Podcasts about Orson Welles

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.

Talvolta per comprendere quanto è oscuro e tetro questo vecchio pazzo mondo, bisogna abbracciarla quell'oscurità. Per poi respingerla o farsi avvolgere in base alle proprie scelte.E' ciò che ha quasi sempre raccontato David Fincher nella sua breve ma intensa filmografia incentrata su racconti incentrati sull'ossessione, la paura e l'ineluttabilità ma non solo.Se chiedete a un appassionato di cinema se ha mai visto "Quarto Potere", difficilmente di rispondere di no. E difficilmente non saprà dirvi chi è, anche solo vagamente, Orson Welles.Vale lo stesso per Herman J. Mankiewicz? Per gli amici, "Mank".

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

My interview with Robert Kroll, author of "Orson Welles' Commercial Break"

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!

Twitter Facebook Tomorrow is America’s 250th Birthday as an independent nation.  Your narrator for Audibly Speaking rings in the birthday in suitable vocal style with an audio narration of that fateful document. The Declaration of July 4, 1776 was not just a statement of independence but a declaration of ideals that has changed the world.  Will we, the generation that is the heir of the founding fathers, allow its ringing words to continue shaping the world, or will the American people themselves today be the authors of its destruction? For God’s sake, and for their own sake, the American people must decide.  This narration is delivered in the style of the great Orson Welles. Twitter Facebook

En el nuevo capítulo de Estamos de Cine te animamos a apuntarte a una excursión muy especial. Nos espera el Museo del Cine en Hollywood de la mano de un singular personaje de dibujos animados. Y es que gracias a este visita escolar, vamos a conocer uno de los secretos mejor guardados de la industria: el estrecho vínculo que une a los célebres Minions con los mismísimos orígenes del séptimo arte. Minions and Monster lleva llenando salas de todo el mundo desde el pasado miércoles y será recordada como un brillante homenaje a los clásicos cinematográficos y a creadores de la talla de George Lucas, Orson Welles o Charles Chaplin, aderezado con una imponente banda sonora a cargo de John Powell que es analizada detalladamente junto a Ángel Luque. Pero además, en nuestro Filtro Luchini, desglosamos las virtudes y defectos de esta nueva fiebre amarilla que ya inunda la pantalla veraniega, sin olvidar que la cartelera se complementa con dos propuestas de perfiles antagónicos que prometen captar la atención de los espectadores. Por un lado, se analiza el regreso de Hugh Jackman en La muerte de Robin Hood, donde el actor cabalga entre la esencia de Lobezno y Jean Valjean; por el otro, se examina el papel de Bob Odenkirk en Normal, un filme donde el protagonista de Breaking Bad interpreta a un ayudante de sheriff aparentemente perdedor. Con este menú, el formato radiofónico ofrece el broche perfecto antes de su tradicional pausa estival, anticipando además las mejores bandas sonoras y los títulos imprescindibles para disfrutar de un verano en pantalla grande.

durée : 01:27:01 - Les Nuits de France Culture - par : Albane Penaranda - Pourquoi, plus de 80 ans après sa sortie, Citizen Kane reste-t-il un des films les plus révérés dans le monde ? Avec plusieurs spécialistes du cinéma, Emmanuelle Fournier analyse différents aspects de l'œuvre et met en parallèle la destinée de Charles Foster Kane et celle d'Orson Welles lui-même. - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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!

Today we have an episode of the Lear Radio Show, a weekly news and commentary program hosted by Orson Welles. This episode first aired on June 30, 1946, and features Welles talking about the atomic bomb tests at Bikini Atoll and the end of price controls. Visit our website at BrickPickleMedia.com/podcasts. Subscribe to the ad-free version at https://podcasters.spotify.com/pod/show/worldwar2radio/subscribe.

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)

The Orson Welles Almanac || Guest: Groucho Marx || January 26, 1944: : : : :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

¿Y si perderse cosas fuera una forma de libertad? El filósofo Juan Evaristo Valls Boix plantea esta idea en JOMO. El gusto de perder (Cuadernos Anagrama), un ensayo que reivindica el derecho a decir no en una sociedad obsesionada con la productividad, la hiperconexión y el miedo a quedarse fuera. Frente al conocido FOMO (fear of missing out), el autor propone el JOMO (joy of missing out): la alegría de perderse cosas para recuperar tiempo, atención y libertad.La promoción de la lectura protagoniza otro de los momentos destacados del programa con el reconocimiento a Un país para leerlo, espacio de La 2 galardonado con el Premio Nacional al Fomento de la Lectura 2026. Conversamos con su codirector, Luis Miguel Gómez , así como con Ignacio Elguero, responsable de iniciativas culturales de RTVE e impulsor del proyecto, sobre una iniciativa que ha convertido los libros y sus autores en protagonistas de la televisión pública. La actualidad cultural nos lleva también al Museo Thyssen-Bornemisza, que presenta una gran retrospectiva dedicada a Carmen Laffon, una de las figuras esenciales del arte español contemporáneo, y al ambicioso proyecto internacional para reconstruir el inacabado Don Quijote de Orson Welles, en el que participa la Filmoteca Española. Además, celebramos el hallazgo de una partitura inédita de Mozart descubierta por la Biblioteca Nacional de Francia, repasamos el legado de Nintendo 64 cuando se cumplen treinta años de su lanzamiento y nos acercamos a Manos de pobre, el cómic de Silvia Bezos, ganador del Premio Pang, que reflexiona sobre la desigualdad, la movilidad social y el acceso a la cultura.Escuchar audio

It's recommendin' and refutin' time!  Ryan breaks down Don Bluth's animated sci-fi Titan A.E. (2000), John shines a light on the indie television comedy The Dress Up Gang (2019), and Dixon turns the clock back 79 years to discuss Orson Welles' film noir classic The Lady from Shanghai (1947).

Rich Embury’s R3TROGR4D3 returns to CRANK IT LOUD with more brand NEW Hard Rock & Metal from Marilyn Manson / Billy Morrison / Lex Legion / The Metal Byrds / Doomcrusher / Seasons Of The Wolf / Stitched Up Heart, Lyric Noel + Judge & Jury! Plus music history, classics, requests and more from Bif Naked / Slade / Nirvana / Brighton Rock / Unleash The Archers / Queensryche / Ugly Kid Joe / Kick Axe & Spectre General (tripleshot) / Night Ranger / Avenged Sevenfold / KISS / Lizzy Borden / Ratt / Die Mannequin / Dr. Hook & the Medicine Show / Striker / Exciter / Iron Maiden / Diemonds / King Diamond / Megadeth! TAKE COVER

Edward Saatchi has been building at the frontier of AI storytelling for a decade—from Oculus Story Studios to Fable (where his AI character Lucy made her own films at Sundance) to his current venture, Amazon-backed Showrunner. Edward's most audacious project proves the point: reconstructing Orson Welles' lost masterpiece, The Magnificent Ambersons (44 minutes destroyed by studio cuts in 1942), using motion-capture actors and AI to seamlessly restore what was erased. The irony is intentional—it's a film about technology destroying beauty, restored by technology. Edward's approach isn't text-to-video slop. It's human performance driving AI synthesis: hire stage actors, capture their performances, use the original cutting continuity as a blueprint, and let AI fill the gaps. The result is cinema-quality work that would cost $100 million traditionally but costs $10 million with AI assistance.In AI XR News This Week:Amazon announces 16,000 layoffs while ramping robotics—replacing humans with machines in warehouses. Amazon Go and Amazon Fresh stores close after years of investment; the self-checkout convenience experiment dies. Snap spins off Spectacles AR glasses into a separate business, signaling lack of cash or confidence. Apple and OpenAI both developing AI wearables to launch in 2027, powered by Gemini and Google AI. Google launches Project Genie, a generative AI model that creates fully interactive 3D game worlds you can navigate and remix in real time. Walkabout Mini Golf lays off half its staff. Atlas V, the acclaimed French VR studio behind Spheres and Battle Scar, pivots to location-based entertainment. Darren Aronofsky launches an AI animated series on YouTube called On This Day.Key Moments Timestamps:[00:05:00] Amazon's 16,000 layoffs paired with robotics expansion; the canary in the coal mine for white-collar work[00:06:00] Amazon Go/Fresh failure: humans reject automated futures when given the choice[00:07:14] Snap spinning off Spectacles; Ted's thesis on AR glasses remaining "exotic," not mainstream[00:10:00] Apple wearables running Gemini + Google AI; the winning formula for wearable AI domination[00:12:48] Walkabout Mini Golf layoffs and Atlas V's pivot; VR right-sizing continues[00:15:25] Google Genie: generative 3D worlds, playable and remixable in real time; Epic should be scared[00:19:11] Edward Saatchi joins: the state of AI video and why there's no marketplace after 4 years[00:22:00] Edward's concern: AI content is "derivative but worse" with no commercial value[00:28:00] The marketplace problem: no buyers, no revenue, no sustainability for creators[00:34:00] Ted's thesis: AI is quietly disrupting VFX and screenwriting behind the scenes[00:44:00] Critters: the proof-of-concept for AI-assisted theatrical animation ($10M vs. $100M traditionally)[00:49:00] Showrunner's business model: creators earn money every time someone remixes their show[00:52:00] The Magnificent Ambersons project: restoring Orson Welles' lost masterpiece with AIEdward makes a case that reads like a manifesto: AI's killer app isn't making derivative work faster or cheaper. It's remix, interactivity, and personalization at scale—letting audiences co-create with AI while creators get paid. His challenge to the industry: hold yourself to "derivative but better" (can you make a better Simpsons episode than the last 15 seasons?) or "original and good" (something from a non-human intelligence's perspective). Until creators band together to make features and TV shows with commercial value, AI video will remain stuck in the trough of disillusionment.This episode is brought to you by Zappar, creators of Mattercraft—the leading visual development environment for building immersive 3D web experiences for mobile headsets and desktop. Mattercraft combines the power of a game engine with the flexibility of the web, and now features an AI assistant that helps you design, code, and debug in real time, right in your browser. Build smarter at mattercraft.io. Hosted on Acast. See acast.com/privacy for more information.

Su comercial en España hizo todo lo posible. Acosó a obispos y cabildos. Rondó catedrales e iglesias. Hasta que la encontró por 500 pesetas. Por mucho que Randolph Hearst nunca llegara a verla.

Two dear friends and Film Festival colleagues attempt to bridge the gaps of their long-distance relationship — and their own film educations — through a bi-weekly screening and discussion project of the gap films that have eluded their cinematic discovery.In this episode, Scott and Jack finally chase down Limite — Mário Peixoto's legendary 1931 Brazilian silent experimental film, a long-lost cinematic holy grail that spent decades languishing in obscurity while earning the devotion of cinephiles (and the admiration of Orson Welles). Through fragmented memories, breathtaking visual poetry, and the haunting image of three strangers adrift at sea, Limite feels less like a film than a dream recovered from the depths of cinema history—a great white whale of world cinema that rewards every ounce of the obsession required to find it. You DON'T want to miss this piece of film history- or the discussion about it!Follow Blindspotting on Facebook and Buzzsprout.

Film Photography Podcast – Episode 380 – June 15, 2026 - Join Michael Raso, Owen McCafferty, and Trev Lee as they gather around the in-person roundtable to discuss all things film photography. Episode features a look at the Kodak Snapic A1 35mm point-and-shoot camera, a conversation about common mistakes made by photographers new to film, listener letters, and plenty of analog enthusiasm. ________________________________________________________________ Psssst! If you've been listening to the FPP for a while, you've probably heard Michael Raso and Owen McCafferty occasionally break into a drawn-out "Ahhhh, the French..." followed by an impression of legendary filmmaker Orson Welles. If you've ever wondered what that's all about, FPP episode 380 has the answer! Owen takes a brief detour into film and television history to explain who Orson Welles was, how he became one of cinema's most influential figures, and the story behind the infamous late-1970s Paul Masson wine commercial outtakes that inspired the phrase.

Philosopher and theologian David Bentley Hart explains why Christianity must abandon political power, cultural domination and the mythology of “Christian civilization” to rediscover the radical compassion of Christ. He challenges common interpretations of Paul, faith and salvation before exploring Christology, divine manifestation and what it truly means to say that God became human. They also dive into Lewis Carroll's spiritual absurdity, the childhood genius of Alice in Wonderland and the revolutionary filmmaking of Orson Welles. SPONSORS!

The Columbia Workshop || The Fall of the City | April 11, 1937Columbia Workshop, pioneered all kinds of special sound effects and other dramatic techniques. In 1937 it put on a poetic drama by Archibald MacLeish called The Fall of the City, featuring a 22-year-old actor with an unforgettably expressive voice. The play was a sensation, which helped point the way to what radio could achieve. It also made the actor, Orson Welles, an overnight star.Adelaide Klein as Dead WomanCarleton Young as 1st MessengerBurgess Meredith as OratorDwight Weist as 2nd MessengerEdgar Stehli as PriestWilliam Pringle as GeneralGuy Repp, Brandon Peters, Karl Swenson, Dan Davies, and Kenneth Delmar as Antiphonal Chorus(above from Wikipedia): : : : :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

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.

The Peter Boyles Show June 13, 2026 HOUR 1 : What happens when a lifelong radio fanatic pays tribute to one of the most famous broadcasts in history? In this episode, Peter Boyles dives deep into the legendary 1938 War of the Worlds broadcast by Orson Welles and explains how it inspired his own unforgettable April Fools’ Day radio stunt that convinced listeners KNUS had undergone a complete Spanish-language takeover. The result? Confusion, laughter, outrage—and even a visit from law enforcement. Peter shares behind-the-scenes stories from the 2015 broadcast, reunites with members of the cast who helped pull it off, and reflects on the unique chemistry that made the show such a success. It’s a fascinating look at radio history, storytelling, and the power of imagination over the airwaves. Before that, columnist and commentator Jimmy Sengenberger joins the program to discuss Colorado politics, including questions surrounding congressional candidate Wanda James, her business record, and comparisons being made to gubernatorial candidate Victor Marx. The conversation explores campaign narratives, political branding, and the importance of scrutiny regardless of party affiliation.See omnystudio.com/listener for privacy information.

The Peter Boyles Show June 13, 2026 HOUR 2: Peter Boyles takes listeners on a heartfelt and hilarious trip through Denver radio history as he reunites the team behind one of the most memorable April Fools' broadcasts ever aired on KNUS (2015). Inspired by Orson Welles' legendary War of the Worlds broadcast, the crew revisits the infamous "station takeover" that convinced listeners something very strange was happening on Denver's airwaves. Joining Peter are longtime friends and former colleagues Casey Boyer, Tom Moller, Efren, Kevin, and Kelly Michaels as they share behind-the-scenes stories from the prank that introduced listeners to the fictional morning show duo "Chewy & Baca," triggered listener panic, and even brought law enforcement to the station. The reunion also serves as a farewell celebration for Kevin as he prepares to move to Nashville for a major role with the K-LOVE network. Along the way, the group reflects on friendship, faith, radio's golden moments, career journeys, and the unique chemistry that helped make their shows successful. This is more than a walk down memory lane—it's a tribute to the people, personalities, and camaraderie that made Denver radio special.See omnystudio.com/listener for privacy information.

The OTRNow Radio Program  Father's Day 01The Jell-O Program Starring Jack Benny. June 18, 1939. Red net. Jell-O. The cast does down to the railroad station to leave for Waukegan. Carmichael the bear is going along too! The last program on which Kenny Baker appears. Andy Devine, Don Wilson, Jack Benny, Kenny Baker, Mary Livingstone, Phil Harris and His Orchestra, Eddie Anderson, Harry Baldwin, Ed Beloin (writer, performer), Bill Morrow (writer), Cliff Nazarro, Frank Nelson, Blanche Stewart.The Quiz Kids. June 20, 1948. NBC net. Alka-Seltzer, One-A-Day. The first question is, "Why would Pennsylvania and protactinium remind you of the third Sunday in June?" The Quiz Kids vs. The Quiz Kids' fathers. Joe Kelly (host), Bob Murphy (announcer), Joel Kupperman, Joe Kelly Jr. (temporary host), Patrick Owen Conlon, Naomi Cooks, Mark Mullin, Joel Kupperman Sr., Joe Mullin, Patrick Conlon, Julius Cook.Hollywood Star Playhouse. April 23, 1951. CBS net. "Father's Day". Bromo Seltzer. The start of the program's second year on the air. Jeff Alexander and His Orchestra (composer, conductor), Maurice Zim (writer), Jack Johnstone (director), Norman Brokenshire (commercial spokesman), Johnny Schneller (engineer), Gus Bayes (sound effects), Ross Murray (sound effects), Carleton Young, Theodore Von Eltz, Jeanette Nolan, Robert Griffin, Bea Benaderet, Anne Whitfield, David Brian (recorded preview of next week's program), Barbara Stanwyck, Herbert Rawlinson (host)This Is Your FBI. June 08, 1951. ABC net. "The Return of Father Crime".The Black Museum. 1952. Syndicated, WRVR-FM, New York aircheck. "The Chain". Participating sponsors. A woman has been hearing ghosts, dragging a chain. The date is approximate. Syndicated rebroadcast date: October 30, 1974. Harry Alan Towers (producer), Orson Welles (narrator), Ira Marion (writer), Sidney Torch (composer, conductor). Baby Snooks Clip 1944-06-14 Worlds Most Patient FatherSOURCES:Radiogoldindex.com;  Wikipedia

30 października 1938 roku Orson Welles i jego zespół wyemitowali słuchowisko będące adaptacją powieści "Wojna światów" które, według legendy, miało wywołać masową panikę wśród Amerykanów. Czy rzeczywiście setki tysięcy ludzi uwierzyły w inwazję Marsjan na Ziemię? Co naprawdę wydarzyło się w czasie emisji "Wojny Światów" na ulicach USA? W tym odcinku Misji specjalnej odkrywamy kulisy jednej z najsłynniejszych audycji w historii radia! #płatnawspółpraca Partnerem odcinka jest United International Pictures, dystrybutor najnowszego filmu Stevena Spielberga i Davida Koeppa pt. "Dzień Objawienia". W kinach od 10.06.2026.

Step right up, ladies and gentlemen, and prepare to be deceived. This week we're taking a stroll down a rabbit hole of lies, art, and magic as they watch Orson Welles' final completed film, the 1973 docudrama F for Fake. Or as I call it, the first Video essay! Credits: Hosts: Jesse McAnally & Andrew DeWolf & Liz Esten Podcast Edited By: Jesse McAnally Keeper of the Cheese: Juliet Antonio This show is a part of the Broadway Podcast Network Social Media: ⁠⁠⁠⁠⁠Our WEBSITE⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Musicals with Cheese on Twitter⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Musicals W/ Cheese on Instagram⁠⁠⁠⁠⁠ Email us at ⁠⁠⁠⁠⁠musicaltheatrelives@gmail.com⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Merch!!⁠⁠⁠⁠⁠ Jess Socials ⁠⁠⁠⁠⁠Jesse McAnally ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on Twitter⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Jess McAnally on Instagram⁠⁠⁠⁠⁠ Andrew Socials ⁠⁠⁠⁠⁠Andrew DeWolf on Instagram⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Andrew DeWolf on Twitter⁠⁠⁠⁠⁠ Liz Socials ⁠⁠⁠⁠⁠Liz Esten on Instagram⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Liz Esten on Twitter⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Use our Affiliate Link⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we've got a rare find: Inner Sanctum Mystery with the long-lost 1944 episode “The Dream,” with an appearance by Orson Welles, of all people, as star on the show, at a time where Welles had reached the peak of his celebrity status. Host John Tefteller shares the story behind the recording, made by engineer Rudy Van Gelder. The story follows Judge Robert Branscolm, a respected man troubled by a vivid, violent dream, one where he murders a stranger with a silver-handled cane. Disturbing enough… until he finds himself presiding over a case involving that exact crime. A true rediscovery, and a great moment for vintage radio fans and historians alike. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

For our 300th(!!) episode we finally become respectable movie podcasters and sit down with Orson Welles' celebrated film Citizen Kane! We discuss the film's legacy and spot on movie ranking lists, why movie ranking lists are obsolete, the life and lie of Orson Welles, how coming from radio impacted the style of Citizen Kane and what we would whisper on our death beds. Also: nuts! small men with straw hats! Old man makeup! Check it out! Ad-free versions of all of our episodes are available on our Patreon When you sign up you also get access to our bonus shows, Discord server, shout out on the show AND you get to vote on monthly episodes and themes and a 25% discount in our merch store. That's a lot for only $5 a month! For more info and to sign up visit us on Patreon You can also give a Movie Friends subscription here: Gift a Movie Friends Subscription! Visit our website Check out our merch store Send us an email! Follow us on Twitter and Instagram Fill out our listener survey

El primer tema de discusión tratará sobre un cambio potencial importante al proceso de ampliación de la Unión Europea. Los miembros del grupo se están planteando denegar a los nuevos estados miembro el derecho a veto durante varios años después de que se hayan incorporado. Después hablaremos de la encíclica del papa León, donde hace un llamamiento a actuar de forma urgente para asegurar que la IA sirva a la humanidad en lugar de perjudicarla. El segmento de ciencia lo dedicaremos a un nuevo estudio que ha descubierto que participar de forma habitual en actividades artísticas y culturales podría ralentizar el envejecimiento biológico, de forma similar a la práctica regular de ejercicio físico. Y concluiremos la primera parte del programa comentando el episodio final de "The Late Show with Stephen Colbert", que marcó el fin de uno de los programas más populares del late night. El resto del episodio de hoy lo dedicaremos a la lengua y la cultura españolas. La primera conversación incluirá ejemplos del tema de gramática de la semana, The Pronominal Verbs. Verbs of Emotions and Feelings. En esta conversación discutiremos si los famosos, como los futbolistas, deben posicionarse ante una opinión personal en un acto público. Pondremos como ejemplo a Lamine Yamal, jugador del F.C. Barcelona, que apareció en lo alto de un autobús descapotable ondeando una bandera palestina el día de la celebración de la victoria en la Liga española. Y, en nuestra última conversación, aprenderemos a usar una nueva expresión española, A trancas y barrancas. Hablaremos de la película Don Quijote de Orson Welles. Esta filmación fue realizada con fragmentos conservados del rodaje de la película Quijote del director estadounidense Orson Welles y editada por el cineasta español Jesús Franco. La película de Welles nunca fue terminada. Pero con ese material se hizo otra película. Para algunos fue un error. Para otros una alegría reencontrarse con material del genio fallecido. La UE se plantea postergar la concesión del derecho a veto a los nuevos estados miembro En una gran encíclica, el papa León advierte de los peligros de la IA a los que se enfrenta la humanidad El arte y la cultura están vinculados con una ralentización del envejecimiento biológico Stephen Colbert presenta el episodio final del legendario "Late Show" Posicionarse ante una opinión Don Quijote de Orson Welles

Robert Kaplow is the author of numerous novels. In 2008, director Richard Linklater filmed an adaptation of Robert's novel ME AND ORSON WELLES. In the past, Robert has taught English and Creative Writing, and for over a decade, he and his band (“Moe Moskowitz and the Punsters”) wrote, produced, and performed satirical sketches for NPR's Morning Edition. BLUE MOON is his first original screenplay. BLUE MOON tells the story of Lorenz Hart's struggles with alcoholism and mental health as he tries to save face during the opening of "Oklahoma!". The film stars Ethan Hawke, Margaret Qualley, and Andrew Scott. In this interview, we talk about the film adaptation of his novel ME AND ORSON WELLES, the development of the screenplay for BLUE MOON with Richard Linklater and Ethan Hawke, the creative process of writing a plausible voice for Lorenz Hart, plus advice for writers on patience, persistence, and keeping the faith when facing rejection. Want more? Steal my first book, INK BY THE BARREL - SECRETS FROM PROLIFIC WRITERS, right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend, as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60 seconds, and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom of your iTunes Podcast app and click “Write Review"). Enjoy the show!

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.

Hailed by many as the greatest film ever made, Citizen Kane was the debut feature from Orson Welles and featured many of his colleagues from the Mercury Theatre productions of Broadway and radio. We'll hear Mr. Welles and his co-stars in radio thrillers: Ray Collins in "Marry for Murder" (originally aired on CBS on September 9, 1943); Welles in "Lazarus Walks" (AFRS rebroadcast from October 19, 1943); Joseph Cotten in "You'll Never See Me Again" (originally aired on CBS on September 14, 1944); George Coulouris in "The Long Shot" (AFRS rebroadcast from January 31, 1946); Agnes Moorehead in "The Evil of Adelaide Winters" (originally aired on CBS on September 10, 1951); and Everett Sloane in "Alibi" (AFRS rebroadcast from July 7, 1957).

Power, ego, and one of the most legendary media grudges in Hollywood history. This week, Shane and Duncan dive into the explosive feud between Orson Welles and William Randolph Hearst, from the making of Citizen Kane to the full-court press to destroy it. Newspapers, blacklists, threats, and enough spite to power a small city. Hollywood has always loved a drama queen. ~ Become an Insomniac! Support the show on PATREON and unlock exclusive bonus content. ~ Join the community, chat with fellow insomniacs, and vote on episode topics via DISCORD ~ Send Shane and Duncan a message at midnightfactsforinsomniacs@gmail.com ~ Rep the show! Grab a tee or mug at the MIDNIGHT MERCH store and spread the word. ~ Follow us on INSTAGRAM    

War of the Worlds by Orson Welles is perhaps the most famous radio play on Earth. But what's left out of the story is where the play was set — a real, little town in New Jersey. It took decades, but the people who live in Grover's Mill have come to embrace their part in one of the biggest media hoaxes of all time. In fact, they've turned it into something to be proud of.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Our month-long salute to mystery writing legends continues with the queen of crime herself - Agatha Christie. She wrote over sixty novels, dozens of short stories, and created two of the genre's most beloved sleuths - Hercule Poirot, the fastidious and brilliant Belgian detective, and Miss Marple, the kindly amateur investigator. We'll hear four of Dame Agatha's tales recreated for radio: "The Murder of Roger Ackroyd" with Orson Welles as Poirot from The Campbell Playhouse (originally aired on CBS on November 12, 1939); "The Tragedy of Marsdon Manner" from Murder Clinic (originally aired on Mutual on October 6, 1942); and "The ABC Murders" and "Where There's a Will" from Suspense (originally aired on CBS on May 18, 1943 and February 24, 1949).

Orson Welles spent thirty-five years trying to put Sir John Falstaff on screen. Chimes at Midnight (1966) is the result: a film drawn from five Shakespeare plays — primarily the two Henry IV parts, with passages from Richard II, Henry V, and The Merry Wives of Windsor — that lifts Falstaff from comic supporting player to tragic protagonist. Welles plays the knight himself, a lumbering, larger-than-life tavern dweller and unlikely father figure to Prince Hal (Keith Baxter), heir to the guilt-haunted Henry IV (John Gielgud). When Hal must choose between loyalty to Falstaff and the demands of the crown, the film becomes what Welles called a lament "for the death of Merrie England." Dismissed by critics on its 1966 Cannes premiere and barely distributed in the United States, the film spent decades trapped in rights disputes — finally reaching audiences properly through the Janus Films/Criterion restoration in 2016.Mike talks with Spencer Parsons and David MacGregor about the film's three-decade gestation across stage and screen, the filmmaking ingenuity behind its legendary Battle of Shrewsbury sequence, the autobiographical dimensions of Welles's performance, and why Chimes at Midnight now stands for many critics as the greatest Shakespeare film ever made.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

Morgan Neville is an Academy Award-winning filmmaker whose work has captured some of the most iconic figures in American music, film, and television. Neville’s 2013 film “20 Feet from Stardom” won the Oscar for best documentary feature. A few years later, his 2018 film about Fred Rogers, “Won’t You Be My Neighbor?” became the highest-grossing biographical documentary of all time. Neville has directed films about subjects ranging from Keith Richards to Anthony Bourdain, from Orson Welles to Steve Martin, and Paul McCartney.In addition to his Academy Award, Neville has earned a Grammy, an Emmy, and a Peabody award for his work. A native of Southern California, Neville studied colonial American history at the University of Pennsylvania. He began his career as a journalist and later founded his film company, Tremolo Productions, in 1999. Neville's most recent film “Lorne” profiles the creator of Saturday Night Live.See omnystudio.com/listener for privacy information.

Professional Failure and the HUAC AssaultAfter purchasing a story idea about a serial killer from Orson Welles, Chaplin produced Monsieur Verdoux, which became his first major professional flop in America. The film's failure coincided with a massive assault by the House Un-American Activities Committee and J. Edgar Hoover, who targeted Chaplin for his personal life and perceived radicalism. Despite FBI evidence that Chaplin was never a communist, authorities used his British citizenship and films like The Great Dictator to build a narrative of un-Americanism. This cumulative character assassination was spearheaded by columnists like Hedda Hopper, who harbored a deep personal loathing for Chaplin. Guest: Scott Eyman. (5/8)1905, RESIDENCE OF E.T. EARL, WILSHIRE AVENUE LA