponsored by: Audible - You can get a free audiobook and a 30 day free trial at audibletrial.com/ronsamazingstories. Your Stories: Do you have a story that you would like to share on the podcast or the blog? Head to the main website, click on Story Submission, leave your story, give it a title, and please tell me where you're from. I will read it if I can. Links are below. Music Used In This Podcast: Most of the music you hear on Ron's Amazing Stories has been composed by Kevin MacLeod (incompetech.com) and is Licensed under Creative Commons: By Attribution 3.0. Other pieces are in the public domain. You can find great free music at FreePd.com which is a site owned by Kevin. Program Info: Ron's Amazing Stories is published each Thursday. You can download it from Apple Podcasts, stream it on Stitcher Radio or on the mobile version of Spotify. Do you prefer the radio? We are heard every Thursday at 10:00 pm and Sunday Night at 11:00 PM (EST) on AMFM247.COM. Check your local listing or find the station closest to you at this link. Social Links: Main Podcast Site by LibSynThe Blog Site by WordPressFacebook LinkTwitter Link Contact Links: EmailStory Submissions Contact Ron

Who's to blame for the Orson Welles' War of the Worlds Broadcast Panic?On this week, The Alarmist (Rebecca Delgado Smith) is celebrating 300 EPISODES with a LIVE taping at The Elysian Theater in Los Angeles! Together with special guests Amanda Lund, Jamila Webb and Dusty Warren they find out who's to blame for the Orson Welles' 1938 radio broadcast of the War of the Worlds and the pandemonium which ensued. Fact Checker Chris Smith and Producer Clayton Early join in on the fun and the audience has plenty to say about this particular board. One of the biggest in Alarmist history! Literally. You'll see. Happy 300 Alarmy! We couldn't have done it without you!Join our Patreon!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on TikTok @thealarmistpodcastSupport this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

We've scoured our movies this season from Lost in America (1985) to Playtime (1967) and everything in between for the best of the best.  That's right: it's time again to find out who will go home with the coveted Randy and who will forever suffer the indignity of being snubbed by the hosts of Random Acts of Cinema. *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Orson Welles' F is for Fake (1973).

⁠The Mercury Summer Theatre of the Air || (307) Life with Adam | July 19, 1946A satirical radio play, a self-deprecating parody written by Hugh Kemp that heavily pokes fun at ⁠Orson Welles, with actor Fletcher Markle playing the Welles-like genius.: : : : :You can donate to show your support for my podcast and the time I put into creating and posting every week. Donations are through my duane.media PayPal account:https://www.paypal.com/donate/?hosted_button_id=MSL7S8FKCSL94My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

We love PTA here at Contrarians HQ. This has been documented all throughout our podcasting journey. We may disagree on specific ranking placement for most of his movies, but we agree that they're all great… until now? Will INHERENT VICE split Alex and Julio apart? And let's not forget this is still part of our Bedroom to Box Office Summer Event, so who's the secret adult movie star? The answers lie within this Real Talk segment!TIMELINE00:01:26 Motto panukeiku!00:02:25 Real Talk00:54:54 The Future & Patreon Stuff- Interested in more Contrarians goodness? Join THE CONTRARIANS SUPPLEMENTS on our Patreon Page! Deleted clips, extended plugs, bonus episodes free from the Tomatometer shackles… It's everything a Contrarians devotee would want!- Our YouTube page is live! Get some visual Contrarians delight with our Contrarians Warm-Ups and other fun videos!- Contrarians Merch is finally here! Check out our RED BUBBLE MERCH PAGE and buy yourself something nice that's emblazoned with one of our four different designs!- THE FESTIVE YEARS have been letting us use their music for years now and they are amazing. You can check out their work on Spotify, on Facebook or on their very own website.- Our buddy Cory Ahre is being kind enough to lend a hand with the editing of some of our videos. If you like his style, wait until you see what he does over on his YouTube Channel.- THE LATE NIGHT GRIN isn't just a show about wrestling: it's a brand, a lifestyle. And they're very supportive of our Contrarian endeavors, so we'd like to return the favor. Check out their YouTube Channel! You might even spot Alex there from time to time.- Hans Rothgiesser, the man behind our logo, can be reached at @mildemoniospe on Instagram or you can email him at mildemonios@hotmail.com in case you ever need a logo (or comics) produced. And you can listen to him talk about economy on his new TV show, VALOR AGREGADO. Aaaaand you can also check out all the stuff he's written on his own website. He has a new book: a sort of Economics For Dummies called MARGINAL. Ask him about it!Up next, our FIRF journey takes us to Cary Fukunaga's directorial debut, the immigrant thriller SIN NOMBRE! Then the Bedroom to Box Office saga culminates as we tackle Orson Welles' long-lost Netflix-rescued film THE OTHER SIDE OF THE WIND! In the meantime, let us know what you thought of Inherent Vice: Is it Temu Lebowski? Can you confidently say you can follow the plot on a first-time watch? How does it compare to the book? E-mail us at wearethecontrarians@gmail.com or share your thoughts with us on Threads or BlueSky!

Episode 458: The Crew's shooting mirrors while watching Orson Welles' The Lady from Shanghai. Welles' first film noir is a mixed bag, some scenes are amazing while others are workmanlike at best. Rita Hayworth and her swimwear steal the show. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

Ask anybody you know to name old time radio stars.  Jack Benny and Orson Welles will lead the list. Their names are still well known when time has brought obscurity to other old time radio stars. More than just radio actors, Jack and Orson defined the art form and set standards of quality that everybody … Continue reading When Radio Ruled #163 – The Great Crossover 1940 Orson Welles & Jack Benny

Jack Benny || Host Orson Welles - Return of Phil Harris | Host Orson Welles - Takes Cast to His Movie Lot | March 14, 1943; March 21, 1943 || 01:14 .. During this broadcast, Orson Welles temporarily took over as host while Jack Benny was recovering from a severe case of pneumonia, and the episode famously marked the return of bandleader Phil Harris following his stint in the military.31:31 .. Because ⁠Jack Benny had contracted pneumonia that spring, the legendary ⁠Orson Welles temporarily took over as guest host for a month of radio broadcasts.: : : : :You can donate to show your support for my podcast and the time I put into creating and posting every week. Donations are through my duane.media PayPal account:https://www.paypal.com/donate/?hosted_button_id=MSL7S8FKCSL94My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES.Subscribing is free and you'll receive new post notifications.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#comedyclassics #oldtimeradio #otr #radioclassics #jackbenny #fibbermcgeemolly #bobhope #lucilleball #martinandlewis #grouchomarx #abbottandcostello #miltonberle #oldtimeradioclassics #classicradio #duaneotr::

EPISODE 168 | Eating the Onions: War of the Worlds & Other Scares In an environment of experimental fiction, metanarratives, postmodern satire, disinformation, deep fakes, and fake news, a sizeable portion of the content gobbling audience takes things that are not true as being actually true. Online, this happens with alarming regularity with articles published by satirical news site The Onion; so often, in fact, that there's a term for this phenomenon – it's called Eating the Onion. The subjects of intentional disinformation, deep fakes, and fake news are one thing, but what we're looking at here at times when something that was never intended to be taken seriously (though it used real world tropes and structures for narrative effect), were accidentally thought to be base din reality. And people quite rather lost their shit. Like the 1938 Orson Welles broadcast of The War of the Worlds. But there are other instances as well. Review us here or on IMDb. And seriously, subscribe, will ya? Like, just do it.  SECTIONS Here Come the Martian Martians - War of the Worlds Life on Mars? - Alternative 3, Special Bulletin, The War Game & The Day After Happy Phantom - Ghostwatch, Without Warning Two Little Men in a Flying Saucer - April Fool's gone awry Part of Your World - Mermaids, dragons, megalodon Music by Fanette Ronjat Follow us on social: Facebook X (Twitter)  

Nick welcomes The Hollywood Reporter TV critic Dan Fienberg back to the podcast to review several new shows, including Adult Swim’s President Curtis, the new Will Ferrell golf comedy The Hawk, Apple TV+’s Lucky starring Anya Taylor-Joy, and more. They also continue their bi-weekly coverage of Big Brother Season 28 with their latest thoughts on the houseguests and the game. Later, Esmeralda Leon joins Nick as they get ready for the LIVE edition of The Nick D Podcast at the Flashback Weekend Horror Convention. Along the way, they talk about tribute bands, the work of Stephen King, and more nightmare-inducing entertainment, including the unsettling 1972 documentary Future Shock, narrated by a truly terrifying Orson Welles. [Ep 476]

Over the course of his career, no other director has documented the passage of time better on screen than writer-director Richard Linklater. The Texas filmmaker, synonymous with being one of the vital voices of the independent film movement of the 1990s, has used his filmography to record the most vital parts of our lives, and how those moments from our past and present can shape our future. Whether it's our first love and the long romantic journey with that person (the Before Trilogy), the magic of his childhood (School of Rock, Apollo 10½: A Space Age Childhood), the glory of high school and college (Dazed and Confused, Everybody Wants Some!!), the evolution of artistic expression (Me and Orson Welles, Blue Moon, Nouvelle Vague), Linklater has looked inward at the human condition expertly for close to forty years, but none more so perfectly than he did with his 2014 masterpiece, Boyhood. Originating as an idea in his mind over two and a half decades ago, Linklater assembled a cast and crew to go on a twelve-year journey of filming that would chronicle the life of a young boy from the age of six all the way to eighteen, from kindergarten to the end of high school. From the early 2000s to the mid-2010s, Linklater tinkered in the editing room with footage from limited days to shooting with his actors, sometimes even without a finish script, and sprung out a one-of-a-kind film that serves as a memory box for generation within its specific look at a boy growing up in South Texas as he's discovering who he wants to be, living with his mother and sister and occasionally spending time with his father when he is in town. In symbolic nod to the years, it took to make Boyhood, it returns to theaters for a run of anniversary screenings nationwide for its twelve-year celebration to re-explore the evolving yet universal themes Linklater concluded about adolescence, parenthood, siblings, and learning that the road to becoming the person we want to be takes exactly one thing Linklater has become known for, time. In a recent conversation, Linklater and I spoke about the origins of the project, collecting the music that made up the character's world, the evolving nature of the project, and retooling the film's narrative to fit the film's star Ellar Coltrane's life and interests. We also spoke about working with Patricia Arquette and Ethan Hawke, their growth within these characters as parents and how Arquette's role mirrored the life of Linklater's mother. Our discussion continued with what it was like to film eight other films while creating Boyhood, why San Marcos, TX was a great location to shoot the majority of the film (he continued to use this location for Everybody Wants Some!!), his optimism about the future generations on the whole as well as within the confines of artistic expression. In our final moments, Linklater teased his latest expansive project he's doing right now, an adaptation of the musical Merrily We Roll Along, this time with the film commencing over the course of twenty years to complete the time period of this celebrated work from Stephen Sondheim. While it seems like a daunting task, only Linklater would have the trust from audiences to deliver again once we are able to see the film in the years to come. But until then, the director, much like when he was making Boyhood, will continue to create great work that reminds us of his artistic super power; that by looking inward, we discover the value of our place, our time, and the skin we live in. Boyhood will receive a 12th anniversary theatrical re-release from Independent Film Company (IFC) on July 31.

Episode 457: The Crew's taking George's advice and buying a horse while watching Orson Welles' The Magnificent Ambersons. Mr Welles second feature film isn't as welled remembered as Citizen Kane, but that doesn't mean it shouldn't be just as studied and enjoyed. Welles' shots are perfection; the character blocking, the lighting, and camera movement communicate so much to the audience. We're in the hands of a master. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

85 years ago, Orson Welles released his debut feature Citizen Kane, and movies were never the same. In the decades since, it has been exhaustively analyzed; the subject of countless books, documentaries and biopics; and regularly cited as the greatest American movie.

Analizamos, junto a Santiago Navajas, el trasfondo de algunas de sus obras maestras: liberalismo, defensa del individuo y arraigo a la tierra. John Ford es el único director al que Orson Welles respetaba sin reservas. Cuando le preguntaron por los tres mejores cineastas norteamericanos, respondió: "El primero es John Ford, el segundo es John Ford y el tercero es John Ford." Esta semana, en Economía para Quedarte sin Amigos, contamos con Santiago Navajas, filósofo y crítico de cine, para analizar tres películas del director —La diligencia, El sargento negro y El hombre que mató a Liberty Valance— y explorar por qué su cine sigue siendo una de las defensas más lúcidas del pensamiento liberal que ha dado la historia del séptimo arte. La tesis de partida es que el liberalismo, a diferencia de otras ideologías, no es una utopía abstracta sino, como señala Navajas, "una utopía con los pies en el suelo, basada en una concepción de la naturaleza humana que no es idealista sino enraizada en lo que los seres humanos realmente son." Eso es precisamente lo que Ford traduce en imágenes: la violencia no es algo que deba negarse sino encauzarse mediante la ley, el orden surge desde abajo y no desde arriba, y la civilización es un logro frágil que exige coraje para sostenerse.Música Esta semana, las protagonistas de nuestra selección musical son las bandas sonoras de las películas que comentamos.

Hoy me olvido de negocios digitales y de inteligencia artificial. Quiero hablar de cine. De lo que era hacer una película cuando cada fotograma costaba dinero y de lo que es hacerla ahora que todo es infinito y barato. De Orson Welles picando hormigón con un pico para meter la cámara donde nadie había metido una cámara antes. De por qué las películas ya no te rompen por dentro de la misma manera. Y de qué tiene que ver todo eso con cómo contamos historias hoy, en cualquier formato. Un episodio para los que creen que la forma en que se hace algo cambia profundamente lo que esa cosa es.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a historian and perhaps the greatest living film critic. He's the author of more than 20 books, including biographies of David O. Selznick and Orson Welles, and The New Biographical Dictionary of Film. His new book is called A Sudden Flicker of Light: A Revisionist History of Movies. It's a wonderful extended rant in some ways, a love letter and a searing indictment of cinema. I was a little intimidated talking with him, but it was a lot of fun.For two clips of the episode — on the uptight genius of Hitchcock, and the authoritarian nature of cinema — head to our YouTube page.Other topics: born in South London in 1941 and his home damaged by the Blitz; his father leaving when he was born; his boyish mix of fear and delight at the cinema; the shower scene in Psycho; how film denies you the chance to stop and think; the directors who relish white space (e.g. PT Anderson); Birth of a Nation and Triumph of the Will; newsreels before TV; real nuke explosions on screen; Oppenheimer; from communal theater viewing to solo smartphone viewing; Game of Thrones and the insane production value of TV these days; Breaking Bad; Trump the ultimate product of TV; his telegenic Cabinet; the danger of deepfakes; Paul Schrader's First Reformed; the audience's love of car crashes and villains; Godfather I and II; contrasting Hitchcock and Malick; Tree of Life; nature in Thin Red Line; Fincher's Seven; Robert Bresson's religious films; Scorsese's Silence and Last Temptation of Christ; the vulgarity of Spielberg (e.g. the red dress in Schindler's List); ep. 3 of Adolescence; and Nolan's new Odyssey.Browse the Dishcast archive for an episode you might enjoy. Coming up: John O'Sullivan on conservatism, Azam Ahmed on terrifying new drugs, Robby George on natural law, and Megan McArdle on pretty much anything. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Crime and Romances on a FridayFirst,  a look at this day in History.Then, The Shadow starring Orson Welles and Margot Stevenson,  originally broadcast  July 17, 1938, 88 years ago, Aboard the Steamship.  A mad scientist helps an even madder millionaire believe that he's an Italian Duke from the 12th centuryFollowed by Broadway Is My Beat starring Larry Thor, originally broadcast July 17, 1950, 76 years ago, The  Emilio Ramirez Murder Case.   Emilio Ramirez is knifed in the barrio of Spanish Harlem. A cop named Johnny Parada is killed while investigating.Then, Night Watch starring Donn Reed,  originally broadcast  July 17, 1954, 72 years ago. The first call is about three men found sleeping in a car. The second call is about the possibility of children being left alone during a domestic dispute. Followed by Theater of Romance, originally broadcast July 17, 1945, 81 years ago, Suspicion starring Anthony Quinn and Judith Evelyn. A English woman suspects her ne'er-do-well husband of contemplating murder...or worse!Finally, Lum and Abner, originally broadcast July 17, 1935, 91 years ago, Lum's Life is Miserable. Abner is not the easiest guy to work for, making life very difficult for Lum.Thanks to Bill B for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream

This week on Drink the Movies, we are diving into the complex layers of Orson Welles' legendary masterpiece, Citizen Kane. We will break down the innovative cinematography, the haunting mystery of a man's rise and fall, and the lasting impact of a single enigmatic word. To toast to the film's enduring search for meaning, we are serving up a sophisticated cocktail called the Rosebud. Dim the lights, revisit the headlines, and join us as we raise a glass to the greatest cinematic portrait of power and memory. ⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.drinkthemovies.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Please Drink Responsibly*

Episode 456: The Crew's holding their best snow globes while watching Orson Welles' Citizen Kane. This film is often cited as THE BEST MOVIE EVER MADE, and for good reason. The filmmaking techniques used to tell the story are impressive by today's standards, and the story unfolds at a wonderfully quick pace. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

This week we invited author and all around awesome person Maggie Tokuda-Hall to bask in the glory of July-brary with the film noir classic The Third Man (1949) starring Orson Welles as Man Who Doesn't Show Up In Movie Til Halfway Through. Tune in next when July-brary continues with... Zodiac. ----- FlemGems ETSY Store! Get Maggie Tokuda-Hall's new book Bathtime For Snow Monkeys Also get another one of Maggie's new books What Do People Do At The Science Museum? Get involved with Authors Against Book Bans! Jordan is going to be at San Diego Comic Con July 24th and 25th. On July 19th Jordan will be signing books at Comic Quest in Lake Forrest California between 12-5pm. Jordan and Maggie will be at Cape and Cowl Con, Sunday August 30th at Faction Brewing in Oakland. Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinfreewithads

Orson Welles Commentaries || (01) The Strange Affair of Uncle Harry, Bullfighting, Korea | (02) Fortune tellers, GI entertainment in the Atomic age, Food shortage in Europe || September 16, 1945; September 23, 1945Sponsored by Lear Radios, the program allowed Welles to pivot from his earlier work into a platform for sharing political editorials, personal reminiscences, and literary readings.: : : : :You can donate to show your support for my podcast and the time I put into creating and posting every week. Donations are through my duane.media PayPal account:https://www.paypal.com/donate/?hosted_button_id=MSL7S8FKCSL94My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

This week we start season 13 in earnest as we talk a month of documentaries! We watched American Movie, a film about being creative, the American Dream, and keeping the Surge nice and chilled. RIP to Uncle Billy!  This week on Myopia Movies, we're trading the usual fictional disasters for a documented one. Chris Smith's American Movie follows Mark Borchardt — Wisconsin's answer to Orson Welles, if Orson Welles had a day job at a cemetery and financed his art through a combination of paper routes and his uncle's life savings — as he attempts, against all reason and budget, to finish his short horror film Coven. It's not a movie about filmmaking so much as a movie about willpower, and what happens when that willpower vastly outpaces talent, funding, sobriety, and — in at least one memorable scene — the ability to say the word "coven" without flubbing it forty separate times. Mark's business partner Mike Schank drifts through every frame like a man who found inner peace by accident and never bothered to explain how. Family members get roped into acting roles they clearly didn't audition for. A wall gets punched. A head goes through a cabinet, on purpose, for art. We riff on a lot of terrible movies here. This is that rare thing: a great one about the terrible movies other people make — and somehow ends up more heartfelt than half the scripted stuff we cover. Grab a beer, don't invest in anyone's film school dropout uncle, and let's watch a man refuse, with genuine heroism, to give up on Wisconsin's most cursed haunted house short. Want to pick a movie we do an episode on and record a special commentary just for you? Purchase something from our wish list!  We are riffers on Cineprov! Check us out!! How will American Movie hold up? Directed by Chris Smith Starring: Mark Borchardt Mike Schank Tom Schank Monica Borchardt Ken Keen Bill Borchardt Chris Borchardt (Mark's brother) Alex Borchardt-Hume (Mark's son)

¿Tiene Europa un nuevo clima? En España falta alumnado de alto rendimiento y sobran… ¿buenas notas? Incautadas en el Met obras valoradas en 95 millones de dólares ¿Puede completarse dignamente el Don Quijote de Orson Welles?

“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can't do anything about what's on the screen.” — David Thomson Has the prolific film critic David Thomson fallen out of love with the movies? That's the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us. No, he hasn't fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society. “What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies. Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn't gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality. Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it “Being There” or “Network.” Or perhaps “The Truman Show.” Five Takeaways •       Cinema Has Trained Us to Be Spectators — and That Has Destroyed Our Agency: Thomson's central argument: sitting in the dark watching a bright light in front of them, audiences learned that the thing on the screen is not their responsibility. People are not really hurt on screen, no matter their bodies are torn apart. They are not really happy, no matter what they say in the film. And whatever happens, the audience remains a spectator. Extrapolate that out into a broader world and you have a society in which, for all the paperwork of democracy and government by and for the people, people have become a citizenry of spectators who simply want to be entertained. America, Thomson believes, is in that state. •       Every Cut Is Violent — and Every Cut Is a Marriage: Thomson's most original observation is the smallest: the cut. A cut is where the stream of imagery you are watching goes from one shot to another. It is a separation — but it is also a marriage. Every cut says: join them up. The way we measure the effectiveness of directors from D.W. Griffith onward is that they found ways to put shots together so that film had sequence and order, like the order of sentences in writing. And every cut has an element of violence in it, because you are seeing one thing and then, bang, you are watching something quite different. We have never taught our children what a cut is — even though they have spent far more of their lives watching moving imagery than reading. That neglect, Thomson argues, is consequential. •       The Culture of Manhood and the Systematic Neglect of Women: Thomson's most politically charged observation: the culture of manhood and the serious neglect of women was going on in virtually every film he saw until at least the 1980s, and you could argue well beyond that. That is, he says, a kind of tacit advertising — a way of saying, look, this is really a very good way for how the world should be. It is something that has become harder and harder for him to endure as an idea. And he thinks that the war in Iran would not have been as likely if America had had enough women running the country — because women feel and think together in concert in different ways, with more room for compassion, sentiment, and plain rationality. •       Cinema Is Deeply Educational — and We Have Ignored That: Thomson's answer to Andrew's challenge: what does any of this have to do with movies? Everything. You cannot have a mass medium without the mass being affected, without the ways in which they think being shaped. The movies have given us examples of how to live that have been intensely persuasive. They are deeply educational. And yet we have permitted them, and like every technology humans have ever invented, we have let the technology take control of us rather than the other way around. Children spend far more time watching moving imagery than reading — and yet we do not teach them what a cut is, what a camera angle means, how the medium constructs its reality. That neglect has been, Thomson believes, catastrophic. •       Citizen Kane Is the Definitive American Film — Not The Godfather: Andrew's final question: what is the definitive movie about America? Not The Godfather, Thomson says, because the Godfather films cannot overcome their attraction to authority. There is a reverence for dark power in the Godfather films. Whereas in Citizen Kane, there is all through the film a terrible ruefulness about what happens to people who seek power. Welles absolutely understood and was intensely critical of the personality that needed power and authority — and he was afraid of it. For that reason, it is still for Thomson the definitive American film. Thomson has been known to doze off watching it, because he knows it too well. On July 4, he plans to watch something different. Ideally, The Odyssey. About the Guest David Thomson is the author of more than twenty books on film, including A Sudden Flicker of Light: A Revisionist History of the Movies (Simon & Schuster, July 7, 2026), The New Biographical Dictionary of Film (six editions, 1975–2014), Orson Welles, The Big Screen, Have You Seen…?, and biographies of David O. Selznick, Marlon Brando, and Nicole Kidman. Michael Ondaatje has called him “the best writer on film in our time.” He lives in San Francisco, where he is Andrew Keen's neighbour. References: •       A Sudden Flicker of Light: A Revisionist History of the Movies by David Thomson (Simon & Schuster, July 7, 2026). •       Citizen Kane (Orson Welles, 1941) — Thomson's definitive American film; discussed extensively in the conversation. •       The Godfather (Francis Ford Coppola, 1972) — referenced as ...

Our Other Shows:Cowboy Classics: Old Time Radio Westerns & Frontier StoriesComedy Classics: Old Time Radio Vintage Comedy & LaughsMystery Theater Old Time Radio: Classic Detective, Horror & SuspenseJoin our Community - Linktree: https://linktr.ee/mysterytheaterChristian Basics Foundation in Faith: Available on AmazonThis dark and atmospheric tale dives headfirst into the domestic shadows of post-war society, where a sinister plot of romantic betrayal and murderous intent unfolds. The narrative explores a toxic dynamic steeped in bitter jealousy and greed, where the sacred vows of marriage are twisted into an instrument of ultimate harm. When an ambitious individual conceives what they believe to be the flawless blueprint for a untraceable murder, a web of deadly manipulation begins to tighten around an unsuspecting spouse. As lethal paranoia escalates behind closed doors, Lamont Cranston and his brilliant companion Margo Lane find themselves pulled into a highly volatile domestic puzzle. Operating under the cover of psychological invisibility, Cranston must track the subtle, poisonous clues of a perpetrator who believes they are entirely above suspicion. The Shadow is forced to navigate an intricate labyrinth of shifting loyalties, desperate alibis, and impending tragedy before the ultimate act of malice can be executed. He must use his profound understanding of the criminal mind to expose the terrifying deception, intervening in a breathless climax to stop a lethal trap and prove once again that the bitter fruit of crime never yields a profit.Historical BackgroundThe Shadow is widely considered one of the most influential and foundational programs in the history of American radio drama. Originating on July 31, 1930, the character initially served merely as a sinister, phantom narrator for CBS's Detective Story Hour. However, the narrator's ominous voice and iconic catchphrases quickly eclipsed the stories themselves, prompting Street & Smith to develop The Shadow into a full-fledged literary character and a dedicated radio series starting in September 1937.While the original pulp magazine version of the character was a master of physical disguise and traditional detection, the radio adaptation dynamically modified his capabilities, giving him the iconic psychic power to "cloud men's minds" to render himself completely invisible. The series famously popularized standard tropes of the superhero genre and left an indelible mark on pop culture with its atmospheric organ music and unforgettable opening lines.Featured Cast & Production ArtifactsLamont Cranston / The Shadow (1938): Voiced by a young Orson Welles, whose patrician, slightly detached delivery perfectly captured the essence of a wealthy, world-traveling playboy harboring esoteric Eastern secrets.Lamont Cranston / The Shadow (1949): Voiced by Bret Morrison, who became the longest-running and most definitive radio voice of the character, providing a smooth, authoritative tone during the show's post-war era.Margo Lane: Voiced by the legendary Agnes Moorehead during the Welles era, and later by Grace Matthews in the late 1940s, portraying Cranston's steadfast companion and the only person trusted with his invisible identity.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

David Thomson, the author of The New Biographical Dictionary of Film, Have You Seen...?, Rosebud: The Story of Orson Welles, and many more, is one of the most prolific and influential writers about film and film history. He is also the favorite writer of Screen Drafts Legend Darren Franich. When the opportunity arose to speak with Mr. Thomson about his new book, A Sudden Flicker of Light, we insisted on taking it, and created a whole new show just to do so! Please enjoy this very entertaining inaugural edition of The Sit-Down with Darren Franich, an as-needed venue for culture writer Darren Franich to have in-depth conversations with the most interesting minds in film and television. David Thomson's A Sudden Flicker of Light: A Revisionist History of Movies is on bookshelves now!

408 Chimes at Midnight (1965) w/Joshua Kennedy Steven and Joshua Kennedy continue their Orson Welles retrospective series with 1965's Chimes at Midnight! Back on episode 180, we covered Touch of Evil to launch the series. Joshua has directed numerous movies, including his Rondo nominated The Innsmouth School for Girls! Which is currently available on Amazon Prime. You can follow Josh on Facebook at Joshua Kennedy Man of the Arts.Send feedback to DieCastMoviePodcast@gmail.com or leave us a message on our Facebook page.Thanks for listening!

1938 Cadılar Bayramında neden insanlar aniden sokağa döküldü? Voyager 1 Altın Plağına koymadığımız fotoğraflar neyi ifade ediyor? Stephen Hawking ile H. G. Wells arasında nasıl bir bağlantı var?  Barış Özcan'la 111 Hz'in bu bölümünde Orson Welles'in ABD'de yarattığı panikten, Azteklerin, Hernán Cortés'i tanrı sanmasına, evrene “biz buyuz” dediğimiz ifadeleri konuşacağız.  Bu bölümde:  (00:00) 1938 Cadılar Bayramı Paniği (05:13) Münih Krizi (06:26) 1519 Aztekler (08:42) H. G. Wells (11:12) Ozma Projesi  (16:05) Voyager 1 Altın Plağı  (18:00) Stephen Hawking  Yaratıcı: Barış Özcan  Yapımcı: Podbee Media  Bu bölüm reklam ve sponsorluk içerebilir. Tüm bölümler, videolar ve daha fazlasına Podbee App ve podbee.com'dan ücretsiz olarak ulaşabilirsiniz.

Hnedel Maximore did not come up through the traditional VFX pipeline. He started drafting floor plans in Liberia, studied architecture in Michigan, got laid off during the housing crash, and worked his way across industries before landing at Speed Shape in Detroit doing automotive commercials. That's also where he and Chris first crossed paths, years before either of them could have predicted where things would end up. What Hnedel built along the way was not just a technical skillset but a spatial intelligence that became the secret weapon behind one of the most visually distinctive streaming shows in recent memory. Spider-Man Noir is shot in color and black and white simultaneously, built on sets too small for the scripted action, and executed with a noir discipline that its showrunner and director Harry Bradbeer summed up as: what if Orson Welles had a Steadicam? Hnedel breaks down how previs shaped what they could actually afford to build, how the stunt team and VFX department merged into a single production unit, and why the dual delivery format put black and white monitors at video village for the entire shoot. He also gets direct about where VFX gets siloed too late in the process, and what it means when the VFX supervisor is employee number four. Guest: Hnedel Maximore on LinkedIn > Hnedel Maximore on IMDB > References: Spider-Man Noir (Amazon / Sony) > Speed Shape Torchlight (previs) V-Ray > ILM > Fuse FX Zero VFX Scanline VFX Digital Domain > Sway Chinatown (1974) Wicked Is Pain (documentary) Backrooms Obsession Honey Don't (Ethan Coen) Blender This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)

What were you doing at 25? Some of the greatest filmmakers in history were making masterpieces. Mike explores the youngest directors to ever break through in Hollywood, from Orson Welles and Steven Spielberg to modern filmmakers like Kane Parsons and Curry Barker, and examines what it takes to make movie history before turning 30. In the Movie Review, Mike talks about Masters of the Universe. It’s about a young man on Earth discovers a fabulous secret legacy as the prince of an alien planet, and must recover a magic sword and return home to protect his kingdom. Mike shares his experience seeing the movie in 4DX, Jared Leto’s performance as Skeleton and why this movie hit him on an emotional level that he wasn’t expecting. In The Trailer Park, Mike talks about How To Rob A Bank. It’s about a crew of social media-savvy bank robbers broadcasts their daring heists, unaware that their growing viral fame has put them in the crosshairs of a veteran FBI agent and a brilliant software engineer. 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.

In this bonus episode Sebastian takes questions about episode 249, 250, and 251. First, he does his best to grapple with how morality should factor into history education. Then a listener provides an epic email about Orson Welles' legendary production of "Voodoo Macbeth" and cursed run of Romeo and Juliet. Finally, Sebastian looks at the weird legacy of the phrase "bunga bunga." Tune-in and find out how missing chickens, corrupt Italian Prime ministers, and a wounded Benvolio al play a role in the story! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.