Podcast appearances and mentions of peter labuza

[Due to our last-minute addition of two episodes, the podcast feed mistakenly had S5E09a queued here for a few hours this morning - it should now be fixed!] How Would Lubitsch Do It comes to a close with a grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Harlow Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Harlow Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

How Would Lubitsch Do It comes to a close with our grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

Peter Labuza returns for the second of two episodes on To Be Or Not To Be. We discuss the film's production history, the way in which the film both fulfills and frustrates conventions of comedic structure, Lubitsch's specific habits in directing actors, the film's unusual tonal arc, the film's depiction of fascist ideology, and Rudolph Mate's cinematography. Edited by Eden Cote-Foster. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: Willa Ross returns to discuss Heaven Can Wait. For information as to where to find this film, check out our resources page. WORKS CITED: Bosley Crowther's Review of TO BE OR NOT TO BE in the New York Times Ernst Lubitsch's Response Independent Stardom: Freelance Women in the Hollywood Studio System by Emily Carman Five Came Back: A Story of Hollywood and the Second World War by Mark Harris

Lou, Cody, and Gregg are joined by Peter Labuza to discuss the Twins' 3-3 week against the Rays and A's, as well as Brooks Lee's MLB timeline, the Twins' final series in Oakland, and Gregg gripes about a classic baseball film.

It's our season finale, and the end of the pre-code era! To celebrate, Tim Brayton returns to discuss THE MERRY WIDOW. We effuse about the film's infectious energy, the many incredible ‘Lubitsch Touch' moments and gestures, discuss Lubitsch's extremely loose adaptation of the Lehar operetta, the French-language version, Edward Everett Horton's greatest role, the film's relationship with love and death, the more “conservative” nature of the film's resolution, and much more! With that, Season 4 of HOW WOULD LUBITSCH DO IT comes to a close, and with it the pre-code era. Oh how we'll miss you, lax Hays office overseers. Thanks to the guests who lent their time and support to this season: Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Matt Severson, Lea Jacobs, Tanya Goldman, Willa Ross, Krin Gabbard, Molly Rasberry, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey and Tim Brayton. Our editors: Gloria Mercer, Griffin Sheel, Sophia Yoon, & Rylee Cronin. Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: Peter Labuza, Jose Arroyo, the Margaret Herrick Library, Dave Kehr and the Museum of Modern Art, Dara Jaffe and the Academy Museum of Motion Pictures, Patrick Keating, Scott Eyman, Paul Cuff, David Cairns, and all the members of our Discord. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT SEASON: The censor's hammer falls, and Lubitsch's career comes to a close in grand fashion in Season 5. WORKS CITED: MPAA Production Code Administration Records for THE MERRY WIDOW The Merry Widow Blog Entry by Jose Arroyo

In our Season 3 finale, returning guest Bram Ruiter joins us to discuss the final film Ernst Lubitsch ever directed that didn't involved on-set sound recording: ETERNAL LOVE! We discuss the film's unusual status as a hybrid silent/sound picture, the strange story of how this film was lost and then discovered, John Barrymore's dipsomaniacal tendencies, and the film's terrific ending amidst long tangents in which break down how, exactly, one might deign to fix this rickety screenplay. Edited by Will Ross. Thanks to the guests who lent their time and support to this season: Peter Labuza, Tim Brayton, Molly Rasberry, Sarah Shachat, James Penco, Will Ross, Dave Kehr, Julia Sirmons, David Neary, David Cairns, and Bram Ruiter. Our editors, Griffin Sheel, Gloria Mercer, and Will Ross, and our sound recordist, Anna Citak-Scott. And others who lent valuable counsel and support: William Paul, the MOMA, Jose Arroyo, Matt Severson, the Margaret Herrick Library, Dara Jaffe, Scott Eyman, Patrick Keating, Paul Cuff, and many others. We have a Discord! NEXT SEASON: We return on October 31st with Season 4, in which the movies begin to talk! Yes, we're entering the sound era as well as the height of Lubitsch's influence in Hollywood!

The dominance of giant streaming services like Netflix and Disney Plus has led to the current strike by television writers, who say their ubiquity has led to lower pay, shakier job security, and perhaps even worse writing. In order to understand our current media moment, historian Peter Labuza directs us to a pivotal time for the film industry, when the government successfully broke up the major studios that ruled Hollywood in the 1930s and ‘40s. Earlier this year, OTM correspondent Micah Loewinger asked Labuza about how independent film flourished in the aftermath, and the lessons that apply to media in 2023.

We're back, and Ernst Lubitsch is now in Hollywood! It's been an exciting time for the podcast: we've traveled around the world or, more specifically, to Los Angeles and New York City, to record the next few seasons. We begin at the Margaret Herrick Library at Beverly Hills, in conversation with Peter Labuza as we discuss the history of early Hollywood, wherein Ernst Lubitsch is about to begin the second phase of his career. In this episode, we cover the landscape and economics of the studio system circa the 1920s, 1930s, and 1940s including studios such as MGM, 20th Century, Universal, Paramount, and RKO, the interplay between capital and labor in this industry, the impact of synchronized sound, the great depression, the Hays code, JEWEL ROBBERY, and much more! Anna Citak-Scott was our recording engineer for this episode. Thanks to Matt Severson and the Margaret Herrick Library for letting us record in the Karl Malden room. We have a Discord! NEXT WEEK: Critic and friend of the show Tim Brayton returns to discuss Lubitsch's first American silent film, ROSITA. For details as to where to find this film, check out our resources page. WORKS CITED: Hard, Fast, and Brokerage: Irving H. Levin, the Filmmakers, and the Birth of Conglomerate in Hollywood by Peter Labuza For The Maintenance of the System: Institutional and Cultural Change within the Motion Picture Producers and Distributors of America, 1922-1945 by Paul MacLusky Moticone The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 by Bordwell, Thompson, and Staiger. Making Cinelandia: American Films and Mexican Film Culture by Laura Isabel Serna An Empire of Their Own by Niel Gabler Film Rhythm after Sound by Lea Jacobs Working in Hollywood by Ronnie Regev YOU MUST REMEMBER THIS: KAY FRANCIS

Ep. 188: Peter Labuza on Sokurov, Klimov, Shepitko, Hellman's Iguana, the strike Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week brings some recent highlights from Los Angeles repertory courtesy of my latest guest, Peter Labuza. He talks about two 1990s films by Alexander Sokurov, the formidable war-movie pairing of Larissa Shepitko's The Ascent and Elem Klimov's Come and See, and Monte Hellman's rarely screened Iguana. Labuza, researcher at IATSE Local 600 (the International Cinematographers Guild) and a scholar in media industries law, also offers personal reflections on possible implications of the writers strike for the industry. Finally, I say a bit about Mary Bronstein's Yeast. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

On this week's On the Media, what the data says about how boys and men are struggling today. Plus, the history behind Ticketmaster's dominance in the live music industry, and how Hollywood trust-busting in the 1930s and 1940s unleashed an era of indie films. 1. Richard Reeves [@RichardvReeves], a senior fellow in Economic Studies at the Brookings Institution and author of the book Of Boys and Men: Why the Modern Male Is Struggling, Why It Matters, and What to Do About It, on the research that shows gender disparities growing in a surprising direction. Listen. 2. Moe Tkacik and Krista Brown [@moetkacik and @KristaKBrown], researchers at the American Economic Liberties Project, on how the grunge band Pearl Jam tried to take on Ticketmaster in the 1990s. Listen.  3. Peter Labuza [@labuzamovies], a film historian and researcher with the International Cinematographers Guild, on how a Supreme Court case broke up Hollywood's studio system and what this history can teach us about the present moment. Listen. 

Season One draws to a close in maximalist style as experimental filmmaker Bram Ruiter us for a particularly exuberant episode in which we discuss Lubitsch's grand Ruritanian comic epic THE OYSTER PRINCESS. Our discussion is wide-ranging and a little giddy due to our excitement at discussing such a thrilling and hilarious mini-epic, so prepare for a slightly looser episode than usual! Lubitsch's growth as an artist, Ossi Oswalda's indomitability, and a long digression about Berlin's film museum are all on the table. Immense to everyone that made this season possible: All of our guests: Lauren Faulker Rossi, Will Ross, Dara Jaffe, Matt Severson, Peter Labuza, Tim Brayton, Jose Arroyo, Fran Hoepfner, and Bram Ruiter. Everyone who provided invaluable content, helped find guests, or otherwise graciously lent their valuable counsel and support: Anna Citak-Scott, Dave Kehr, David Cairns, Kristin Thompson, Paul Cuff, Luci Marzola, Stefan Drössler, the MOMA, all of our soon-to-be-announced future guests, and many others. And, of course, to anyone who's listened to our show and is reading this right now: thanks for surviving the most comically esoteric season of film podcasts imaginable. NEXT SEASON: We're taking a month off! Join us in March as we enter our second season in which we'll cover the final stretch of Lubitsch's career in Berlin. If you're curious as to which films we'll be covering, check out our Season 2 Resources page. If you'd like to get a head start, check out Kristin Thompson's essential book HERR LUBITSCH GOES TO HOLLYWOOD, available here.

International Cinematographer's Guild Researcher, academic, and former guest Peter Labuza joins us to discuss I DON'T WANT TO BE A MAN, Lubitsch's 1918 gender-defying farce featuring the great Ossi Oswalda as a young woman who decides to spend a day as a man. Hijinks, transgressions, public drunkenness, and romance ensue! NEXT WEEK: Tim Brayton joins us to discuss THE EYES OF THE MUMMY MA. For details on where to find this film, check out our resources page. WORKS CITED: I DON'T WANT TO BE A MAN - Blog entry by Jose Arroyo's website “Notes On Film”.

In the past decade, the number of original, scripted television shows being produced each year has more than doubled. Meanwhile, subscriptions to streaming services have surpassed one billion worldwide. We have the shows; we have the access. Why does it feel next to impossible to find anything good to see? On episode 38 of The Politics of Everything, hosts Laura Marsh and Alex Pareene discuss how the streaming era has transformed what we're watching, why we're watching it, and the way movies and TV shows are getting made. Guests include Kyle Chayka, a staff writer at The New Yorker who's written about streaming culture, and Peter Labuza, a historian of the creative industries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Round up your cattle, gather your brothers, we're heading to Tombstone! Joined today by movie and Ford expert Peter Labuza, the gang breakdown Ford and Fonda's careers, the history of the west in film, adaptations of the Earp legend, the blowout taking place between the Guardians and Twins, and My Darling Clementine.

Alison and Scott are joined by San Jose State University film and media studies lecturer, Peter Labuza, to discuss Michael Curtiz's 1945 film noir, Mildred Pierce.

In the past decade, the number of original, scripted television shows being produced each year has more than doubled. Meanwhile, subscriptions to streaming services have surpassed one billion worldwide. We have the shows; we have the access. Why does it feel next to impossible to find anything good to see? On episode 38 of The Politics of Everything, hosts Laura Marsh and Alex Pareene discuss how the streaming era has transformed what we're watching, why we're watching it, and the way movies and TV shows are getting made. Guests include Kyle Chayka, a staff writer at The New Yorker who's written about streaming culture, and Peter Labuza, a historian of the creative industries. Learn more about your ad choices. Visit megaphone.fm/adchoices

We talk Frederick Wiseman's Essene (1972) with Peter Labuza, film historian and educator and host of The Cinephiliacs. 0:00:00-0:54:39: intro 0:54:40-2:40:31: chat w/Peter Labuza wisemanpodcast@gmail.com

This week, Stephen Metcalf and Dana Stevens are joined by Working co-host and longtime Slate contributor Isaac Butler. First, the panel discusses David Lowery's new movie The Green Knight, a retelling of the medieval story of Sir Gawain and the Green Knight. Next, they talk about Billie Eilish's new album Happier Than Ever with Slate music critic Carl Wilson. Finally, the hosts dig into the questions raised by Scarlett Johansson's breach-of-contract lawsuit over the way Disney handled the release of her movie Black Widow, with Peter Labuza, a historian of creative industries. In Slate Plus, the careers the hosts almost pursued. Outro music is "Pike Place Market" by Rockin' For Decades Email us at culturefest@slate.com. Podcast production by Cameron Drews. Endorsements Dana: The word maieutic Isaac: The audiobooks of Simon Armitage's translation of Sir Gawain and the Green Knight, narrated by Bill Wallis, and The Death of Arthur, by Sir Thomas Malory, narrated by Philip Madoc Steve: Picture, by Lillian Ross and Crash Landing on You on Netflix Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Stephen Metcalf and Dana Stevens are joined by Working co-host and longtime Slate contributor Isaac Butler. First, the panel discusses David Lowery's new movie The Green Knight, a retelling of the medieval story of Sir Gawain and the Green Knight. Next, they talk about Billie Eilish's new album Happier Than Ever with Slate music critic Carl Wilson. Finally, the hosts dig into the questions raised by Scarlett Johansson's breach-of-contract lawsuit over the way Disney handled the release of her movie Black Widow, with Peter Labuza, a historian of creative industries. In Slate Plus, the careers the hosts almost pursued. Outro music is "Pike Place Market" by Rockin' For Decades Email us at culturefest@slate.com. Podcast production by Cameron Drews. Endorsements Dana: The word maieutic Isaac: The audiobooks of Simon Armitage's translation of Sir Gawain and the Green Knight, narrated by Bill Wallis, and The Death of Arthur, by Sir Thomas Malory, narrated by Philip Madoc Steve: Picture, by Lillian Ross and Crash Landing on You on Netflix Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Stephen Metcalf and Dana Stevens are joined by Working co-host and longtime Slate contributor Isaac Butler. First, the panel discusses David Lowery's new movie The Green Knight, a retelling of the medieval story of Sir Gawain and the Green Knight. Next, they talk about Billie Eilish's new album Happier Than Ever with Slate music critic Carl Wilson. Finally, the hosts dig into the questions raised by Scarlett Johansson's breach-of-contract lawsuit over the way Disney handled the release of her movie Black Widow, with Peter Labuza, a historian of creative industries. In Slate Plus, the careers the hosts almost pursued. Outro music is "Pike Place Market" by Rockin' For Decades Email us at culturefest@slate.com. Podcast production by Cameron Drews. Endorsements Dana: The word maieutic Isaac: The audiobooks of Simon Armitage's translation of Sir Gawain and the Green Knight, narrated by Bill Wallis, and The Death of Arthur, by Sir Thomas Malory, narrated by Philip Madoc Steve: Picture, by Lillian Ross and Crash Landing on You on Netflix Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paris Marx is joined by Peter Labuza to discuss how streaming is reconfiguring Hollywood, what that means for the film and television we consume, and whether it's time to consider antitrust action against the streaming giants.Peter Labuza is a lecturer at San Jose State University whose work focuses on the legal, financial, and political history of creative industries. He's currently writing a book about the history of entertainment law in Hollywood. Follow Peter on Twitter as @labuzamovies.

This week Sonny is joined by Peter Labuza to talk about the past, present, and future of antitrust as it relates to Hollywood. In an age of consolidation and technological advance, how will the end of the Paramount Decrees influence what happens in filmmaking? Peter is a Postdoctoral Fellow at the University of Southern California, where he also earned his PhD in Cinema and Media Studies. His research explores the legal, financial, and political history of creative industries.

Hosts Josh and Jamie and special guest Dr. Peter Labuza continue Noirvember with a double feature of women taking the reigns of the genre's detective role in Joan Harrison & Robert Siodmak's PHANTOM LADY (1944) and Tito Davison's MAY GOD FORGIVE ME (1948) starring Maria Felix. Next week's Noirvember episode is a patron-exclusive bonus episode on Orson Welles in THE LADY FROM SHANGHAI (1947) + THE THIRD MAN (1949), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-09:05 PHANTOM LADY // 09:05-1:10:08 MAY GOD FORGIVE ME //1:10:08-1:52:43 Outro // 1:52:43-1:56:40 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl/ Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller/

Part 1: Zach, Nathan and Miranda discuss movies they saw this week, including: Aliens, The Killing Floor, Big Fan and Observe and Report.Part 2 (43:37): The group are joined by special guest Peter Labuza and continue their Young Critics Watch Old Movies series with 1941's Hellzapoppin'.See movies discussed in this episode here.Also follow us on:FacebookTwitterLetterboxdSpotifyStitcher RadioRadio Public

USC Postdoctoral Fellow and Cinephiliacs host Peter Labuza joins us to dissect the history of montage. Specifically, we discuss the use of montages in Pre-Code Hollywood cinema.In the brief period between the introduction of synchronized sound and the enforcement of the Motion Picture Production [AKA Hays] Code, artists like Slavko Vorkapich pioneered the use of montages: sequences which condense time and space to convey story beats, emotional states, and break the rules of conventional realism.

Prudence is joined this week by Peter Labuza, an incoming Postdoctoral Fellow at the University of Southern California, where he just defended his dissertation “When A Handshake Meant Something: Lawyers, Deal Making, and the Emergence of New Hollywood.”  Prudie and Labuza tackle letters about how to take a week “off the grid” from your family that likes to talk often, should you allow your nephew to use his education trust fund to support his soon to arrive baby, what to do when you find out that your friend makes military weapons for a living, should you to offer to make weekly meals for your colleague and his family who are isolating, how to handle a mom who keeps mentioning your recently deceased dog, how to allocate kitchen time in a four-roommate household during quarantine.  Slate Plus members get an additional mini-episode of Dear Prudence every Friday. Sign up now to listen.  Read Daniel Lavery's latest book, a memoir/essay collection about pop culture, religion, and transition called “Something That May Shock and Discredit You,” available through Bookshop or Amazon. Email: prudence@slate.com  Production by Phil Surkis Learn more about your ad choices. Visit megaphone.fm/adchoices

Prudence is joined this week by Peter Labuza, an incoming Postdoctoral Fellow at the University of Southern California, where he just defended his dissertation “When A Handshake Meant Something: Lawyers, Deal Making, and the Emergence of New Hollywood.”  Prudie and Labuza tackle letters about how to take a week “off the grid” from your family that likes to talk often, should you allow your nephew to use his education trust fund to support his soon to arrive baby, what to do when you find out that your friend makes military weapons for a living, should you to offer to make weekly meals for your colleague and his family who are isolating, how to handle a mom who keeps mentioning your recently deceased dog, how to allocate kitchen time in a four-roommate household during quarantine.  Slate Plus members get an additional mini-episode of Dear Prudence every Friday. Sign up now to listen.  Read Daniel Lavery's latest book, a memoir/essay collection about pop culture, religion, and transition called “Something That May Shock and Discredit You,” available through Bookshop or Amazon. Email: prudence@slate.com  Production by Phil Surkis Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Peter Labuza, a Ph.D. Candidate in Cinema and Media Studies at the University of Southern California and the host of The Cinephiliacs podcast on film criticism, discusses his work on the rise of the legal profession in Hollywood and its role in reshaping both creative labor and financial management of the film industry after World War II. Labuza begins by briefly describing the history of the motion picture industry, from its early free-form days, through the highly regimented studio system, to the shift to independent production. He observes that the prevailing view holds that changes in the motion picture industry were caused by important judicial opinions, but argues that changes in contracting practices also played an important role. He reflects on several different case studies, including the career of the important entertainment lawyer Leon Kaplan. He also discusses interdisciplinary scholarship from the perspective of a humanities scholar doing legal research. Labuza is on Twitter at @labuzamovies.This episode was hosted by Brian L. Frye, Spears-Gilbert Associate Professor of Law at the University of Kentucky College of Law. Frye is on Twitter at @brianlfrye. See acast.com/privacy for privacy and opt-out information.

On this week episode, Online Editor, Patrick Hao, talks to film critic, podcaster and Ph.D. candidate in Cinema and Media Studies at the University of Southern California, Peter Labuza. They discuss Hollywood legal history and the role entertainment lawyers had, through contracts, shifted the way Hollywood Film Studios produced movies and affected the art. Peter Labuza is a Ph.D. Candidate in Cinema and Media Studies at the University of Southern California and a John E. Rovensky Fellow in US Business and Economic History. His research interests include Hollywood and media industry historiography, legal history, political economy, art cinema, and cinephilia. His dissertation explores the rise of the legal profession in Hollywood and its contribution to the organizational business reforms and cultural discourse of art within the industry after World War II. He has published in The Velvet Light Trap, Film Quarterly, Mediascape, Sight & Sound, and The Los Angeles Review of Books, and he currently serves as Assistant Book Review Editor for the Journal of Cinema and Media Studies (formerly Cinema Journal). He has also published as a film critic for Variety, The Village Voice, and Filmmaker Magazine among others, and hosts The Cinephiliacs podcast. Previously, Labuza earned both his BA and MA in Film Studies from Columbia University. Sources Mentioned: Peter Labuza, Putting Penn to Paper: Warner Bros.’s Contract Governance and the Transition to New Hollywood, 80 The Velvet Light Trap 4 (2017).   Janet Staiger, "Tame" Authors and the Corporate Laboratory: Stories, Writers, and Scenarios in Hollywood, 8:4 Q. Rev. of Film Stud. 33 (1983). Mark Garrett Cooper, Universal Women: Filmmaking and Institutional Change in Early Hollywood (Champaign: Univ. of Illinois Press, 2010). Karen Ward Mahar, Women Filmmakers in Early Hollywood (Johns Hopkins Univ. Press, 2006). Emily Carman, Independent Stardom: Freelance Women in the Hollywood Studio System (Univ. of Texas Press 2016). Eric Hoyt, Hollywood and the Income Tax, 1929—1955, 22 Film Hist. 5 (2010). Vanessa Schwartz, It's So French!: Hollywood, Paris, and the Making of Cosmopolitan Film Culture (Univ. of Chicago Press 2007). Catherine L. Fisk, Working Knowledge: Employee Innovation and the Rise of Corporate Intellectual Property, 1800-1930 (Univ. of North Carolina Press 2009). Catherine L. Fisk, Writing for Hire: Unions, Hollywood, and Madison Avenue (Harvard Univ. Press 2016). Favorite Piece of IP of the Week: Something Good-Negro Kiss (Short Film) Our theme song is Roller Blades by Otis McDonald. Subscribe to us on Apple Podcasts and leave us a review! Website: www.fordhamiplj.org Twitter: @FordhamIPLJ Instagram: @Fordhamiplj Facebook: www.facebook.com/FordhamIPLJ Patreon: www.patreon.com/fordhamiplj

Peter Labuza (The Cinephiliacs podcast, Village Voice) joins Griffin and David to discuss the 1999 Civil War epic, Ride with the Devil. But is Jim Caviezel a weirdo? Does Tobey get his nub back? What is a skuzzin? Together they examine the careers of Tobey Maguire, Jeffrey Wright and Jewel, the film theory of James Schamus and dumb people trying to one up each other. This episode is sponsored by [Hims](https://www.forhims.com/blank).

Every guest of The Cinephiliacs has had their chance in the hot seat to be questioned by Peter on a myriad of topics, but never the other way around. In this very special 100th episode, it is the guests who have control of the mic. Friend of the show Keith Uhlich plays host for an episode to ask Peter about his first cinematic memory, how the podcast got started, and why he turned to film history. Along the way, many other former friends call in to ask their own questions about his favorite theaters, the films he just doesn't understand, and the lessons he's learned through the course of the show. Finally, Peter finally chooses the film and goes with John Ford's enigmatic biopic The Long Gray Line, a story of the military and America in a way that neither Keith nor Peter can wrap their heads entirely around, but find themselves in tears at the end nonetheless. Is it shallow patriotism, or is Ford crafting the most mysterious anti-war film ever made? 0:00-4:27  Opening5:12-1:38:44 Deep Focus — Peter Labuza1:39:24-1:43:24  Sponsorship Section1:44:44-2:18:11 Double Exposure — The Long Gray Line (John Ford)2:18:56-2:24:10 Final Questions / Thanks 2:24:12-2:25:54 Close

Hey, friends! It's time to get your trusty space helmets on and suit yourself up, because this week on Mousterpiece Cinema, Josh and Scott are on a mission. A mission...to Mars. (Sadly, not one from God, because the Blues Brothers aren't a Disney property. Oh well.) In fact, Josh and Scott are talking about the 2000 sci-fi epic Mission to Mars, starring Gary Sinise, Tim Robbins, and Don Cheadle, directed by Brian De Palma. (Yes, the Brian De Palma.) They're joined by longtime friend of the show Peter Labuza of The Cinephiliacs to discuss the important questions. Is Mission to Mars an underrated De Palma film? Is it better than the other 2000s-era Mars movie, Red Planet? Are the allusions to 2001: A Space Odyssey earned? And what would cause Peter to say "I want to die"? Gotta listen all the way to the end to find out!

Often, we ask questions about what can cinema do. Perhaps the more important question, however, is to ask what should cinema do. As Keith Uhlich and Peter Labuza countdown their favorite media objects of 2016, this question plays out in a myriad of discussion. From the trascendence of genre to the nature of longform, to the act of describing to the disection of popular entertainment. And finally, the two enter a long debate about the nature of non-fiction and reality, as well as the very act of seeing death in cinema. What function should the camera perform, not just for us but the people who hold it? And is there something unique about art and its function in the surrounding world? Plus, former guests of the show call in with their favorite films of the year. 0:00-2:57 Opening 2:57-27:45 Picks for #5 29:06-49:34 Picks for #4 49:34-1:08:04 Picks for #3 1:09:47-1:12:29 Sponsorship Section 1:13-40-1:39:20 Picks for #2 1:40:40-2:11:53 Picks for #1 2:11:53-2:13:37 Closing Thoughts 2:13:47-2:15:27 Close / Outtake

Today's 48th Sight and Sound entry is Jean-Luc Godard's eight-part essay-style documentary series Histoire(s) du Cinema. A film as sprawling and experimental as Histoire(s) requires both time and patience to parse. For that reason, the majority of this podcast is spent decoding Histoire(s) esoteric text. Joining host, Lady P, to translate the film is a set of panelist with wide array of strong opinions on the film - as befits a figure as polarizing as Godard. First up, in his Flixwise debut, is film critic and host of The Cinephiliacs podcast, Peter Labuza. Peter's on hand to advocate for Histoire(s), not just as a piece of superlative filmmaking, but also for its significance as one of the few non-linear works on the S&S list. Co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, are a little more skeptical about some of Godard's ideas, though they both found pieces in the film's 4+ hours that they could get behind. They talk about why they found Histoire(s) both totally great and totally frustrating. Lady P, meanwhile, spends most of the episode just frustrated and befuddled.

Josh and Adam got so long-winded sharing their favorite Elaine May duo, funniest moment, picture and more that it's coming to you as a separate podcast. May aficionado Peter Labuza also returns to offer his choices for "The Blind Camels."  Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you love films? I mean, really love films? I'm talking classic movies like The Conversation and The Godfather. You do? Good, because it's time for a special episode of Mousterpiece Cinema, but it might as well be called I Love Films. Why? We're talking about U2 this week! That's right, we are talkin' U2 to you. OK, fine, so we're actually talking about the U-2 plane incident at the onset of the Cold War, as this event takes major precedence in Steven Spielberg's new film Bridge of Spies. (But still, we love films. Love 'em!) This week, Josh and Gabe are indeed discussing Spielberg's newest film, with friend of the show/host of The Cinephiliacs, Peter Labuza. Is Bridge of Spies another great collaboration between Spielberg and Tom Hanks? Has Hanks embraced his inner Jimmy Stewart? Is there an easy way to connect this to Saving Private Ryan? And, most importantly, what does Benghazi have to do with this movie? The truth is out there! In this episode of the show! Listen now.

"Those lacking in imagination take refuge in reality." So speaks the first line to one of the ten eleven films that appear on Part 2 of Peter Labuza and Keith Uhlich's countdown of the best films of 2014. And what better describes their choices than fantastical images—prehistoric beasts, dogs (talking and non-talking), magical lands, and even more magical loves—bringing us closer to truth. From the snowy peaks of Zubrowka, the peaceful beaches off the coast of France, and inside a female uterus, Keith and Peter search for films that transform the way they see the world. The truth can be tough to swallow ("Well that's depressing," as one character might say), but these films make seeing it all the better. 0:00-6:51 Opening / Voicemails6:52-21:54 Picks for #521:55-43:16 Picks for #443:17-1:01:45 Picks for #31:02:44-1:04:12 Mubi Sponsorship - Melancholia1:04:13-1:30:33 Picks for #21:30:34-1:52:51 Picks for #11:52:52-1:56:02 Close / Outtakes

Everything's topsy-turvy on Mousterpiece Cinema this week, from top to bottom. For the first time in a while, Gabe's not on the show due to scheduling issues; in his stead, Josh got two esteemed guests--Peter Labuza of The Cinephiliacs and Jake Cole of MovieMezzanine.com--to join him to review, of all things, a David Lynch movie. Yes, David Lynch does have a Disney connection: his 1999 film The Straight Story, which is rated G, features no terrifying nightmare sequences, and is, on the surface, as un-Lynchian as it gets. But maybe not. Maybe The Straight Story is David Lynch's most centered film, his most emotional, and his heaviest. You'll have to listen to the new show to find out!

Yes, friends, there is no typo in the episode title. (And don't let the first few minutes of the show fool you!) Though Josh had planned, many months ago, to discuss the 1996 live-action remake of 101 Dalmatians this week, Mike pulled a fast one, a good old-fashioned bait-and-switch. So, instead of spotted dogs, the topic this week is the greatest president America has ever known: Abraham Lincoln, the subject of a new film from Steven Spielberg, appropriately titled Lincoln. Though Gabe couldn't join us for this impromptu review, Mike and Josh did welcome into the show Peter Labuza of the excellent Cinephiliacs podcast to discuss Pierre Trudeau, John Ford, Woodrow Wilson, and F. Scott Fitzgerald. Were Josh, Mike, and Peter all as ecstatic about Lincoln as most critics and audiences are? You'll have to listen to find out!   Note: at one point in the show, Peter references an independent filmmaker and critic named Dan Sallitt. Though Peter said Mr. Sallitt was a former writer of LA Weekly, he meant the LA Reader.