Podcasts about oscars

Just us chickens here this week to talk about the wild party we just witnessed...in Nia DaCosta's HEDDA, a modernized (but not modern-day) adaptation of the classic Ibsen play, HEDDA GABLER. Then we get into what works and doesn't work for us in stage-to-screen adaptations.What's GoodAlonso - Christmas creep!Drea - “...There she is.”Kevin - A weekend of artistic experiencesITIDICA Memo Reveals that the Pentagon is Mad About ‘House of Dynamite'LA Times: Horror May Have Its Moment at the Oscars‘Kidz Bop Live: The Concert Movie' Set to Premiere in TheatersStaff PicksDrea - Nouvelle VagueAlonso - It Was Just an AccidentKevin - Good Fortune Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Rebecca and John are joined by their VF colleague Chris Murphy to talk about the season's first nominations, The Gotham Awards. They debate which awards ahead of the Oscars actually indicate true frontrunners. Plus, they pick their favorite new movies hitting theaters in November. Learn about your ad choices: dovetail.prx.org/ad-choices

It's the "Day of the Doorway" podcast. Jennifer begins by talking about some of the incredible things happening in her world, the Fox TV show they're making that Jessica Alba is producing, and the unusual events that have happened in the past around her "Day of the Dead." As we like to point out; "can't be dead if they can communicate or share new information."  In this episode of our podcast, we talk to Luana Anders our moderator on the flipside about the process involved, and at some point my old boss, Luana's close pal Robert Towne stops by with his dog Hira. We ask a couple of questions to his Dog - the only dog nominated for an Oscar (Robert used his name for the film "Greystoke" and I heard not long ago, that he had sent Richard Prince (mentioned in the discussion of "Heaven Can Wait") Richard went to the Oscars with a speech Robert Towne had written in case his dog Hira won the oscar.  True story. I had a dream last night where I was speaking to the daughter of my friend "Jeanne" - and I thought about the podcast and just said "Let's invite your mom to talk to us" - and that's the genesis of this conversation. I asked her about what it was like being on the flipside, I also asked her about mutual friends that are offstage, as well as some friends of hers that I know that are still onstage. In this case because I don't reveal her name - these are questions asked to a friend on the flipside who can answer them, in a demonstration of the kinds of questions anyone can ask loved ones who have crossed over. JenniferShaffer.com is where one can book a session with Jennifer, or attend the "Wine & Spirits" events in Manhattan Beach, and RichardMartini.com is where one can book a meditation with me, where I provide an audio MP3, transcript and a copy of any of my books. Happy DAY OF THE DOORWAY!! (which we speak about in the podcast - how the day of the dead, is really about realizing that it's just a doorway.) Enjoy.

Rebecca and John are joined by their VF colleague Chris Murphy to talk about the season's first nominations, The Gotham Awards. They debate which awards ahead of the Oscars actually indicate true frontrunners. Plus, they pick their favorite new movies hitting theaters in November. Learn about your ad choices: dovetail.prx.org/ad-choices

In this episode of History Speaks, I talk with Dr. Natalie Ghazaal, Associate Professor in the School of Modern Languages at Georgia Tech. Drawing from her research, we explore how racism, speciesism, and cultural bias are embedded in animated films and how they shape what audiences learn about difference and belonging. We also discuss the MARS test, an original intervention Dr. Ghazaal developed, with two other colleagues, to analyze these biases in media and animation. Our conversation is framed by a larger question: how does animation reflect and reinforce societal prejudices, often without viewers even noticing? We consider how creative choices, protest, and advocacy can challenge these narratives. Ultimately, we ask: what does it mean to see - and be seen - accurately in stories meant for everyone?

On this week's show, we take a deep dive into the Nebraska '82 Expanded Edition box set, and explore the legacy, lore and enduring impact of Bruce Springsteen's Nebraska. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

Andrew Schulz criticizing Anthony Jeselnik for his focus on comedic commentary over actual jokes.  Apparently it is lame to criticize other comedians, which is pointed out by Schulz criticizing comedian Anthony Jeselnik.Johnny Mac also highlights Burt Kreischer's amusing appearance at an 18-inning Dodgers game and Jimmy Kimmel's near-cancellation due to a Monday Night Football promo.Meanwhile, Wanda Sykes reflects on her overlooked 2022 Oscars hosting gig overshadowed by Will Smith's infamous slap. The podcast also covers Jon Stewart's tribute to first responders, Tom Papa's 'Breaking Bread' tour, and the forthcoming Tel Aviv Comedy Festival. Finally, Usman shares insights on his upcoming comedy project 'The Islamic States of America,' highlighting the intersection of faith and humor.Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Become a premium subscriber! (no ads). For Apple users, hit the banner on your Apple podcasts app which says UNINTERRUPTED LISTENING and the bonus “DCN8” show.You also get 25+ other series  (it's only $4.99 a month with a free-trial month)Contact John at john@thesharkdeck dot com  Media Thoughts is mcdpod.substack.com dailycomedynews.substack.com DCN on Threads: https://www.threads.net/@dailycomedynews https://linktr.ee/dailycomedynews www.buymeacoffee.com/dailycomedynews  

Woody Allen is an Academy Award-winning filmmaker, writer, and comedian. Beginning in stand-up and television before turning to film, Allen became a defining voice of 1970s cinema with Annie Hall, the romantic comedy that earned him four Oscars including Best Picture and Best Director. Over his six decade career, he has written and directed more than 50 films exploring themes of love, irony, and existential doubt, from Manhattan and Hannah and Her Sisters to Midnight in Paris. ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

In this episode, Shelby and Laura review Luca Guadanino's newest movie "After The Hunt." We talk about how much we loved Luca's last movie 'Challengers,' explain why we had high expectations for Ayo Edeberi's performance, explore the commentary on Gen Z versus Baby Boomers, and argue whether the movie's morals were ethical. Interested in more movie reviews? Check out our podcast episodes on ⁠⁠⁠⁠⁠American Fiction⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Barbie⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Cannes Film Festival 2024⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Challengers⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Deadpool & Wolverine⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Furiosa: A Mad Max Saga⁠⁠⁠⁠⁠, ⁠⁠⁠Gladiator II Ft. Queens Podcast⁠⁠⁠, ⁠⁠⁠Inside Out 2 ft. Nikki Meadows⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Joker: Folie a Deux⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Killers of the Flower Moon⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Madame Web ft. Mitch Broadwater⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Mean Girls (2024)⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠Oppenheimer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Past Lives Ft. Toya From Harlem⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠Poor Things⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠The Fall Guy⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠The Oscars 2024⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠We Live In Time⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠Wicked Ft. Sisters and the Stars⁠⁠⁠⁠.To stay up to date on all things SWW:- Follow @SistersWhoWatch on all social media channels (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)- Subscribe to our ⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠ channel - Check out our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and fill out the contact information formWhat should we watch next? Email us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sisterswhowatch@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or DM us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ with your suggestions.Thank you for listening and we appreciate your support! Please rate, subscribe, download, share, and leave us a review :)

In a surprising turn of events, Kim Kardashian is set to be our favourite new TV creator. She’s developing a show set to be the next The OC, and she’s pulled in some very famous names to help her.And as we draw closer to the release of Wicked: For Good, all eyes are on Ariana Grande and Ethan Slater, who fell in love while filming the movies (and after their respective divorces), as their suspected break-up stars to make headlines. Here’s the real story behind the headlines.Plus, this year's Oscars race is shaping up to be a nominee list packed with underdogs and comeback stories, so why are Jennifer Lopez, Kate Hudson, and Julia Roberts being lumped in with the ‘underachievers’?WHAT TO LISTEN TO NEXT? If you love all things celeb break-ups... we've got just the episodes for you:Nicole Kidman’s Public Divorce ‘Revenge’ Against Keith UrbanSophie Turner And Chris Martin’s Secret History & The Woman From Lily Allen’s Break-Up Album Comes ForwardTHE END BITSWe know Spillers love bingeing the best TV and movies so we have created a Spill spin-off just for you! Our new podcast Watch Party is out now, listen on Apple or Spotify. Support independent women's media Follow us on TikTok, Instagram and Facebook. And subscribe to our Youtube channel. Read all the latest entertainment news on Mamamia... here. Discover more Mamamia Podcasts here. Do you have feedback or a topic you want us to discuss on The Spill? Send us a voice message, or send us an email thespill@mamamia.com.au and we'll come back to you ASAP! CREDITS Hosts: Laura Brodnik and Tina Burke Executive Producer: Monisha Iswaran Audio Producer: Scott StronachBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Our top news stories: Warner Bros. has kicked off their major Oscar campaign for James Gunn's "Superman" movie, James Gunn just wrapped another draft of "Man of Tomorrow" and revealed some surprising influences on the sequel, and David Corenswet's Superman costume has been removed from the Warner Bros. Studio Tour exhibit. Superman news for the period October 22-28, 2025. Brought to you by SupermanHomepage.com. Hosted by Steve Younis. Visit our website: https://www.SupermanHomepage.com/ Visit our online store: https://www.SupermanHomepage.com/shop Featured Products and Links: Steve is wearing a Superman Man of Steel Shield T-Shirt - https://amzn.to/3Wt0SQw "Superman" 2025 movie merchandise - https://amzn.to/41OceT4 Steve Younis' new book "Beyond The Cape: The Journey to James Gunn's 'Superman' Movie" - https://amzn.to/4nU3anf FondJoy Announces New Battle-Damaged "Superman" Movie Action Figure - https://www.supermanhomepage.com/fondjoy-announces-new-battle-damaged-superman-movie-action-figure/ Superman Audiobooks (Limited Time Offer) - https://www.supermanhomepage.com/superman-audiobooks-limited-time-offer/ This week's Superman comic books - https://www.supermanhomepage.com/superman-comic-books-available-this-week-october-29-2025/ Latest Comic Book Reviews - https://www.supermanhomepage.com/comics/2025-comic-reviews/c-review-2025.php

Wanda Sykes says Will Smith apologized to her for his slapping event at the Oscars. She didn't answer the call because she was sick. But she sent him a "thank you" text. Wanda was hosting that year, along with Regina King and Amy Schumer. Who did Will slap?

Trisha Morton-Thomas and Maggie Miles on their documentary Journey Home, a powerful record of grief, community, and ceremony in which the renowned Indigenous actor David Gulpilil is laid to rest.Gabrielle Brady discusses The Wolves Always Come At Night, Australia's Oscar entry for the 2026 Academy Awards, which follows a couple living on a farm in rural Mongolia, forced to move to the city after a storm destroys their village.As it arrives in Australian cinemas, we revisit a conversation with APSA winner Neo Sora on his film Happyend. In a near-future Tokyo, as the threat of a catastrophic earthquake looms, two friends face consequences after carrying out a terrible prank. Hear the whole interview here.Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Riley MelissArts editor, Rhiannon Brown

Trisha Morton-Thomas and Maggie Miles on their documentary Journey Home, a powerful record of grief, community, and ceremony in which the renowned Indigenous actor David Gulpilil is laid to rest.Gabrielle Brady discusses The Wolves Always Come At Night, Australia's Oscar entry for the 2026 Academy Awards, which follows a couple living on a farm in rural Mongolia, forced to move to the city after a storm destroys their village.As it arrives in Australian cinemas, we revisit a conversation with APSA winner Neo Sora on his film Happyend. In a near-future Tokyo, as the threat of a catastrophic earthquake looms, two friends face consequences after carrying out a terrible prank. Hear the whole interview here.Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Riley MelissArts editor, Rhiannon Brown

Host Jeremy C. Park talks with Lauren Ready, Owner and Principal Storyteller with Forever Ready Productions and author of the new book, "Ask Like a Leader: A Method for Revealing Deeper Truth and Turning Blindspots into Breakthroughs," who highlights how her background in journalism and broadcast news taught her the importance of asking the right questions and how her current work in mission-driven storytelling led her to write the book and share The Question Lens that she developed and refined over the years. During the interview, Lauren shares her career journey from a high school job shadow to becoming a journalist and eventually founding Forever Ready Productions, a mission-driven storytelling company that has helped nonprofits raise over $18 million through film and video-driven fundraising projects and content creation. She discusses her development of "The Question Lens" framework and breaks down the process, which is shared in "Ask Like a Leader" to help leaders improve communication and connection through better questioning techniques. The book, which draws parallels between leadership challenges and documentary filmmaking, is available in multiple formats, and Lauren continues to work with nonprofits and small businesses through her production company while offering keynotes focused on sharing takeaways from her book.Journalist's Journey to Mission-Driven Storytelling - Lauren Ready discusses her journey from a high school job shadow to becoming a journalist and eventually transitioning to storytelling through Forever Ready Productions. She explained how her experiences in news reporting led her to focus on impactful, mission-driven storytelling for nonprofits and organizations, and she talks about founding Forever Ready Productions in 2014 as a side hustle. She describes how her husband's business plan for the company led her to take the leap of faith and then transition from a solo operation to hiring staff, eventually helping nonprofits raise over $18 million through film and video-driven fundraising projects and content creation. The company has won Emmys for documentary work and helped change Tennessee law, with Lauren emphasizing their mission to inspire action and transform perspectives through storytelling.Leadership Through Question-Based Framework - Lauren explains how she developed the concept for her book, "Ask Like a Leader," while hiking in the mountains, realizing that her career in storytelling, journalism, and documentary work was rooted in the ability to ask better questions. She has created a question-based framework called "The Question Lens" to help leaders improve communication, connection, and innovation. The book aims to provide a method for revealing deeper truths and turning blind spots into breakthroughs, drawing parallels between leadership challenges and the process of documentary filmmaking.OSCARS of Effective Communication Framework - Lauren and Jeremy discuss the framework of the "OSCARS" for effective communication, which includes open-ended questions, specific follow-up questions, clarifying questions, active listening, reflection questions, and sharing. Lauren emphasizes that leaders should focus on the quality of their questions rather than seeking to know everything, highlighting the importance of being present, curious, and open to learning. They agree that better questioning leads to deeper connections, understanding, and empathy, which are crucial for leadership and personal growth.Overcoming Expertise Blind Spots - Lauren discusses the concept of the Paradox of Expertise, where leaders who are experts in their field may develop blind spots due to their extensive knowledge and experience. She emphasizes the importance of shifting from certainty to curiosity and from knowing to noticing, encouraging leaders to ask questions even when they think they have the answers. Lauren shares a personal example from her experience as a founder, where she accidentally derailed a team member's creativity by providing immediate feedback instead of asking questions. She stresses the need for self-awareness and reflection in leadership roles to recognize one's own role in team issues and to help team members grow.Lauren's Book and Future Projects - Lauren discusses where individuals can purchase "Ask Like a Leader," which is available on Amazon and her website LaurenReady.com/books, where readers can purchase both paperback and ebook versions. She announced that the audiobook version will be available for free with paperback purchases and separately on Audible in December or January. Lauren encourages listeners to leave reviews and mentions that she is considering writing a follow-up book, particularly to help nonprofit professionals and fundraisers. She also shares information about ForeverReadyLLC.com, where viewers can learn more about her documentary work and services for nonprofits and small businesses.Visit https://www.laurenready.com/books to learn more.

SwRI picked up two “Oscars of Innovation,” R&D 100 Awards, in the 2025 R&D World Magazine competition. The R&D 100 Awards recognize the most significant technical accomplishments of the year. The prestigious award has honored top tier, revolutionary science and technology for more than 60 years. SwRI was recognized as co-developer on two winning projects, the Copeland Oil-Free Centrifugal Compressor and the Low Mass High Efficiency Medium-Duty Truck Engine. This year, the competition drew entries from 13 countries and regions. SwRI has won 54 R&D 100 Awards since 1971. Listen now as SwRI engineers Dr. Jason Wilkes and Ryan Williams discuss what makes these technologies stand out as innovations of the year and how SwRI's expertise contributed to the development of the award-winning compressor and engine.

MELISSA DISNEY JAMES (spelled the usual way) shares her professional and personal journey and tells the craziest stories! Melissa Disney is known for being the first female trailer announcer, announcing live events for major awards shows (including the Oscars), a demo producer, and a promo coach. In this episode, we learn that Christian Children don't pee, what it's like to win a year's supply of Rice-a-Roni, how to test bowtie pasta, and her encounter with Squeaky Fromme!

We're taking a look at one of the iconic B movies of the 1950s, the original version of The Blob!Join in as we discuss the great Burt Bacharach theme song, the film debut of Steve McQueen, and early depictions of teenagers.Plus: Are these the most exasperated cops ever? What does star jelly taste like? Under what circumstances do you have to street race someone? And are we really just rooting for the Blob to win?Make sure to rate, review, and subscribe!Next week: I Married a Monster from Outer Space (1958)---------------------------------------------------------Key sources and links for this episode:The Blob at Turner Classic Movies"Celebrating Film Nostalgia with Ooze and Aahs at Blobfest" (New York Times)"Kate Phillips, Actress Who Christened The Blob, is Dead at 94" (New York Times)"The Mystery of the Dissolving Saucer of 27 September 1950" (Miskatonic Blog)"Oscars 2016: Sam Smith Congratulated Himself on an LGBT Milestone He Didn't Achieve" (Vox)

Singer, performer, and creator of Kat Robichaud's Misfit Cabaret, Kat Robichaud joins Nicole Barlow and Ryan Pak to discuss the soundtrack to the 1974 Brian De Palma film, Phantom of the Paradise. Oscar winner, Paul Williams starred in the film, wrote original songs for it, and scored the film. He was nominated for Best Original Score at the Oscars even though the film did not do well at the box office. 00:00:00 - 00:06:30 Introducing Kat Robichaud and the Misfit Cabaret 00:06:31 - 00:10:00 Why Did Kat pick Phantom of the Paradise 00:10:01 - 00:16:15 Reasons Why Phantom Flopped Except in Winnipeg / Becoming a Cult Film 00:16:16 - 00:21:45 Kat's Initial Reaction to Seeing Phantom and Watching Cult Film as a Kid 00:21:46 - 00:24:30 Phantom's Influence on Directors 00:24:31 - 00:25:55 The Phantom/Paul Williams and Daft Punk Connection 00:25:56 - 00:28:30 Paul Williams' Music Career 00:28:31 - 00:34:30 Brian De Palma's Striking Visuals in Phantom 00:34:31 - 00:38:10 Beef and A Possible Phantom Musical? 00:38:11 - 00:44:30 Ryan Met The Other Director named Brian De Palma 00:44:31 - 00:46:59 De Palma's Signature Shots in the Film / Favorite song on the soundtrack 00:47:00 - 00:49:55 Life in 3 Tracks 00:49:56 - 00:51:30 The Lost Art of Discovering Films on Accident 00:51:31 - 00:55:00 Thank Yous and Goodbyes For More Information About Kat Robichaud: Website Instagram Patreon TikTok Learn more about your ad choices. Visit megaphone.fm/adchoices

The RP bois talk about one of the least spookiest movies we've ever reviewed in Spooktober. Thanks to our monthly supporters akai Jordyn Nevarez

On this week's show, we catch up on new singles from Sugar, Courtney Barnett and Margo Price, give it up for our good personal friends The Whiskey Charmers and Boygirl Rising, and give you all a break with a much shorter episode than usual. All this & much, much less! Debts No Honest Man Can Pay is a podcast that thinks it's a radio show...because it used to be one. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004. It phoenixed into a podcast in 2020, thanks to the fine and fabulously furious folks at NRM Streamcast. 

What Is This Episode - Top of Show . SPRINGSTEEN OSCARS PROFILE . Spoiler-Free Review: Background: The Pundit Parade, Box Office, Scores - 2:22 Plot Premise, Expectations - 7:11 3 Movies Too Many?/Who is This For?/BioDoc Issues - 9:27 Performances - 13:49 The Odd State of the Actor Categories - 18:18 Production Values - 25:17 WILL WHITE BE NOMINATED? - 26:44 . SPOILER WARNING - 28:31 . Spoiler-Filled Review: We're Waiting… - 29:12 It Ain't Easy Having Green - 33:14 What Could've Been - 38:13 . FINAL GRADES: 43:05 . . What's Next From MMO/Leave Us 5 Stars! - 46:31 https://linktr.ee/mikemikeandoscar

Pastry chef Garry Larduinat is known for his whimsical and inventive desserts, creating masterpieces that are as beautiful as they are delicious. Born in Limoges, France, to parents who were both chefs, Garry started his career at age 14 with an apprenticeship at the Michelin two-star French restaurant, La Chapelle Saint Martin, followed by a formal culinary school education back in his hometown. After working in top kitchens throughout France, Garry's dream of moving to New York City came true when in 2010, he assumed a position working with renowned pastry chef Francois Payard. Garry served as Executive Pastry Chef at Payard Patisserie, one of the country's best pastry shops, for close to six years before heading west to California to become Executive Pastry Chef at Los Angeles' famed Hotel Bel-Air. In 2017, Garry joined Wolfgang Puck Catering which provided him with an opportunity to create with no boundaries, taking advantage of California's seasonal ingredients and the team's breadth of parties and events to produce an ever-changing arrange of visually stunning desserts. Garry's style showcases classic flavor combinations with an unexpected twist in flavor, texture or presentation. His creative process begins by visualizing the colors and shapes before crafting the flavor profile. His work has cultivated an audience of over 180,000 followers on Instagram, where he provides an inside look at his process for creating edible art. In this episode we discuss: Garry's apprenticeship at a Michelin-starred restaurant Taking a chance and a job in NYC What he learned working at Payard Patisserie Moving to Los Angeles to become Executive Pastry Chef at Hotel Bel-Air Discovering the challenges of working in a restrictive environment Landing his dream job at Wolfgang Puck Catering What it's like to craft desserts for Hollywood's biggest event of the year And much more!

“Train Dreams" writer-director Clint Bentley discusses the themes and challenges of making the period drama, working with Joel Edgerton, William H. Macy and the rest of the cast in developing their characters, and the music, cinematography and visual style. Also, casting director Francine Maisler talks about her prolific career (including recent work on “Sinners,” “Springsteen Deliver Me From Nowhere,” “The Lost Bus” and “Ella McCay) and also the fact that the Oscars is this year introducing a new competitive category for best casting. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's triple feature charts the modern musical's evolution from stage grandeur to cinematic intimacy. Les Misérables (2012), long trapped in development, found redemption under Tom Hooper's live-sung realism, winning three Oscars and redefining the genre's emotional rawness. The Phantom of the Opera (2004), Andrew Lloyd Webber's own adaptation directed by Joel Schumacher, preserved the opulent theatricality of its 1986 hit, trading subtlety for spectacle and box office success. Tim Burton's Sweeney Todd (2007) stripped Sondheim's operatic dread to its bones—industrial London rendered in blood and ash, with Johnny Depp's haunted performance earning two Oscars. Together they form a triptych of obsession and redemption—three wounded men seeking salvation through music, their worlds collapsing between faith, art, and violence. From the barricades to the opera house to Fleet Street, these films trace the death of theatrical innocence and the last roar of the sung confession.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

It's part 3 of our Woodstock Film Festival movie reviews as we discuss the 26th Awards Ceremony and some must see movies that won hardware. Plus, we review The Black Phone 2 & Shelby Oaks before diving into a non-spoiler AND spoiler review segment on After the Hunt. 26th WOODSTOCK FILM FESTIVAL AWARDS: An Audience Awards Winner getting its “second wind” in the Oscars race? - 3:52 The Plague w/ Joel Edgerton wins Best Narrative Feature competition - 7:05 Steal This Story, Please! Wins Documentary Audience Award + Our Review - 8:35 https://woodstockfilmfestival.org/2025-film-guide?filmId=689656bde56d04276a7b8bb5 Floating Carousel wins the Ultra Indie Award + Our Review - 11:24 https://bestdressedfilms.com/floating-carousel The Floaters wins Excellence in Directing Award + Review - 15:05 https://floatersmovie.com/ OTHER WOODSTOCK FILM FESTIVAL RECOMMENDATIONS / REVIEWS: The Ark: a doc on an animal refuge in the Ukraine - 19:30 https://woodstockfilmfestival.org/2025-features?filmId=6888d194890a9096ccbc5cce River of Grass: a doc on the alarming state of the Everglades in Florida - 23:31 https://www.riverofgrassfilm.com/ Park Avenue: an NYC drama featuring a stupendous Fiona Shaw - 26:04 On The End featuring Tim Blake Nelson in his best role since Buster Scruggs - 28:11 https://woodstockfilmfestival.org/2025-film-guide?filmId=68a721e699412b9ef7b6ba8b Eloise and the Dress: a hilarious short film in need of the feature film treatment - 31:14 https://woodstockfilmfestival.org/2025-film-guide?filmId=68bede7a397fa68e1fb335a0 Whale 52: an emotional and adorable animated short feat the voice of Bruce Villanch - 32:45 https://whale52themovie.com/ WHAT WE'RE WATCHING: The Black Phone 2 - 34:53 Shelby Oaks - 36:29 After The Hunt Non-Spoiler Section - 39:28 Spoiler Section for After The Hunt - 45:47 OUTRO: There's a big musical biopic hitting theaters soon called Springsteen: Deliver Me From Nowhere. There's a horror holiday, which we like to cover. Plus, we have Gotham Awards Nominations next week. Otherwise, we're planning more reviews, previews, and interviews that we hope you'll continue to enjoy. So please follow, like, subscribe, rate and review us via our socials or wherever you get your podcasts. As always, thank you for doing so. https://linktr.ee/mikemikeandoscar

This week in pop culture headlines, Andrew dropped his royal title, Coleman Domingo was announced as Cowardly Lion in "Wicked: For Good," the Victoria Secret Fashion show returned, Brandy and Monica had a tour mishap, Debbie Allen was honored with a Barbie, Melody Hobson and George Lucas introduced a new museum, Love Is Blind alums Lauren and Cameron welcomed their first child, and Sinners has chosen two songs to add to Best Song category at the Oscars. (1:46) Stay tuned for our next episode as we gear up for Halloween with a recap of 2002 film, "Queen of the Damned" starring Aaliyah! We are available on all podcasting platforms, but please follow, rate, and review us on Apple Podcasts and Spotify apps. We greatly appreciate the support! Follow us on social media: IG: @recappinpodcast Twitter: @recappinpodcast FB: ReCappin' with Delora and Ashley Contact us: Email: recappinpodcast@gmail.com

Send us a textEver wonder what happens when glam meets grit, and heart meets higher purpose?

Could Amy Madigan go back to the Oscars 40 years after her first nomination, this time for playing the mysterious and kooky Aunt Gladys in the horror mystery 'Weapons'? It's very possible! The actress joins Awardist host Gerrad Hall to look back on her experience in Zach Cregger's latest thriller and her career. Plus, Gerrad and EW Sr. Editor Joyce Eng chat about the Best Song race, including new contender Miley Cyrus, who has co-written and will perform the end credits song for 'Avatar: Fire and Ash.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

"The NOW CDs, as they are often called, started in the UK in 1998 with Richard Branson. They were a hit out of the gate, each crafted to a specific formula. They are a professionally made mix tape. We have the full history and a good bit of trivia about the series."

In this episode of 'Your Message Received,' host John Duffin welcomes back guest Tommy Kenyon for a third time for a "greatness" conversation. Any fan of my podcast will know the name Tommy Kenyon. Tommy has played a very active role in the growth of my podcast. You probably already know that Tommy has guested on my program twice before. They say the third time is the charm; I say, in this case, it's true.The idea regarding this episode is to bring life to each of you who did not get to participate in a particular high-growth conference. Lewis Howes' Summit of Greatness is a world-class high-performance conference. I've been a major fan of Louis and this event for years. I didn't get to attend this year, so I brought back my man Tommy to give us a bird's-eye view of some of the most powerful moments from the two-day event.We discuss the importance of finding your true, authentic business voice and the key steps to achieving personal and professional growth. Tommy also shares his journey from college graduate to tech guru, highlighting his experience with livestreaming and video uploads at a major sports network. We also delve into valuable lessons from the 2025 Summit of Greatness, emphasizing the power of 'stop, listen, and allow' as taught by Gabby Bernstein. The conversation underscores the importance of continuous learning, embracing challenges, and connecting with others purposefully. I think you will love this episode. Tommy is all over social media and has become very easy to find. Tommy Kenyon is well worth a follow. Here are a couple of links below, so that you'll keep up with Tommy, and also learn to create your own road to GREATNESS! Youtube ⁨@tommykenyon7⁩  Instagram@tommykenyon7https://www.linkedin.com/in/tommykenyon/https://www.facebook.com/share/15ZxuqpVja/?mibextid=wwXIfrTIMELINE00:00 Introduction and Welcome00:47 Guest Introduction: Tommy Kenyon02:31 Tommy's Professional Journey04:51 Challenges and Changes in the Industry08:41 Learning and Growth13:16 Summit of Greatness Insights22:08 Ensuring Focus During Speeches23:05 The Theme of Chasing Dreams23:25 Allowing Dreams Instead of Chasing24:17 Networking at the Conference25:21 Conversations About AI and Tech25:40 Connecting with Family at the Conference32:03 The Importance of Pausing32:39 Learning from YouTube and Metadata35:53 The Power of Allowing and Listening40:14 Final Thoughts and Takeaways

A Croatian snake learns why alcohol and biting don't mix and animals push for Oscars and hitting the red carpet - Mick and Titus break it all down. If you’d like more Animal Bizarre, become a member of Bizarre Plus. Click here to join today As a member, you’ll get: A weekly bonus podcast Access to all past episodes Exclusive behind-the-scenes access Access to the members-only chatroom Ability to vote on future episodes Early access to any live show tickets See omnystudio.com/listener for privacy information.

This week on the SheerLuxe Podcast, host Nana Acheampong is joined by editor and entrepreneur Funmi Fetto and fashion editor and celebrity stylist Georgia Medley. For this Black History Month special, the trio cover culture, fashion and real talk – from that Jada Pinkett Smith Oscars moment and the latest SKIMS controversy to the art shows you won't want to miss and the TV they're bingeing. Expect hig-low fashion finds (Prada colour play, Mugler-esque tailoring, VB heels and chic mock-croc boots), a careers deep-dive on representation and power, plus the panel answer your dilemmas on embracing your natural hair at work, being ‘the only one' in the room and where to start with curve-flattering dressing.Subscribe For More | http://bit.ly/2VmqduQ Get SheerLuxe Straight To Your Inbox, Daily | http://sheerluxe.com/signup PANELNana Acheampong | @styledbynana | https://www.instagram.com/styledbynana/?hl=en Georgia Medley | @georgmedley | https://www.instagram.com/georgmedley/?hl=en Funmi Fetto | @funmifetto | https://www.instagram.com/funmifetto/?hl=en Hosted on Acast. See acast.com/privacy for more information.

From the international success of “Fauda” to Academy Award nominations and prestigious festival awards, the Israeli film and television industry was at a high point before the October 7 attacks. Throughout the two-year Gaza war, the industry has struggled as international funding and festival invitations dried up, and Hollywood A-listers circulated petitions to boycott any association with the Israeli industry. Domestically, Benjamin Netanyahu’s government has been hostile, especially when infuriated by films they view as too sympathetic to the Palestinian cause. Assaf Amir, chairman of the Israeli Academy of Film and Television, joins host Allison Kaplan Sommer to talk about the threat by Culture Minister Miki Zohar’s extreme reaction to the fact that the film winning this year’s Academy for Israel’s Best Picture was “The Sea” – about a Palestinian boy’s journey from the West Bank to Tel Aviv – which is now poised for submission in the Best Foreign Language film category at the Oscars. As a result, Zohar said he will defund the Academy prize and set up an alternative government award ceremony to choose a different Best Picture. Amir said on the podcast that he was unimpressed by the threat. “We'll see who submits their films to his prize and who he chooses to decide which of the films should win,” Amir said. As for the Hollywood boycotts, Amir said he would point to Israel’s Best Picture this year and ask the professionals signing the petitions where they stand on it. “Will they watch this Arabic-language film that was made by an Israeli and a Palestinian about a Palestinian boy from the West Bank trying to go to Tel Aviv – or would they boycott it? I think that's the question they should ask themselves, and I'm wondering what the answer is – because I would definitely urge them to watch this film.” Read more: Israel's Best Film Award Goes to 'The Sea,' Chosen to Represent Country at the Oscars Government Says It Will Cut Israel Film Academy Funding After Film 'Depicting Israel Negatively' Wins 'If We Stop Deteriorating': Head of Israel's Film Academy Still Sees a Bright Future, Despite Political Pressures 1,300 International Actors and Filmmakers Pledge to Avoid Israeli Film Institutions 'Implicated in Gaza Genocide' Debra Messing, Liev Schreiber Among 1,200 Hollywood Figures Opposing Israeli Film Boycott Opinion | As an Israeli Filmmaker, Thank You to Everyone Who Is Boycotting My WorksSee omnystudio.com/listener for privacy information.

This week, the boys head to the jungle for one of Amazon Studios' first films, James Gray's “The Lost City of Z”. That's pronounced “Zed” for you British purists. The film stars Charlie Hunnam, Robert Pattinson with a beard and glasses, and Sienna Miller. It was produced by Brad Pitt's Plan B and was SOMEHOW filmed on a $30 million budget, half of which was spent flying the dailies out of the actual Amazon jungle. We get drinking with a few mini-reviews at the top, and Jeff must have started early because he recorded with his microphone facing the wrong way. Luckily, Dave has fixed Jeff & John's crap many times before. Grab a beer and listen in! linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 6:11 “Good Fortune” Dave & John's mini-review; 9:15 “Anemone” John's mini-review; 12:06 “Blue Moon” Dave's mini-review; 13:53 “Tron: Ares” John's mini-review; 17:54 Gripes; 19:08 2016 Year in Review; 37:17 Films of 2016: “Lost City of Z(ed)”; 1:35:45 What You Been Watching?; 1:46:51 Next Week's Episode Teaser Additional Cast/Crew: David Grann, Tom Holland, Edward Ashley, Ian McDiarmid, Matthew Sunderland, Jared Leto, Jeff Bridges, Aziz Ansari, Keanu Reeves, Seth Rogen, Keke Palmer, Sandra Oh, Stephen McKinley Henderson, Ethan Hawke, Richard Linklater, Bobby Cannavale, Margaret Qualley, Daniel Day-Lewis, Ronan Day-Lewis, Sean Bean. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations/Tags: Rocky, I Play Rocky, Alex Murdaugh, Gangs of New York, Peacemaker, Invasion. Additional Tags: The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.   

Ever wondered who is behind the iconic "Fashion Critical" account? This week, Leigh's managed to sneak in Australia’s most mysterious fashion commentator to the Mamamia offices (in disguise... obviously) to spill all her red carpet secrets. They're the anonymous voice we all turn to for the real commentary on everything from the Brownlow to the Met Gala, and they're not holding back. They're breaking down the biggest fashion crimes they see time and time again, from the dreaded "naked dress" to the accessories they'd ban forever. They're revealing how it all started, how their commentary has changed from "savage" to "satirical,". We’re getting the official glossary for all their iconic terms, from what "crotch whiskers" actually are, to why "should have caught the bus" is the ultimate insult. Plus, they spill on the celebrity DMs they've received—including the ones who weren't happy—and why the Oscars red carpet is actually the most boring one of the year. EVERYTHING MENTIONED: Leigh's Boujie: Albina Dyla Suncrest Dress $1716.48 Albina Dyla Embroidered $2263.60 Fashion Critcal's Boujie: Rebecca Vallance Emma Mini Dress $699 Leigh's Budget: Chancery Lotus Maxi Dress $220 Fashion Critical's Budget: Pilgrim Nat Off Shoulder Mini Dress $169.95 GET YOUR FASHION FIX: Watch us on Youtube this episode goes live at 8pm tonight! Follow us on Instagram Want to shop the pod? Sign up to the Nothing To Wear Newsletter to see all the products mentioned plus more, delivered straight to your inbox after every episode. Feedback? We’re listening! email us at podcast@mamamia.com.au Discover more Mamamia Podcasts here CREDITS: Host: Leigh Campbell Guest: Fashion Critical Producer: Ella Maitland Audio Producer: Lu Hill Video Producer: Artemi Kokkaris Just so you know — some of the product links in these notes are affiliate links, which means we might earn a small commission if you buy through them. It doesn’t cost you anything extra, and it helps support the show. Happy shopping! Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

We are talking sports superstitions! Including the blue beards of Gary and Brandon, anti-rally towels, watching the game or not, and lots more! We got the Dodgers to the World Series and now we gotta get them to win it all! Lisa shares songs that might get nominated for Oscars, Ashton Kutcher being too handsome for acting roles, and a new docuseries coming out on basketball star, Allen Iverson! Listen in for all of that and more! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Bill Maher is joined by media personality and podcaster Billy Bush for a sharp, surprising, and hilarious conversation that bounces from family dynasties to the minefields of modern media. Bush opens up about growing up a Manhattan kid with presidential uncles, surviving scandal, and finding his voice again behind the mic. The two swap stories about Hollywood etiquette, Julia Roberts at the Oscars, psychedelic trips, and why everyone's addicted to outrage. They debate fame, forgiveness, how tequila ages over time – and Bush recalls the wildest elevator encounter in New York, proof that even fame has its ups and downs. Subscribe to the Club Random YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/clubrandompodcast?sub_confirmation=1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch episodes ad-free – subscribe to Bill Maher's Substack: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://billmaher.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to the podcast for free wherever you listen: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/ClubRandom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support our Advertisers: Go to  https://zbiotics.com/RANDOM and use RANDOM at checkout for 15% off any first time orders of ZBiotics probiotics. Get $10 off your first month's subscription and free shipping at https://www.nutrafol.com and enter promo code RANDOM  Upgrade your wardrobe and save on @trueclassic at ⁠https://www.trueclassic.com/RANDOM⁠! #trueclassicpod #ad  Buy Club Random Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://clubrandom.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit https://podcastchoices.com/adchoices ABOUT CLUB RANDOM Bill Maher rewrites the rules of podcasting the way he did in television in this series of one on one, hour long conversations with a wide variety of unexpected guests in the undisclosed location called Club Random. There's a whole big world out there that isn't about politics and Bill and his guests—from Bill Burr and Jerry Seinfeld to Jordan Peterson, Quentin Tarantino and Neil DeGrasse Tyson—talk about all of it.  For advertising opportunities please email: PodcastPartnerships@Studio71us.com ABOUT BILL MAHER Bill Maher was the host of “Politically Incorrect” (Comedy Central, ABC) from 1993-2002, and for the last fourteen years on HBO's “Real Time,” Maher's combination of unflinching honesty and big laughs have garnered him 40 Emmy nominations. Maher won his first Emmy in 2014 as executive producer for the HBO series, “VICE.” In October of 2008, this same combination was on display in Maher's uproarious and unprecedented swipe at organized religion, “Religulous.” Maher has written five bestsellers: “True Story,” “Does Anybody Have a Problem with That? Politically Incorrect's Greatest Hits,” “When You Ride Alone, You Ride with Bin Laden,” “New Rules: Polite Musings from a Timid Observer,” and most recently, “The New New Rules: A Funny Look at How Everybody But Me Has Their Head Up Their Ass.” FOLLOW CLUB RANDOM https://www.clubrandom.com https://www.facebook.com/Club-Random-101776489118185 https://twitter.com/clubrandom_ https://www.instagram.com/clubrandompodcast https://www.tiktok.com/@clubrandompodcast FOLLOW BILL MAHER https://www.billmaher.com https://twitter.com/billmaher https://www.instagram.com/billmaher Learn more about your ad choices. Visit podcastchoices.com/adchoices

The RP bois break down one of the worst spooktober movies to date. Thanks to our monthly supporters akai Jordyn Nevarez

Back in the day when only the wealthy had home computers, came a revolutionary movie called “Tron” from Disney in 1982. The computer generated visual effects in it were so out of this world that the Oscars refused to nominate “Tron” because they thought using computers for visual effects was cheating. Fast forward to 2025, when a stance like that by the Oscars is blatantly moronic and we get the third movie in the “Tron” series, “Tron Ares.” As you would imagine, the visual effects are more than a little better than in 1982, but is the story, are the characters, is the plot pacing? Our main character is Ares, a soldier program, created by the Dillinger Corporation, to be created and used repeatedly by the military and also used to infiltrate the computer systems of rival companies. One of those rival companies is ENCOM, the company introduced in the original “Tron”, and the CEO of ENCOM is looking for something that'll give them the edge over the Dillinger Corporation. Ares is dispatched by Julian Dillinger, the CEO of the Dillinger Corporation to find out what ENCOM is up to but becomes confused about following his orders the deeper he gets. Is it worth going to the theater to find out what happens next? Check out this episode to find out! “Tron Ares” stars Jared Leto, Greta Lee, Jeff Bridges, Evan Peters, Jodie Turner-Smith, Gillian Anderson, Hasan Minhaj, Arturo Castro, Cameron Monaghan and Sarah Desjardins. Support the showFeel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook

For this episode I delved into our Patreon archives (https://www.patreon.com/ERRP) to a 2018 conversation where Paul got to pick who he would have had as the winners of the 1980s Oscars, in a little feature I called Easy Does It.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

“Blue Moon” star Ethan Hawke discusses his transformative performance in the film, as well as his legacy, loss, and why Denzel Washington once told him that losing was the best thing that could happen at the Oscars. Later, Oscar Isaac talks about taking on “Frankenstein,” one of the most prolific characters in all of literature, finding family in Guillermo del Toro, and why that has formed the way he thinks about who to say 'yes' to in Hollywood. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the InSession Film Podcast, in anticipation of GOOD FORTUNE, we discuss our Top 5 performances by comedians! We also discuss the box office for TRON: ARES, talk about why Indy deserves an Oscar nomination and pay tribute to the late-great Diane Keaton.   - Opening Banter (0:31) - Tron: Ares Box Office (7:41) - Indy & the Oscars (27:14) - Diane Keaton (40:00) - Top 5 Performances by Comedians (53:53)   Visit https://insessionfilm.com for merch and more!   Visit this episode's sponsor: MISSION: IMPOSSIBLE - THE FINAL RECKONING - Follow us on social media for your chance to win a FREE blu-ray!   Visit this episode's sponsor: koffeekult.com - Get 15% OFF with the code: ISF25   Thanks for listening and be sure to subscribe! Become an ISF VIP today to get exclusive bonus content!   Follow us on Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy

Blame isn't helpful. Illustrator and author Charlie Mackesy thinks learning to forgive yourself and others will lead to more peace.In this chat, Fearne and Charlie talk from personal experience about just how physical shame can feel. Charlie explains how fear of abandonment keeps us silent about our insecurities, but that in reality the moment we start talking about our shame is the moment real human connection is made.Charlie and Fearne also chat about how polarised the world is becoming, and offer advice for how to cope with fear, as well as why it's important to disagree respectfully.Plus, why did Charlie feel he needed to hide away in the toilets at the Oscars?Charlie's latest book, Always Remember: The Boy, The Mole, The Fox, The Horse, and The Storm, is out now.CONTENT WARNING: This episode contains some conversation about suicidal ideation.If you liked this episode of Happy Place, you might also like:Teddy SwimsWill PoulterOlly Alexander Hosted on Acast. See acast.com/privacy for more information.