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In the spring of 1954, a Japanese fishing vessel called the Lucky Dragon No. 5 sailed into the fallout zone of an American hydrogen bomb test at Bikini Atoll. Its crew came home irradiated, and Japan, a nation still raw from Hiroshima and Nagasaki less than a decade earlier, found itself confronting nuclear terror all over again.Within months, Toho producer Tomoyuki Tanaka, with a collapsed co-production and an empty budget to fill, conceived a monster movie. What emerged from that collision of commercial necessity and national grief was Gojira (aka Godzilla); a film in which director Ishirō Honda, effects genius Eiji Tsuburaya, and a nation's unspoken anguish combined to create something cinema had never quite seen before. The character of Godzilla has evolved over 70 years, embodying contemporary fears and anxieties in a uniquely artistic way.Godzilla was never simply a creature feature. Honda had walked through the ruins of Hiroshima after the war. When his monster surfaced from the Pacific, awakened and mutated by nuclear testing, and reduced Tokyo to ash and radiation, Japanese audiences weren't watching spectacle. They were watching their own grief and trauma on screen. The hospital scenes, the Geiger counters, the dying children: all of it was modelled on the aftermath of atomic destruction. Even the film's resolution; Dr Serizawa destroying his world-ending weapon and himself along with it, posed a moral question about nuclear responsibility that no Western movie of the era came close to asking.As long as countries continue to test and threat with nuclear weapons, as long as that threat persists, so does Godzilla, as a warning to humanity.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
King Kong (1933) was the creation of Merian C. Cooper, one of Hollywood's most extraordinary and least remembered figures, and it arrived at a precise and loaded moment: during the Great Migration, a time of mass unemployment, and racial tensions on American streets. It was, depending on who was watching and from where, either the ultimate escapist spectacle or something far more pointed; and quite possibly both at once.The film was a technical revolution built largely on improvisation. Willis H. O'Brien's stop-motion animation; an 18-inch rubber puppet, shot one agonising frame at a time on meticulously constructed miniature sets, was composited with live action through techniques his team largely invented during production, including miniature rear projection and the optical printer, a device that would remain a cornerstone of special effects filmmaking until the digital age.It was also a pre-Code film, made before Hollywood's moral censorship apparatus fully clamped down, which meant Cooper could let Kong be genuinely violent and terrifying in ways the Production Code Administration mandated 1938 reissue would systematically strip away, scene by scene, with a censor's scissors.What makes King Kong endlessly worth returning to is that it refuses to be fully settled. The racial subtext is real and documented; so is the fact that audiences have always, instinctively, rooted for the monster. The craft is breathtaking, but so is the discomfort.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
Two decades in the making, The Meg showcases the sheer absurdity of a 75-foot prehistoric shark lurking in the ocean, and this Kaijune we acknowledge that bigger is just always better when it comes to monster movies.Loosely adapted from the novel by Steve Alten, The Meg knows exactly what it is: a fun summer popcorn flick that doesn't take itself too seriously, delivering PG-13 thrills as the titular Meg terrorises various humans. It emerged as a crowd-pleaser, grossing over half a billion dollars worldwide despite mixed reviews.But there were many false starts for this movie since it was greenlit in the late 90s and the release of Deep Blue Sea in 1999 led to the movie being shelved - the only time Hollywood didn't want a twin films situation! It would languish in development hell, until a partnership with China's Gravity Pictures gave the movie much needed financing, as well as setting the movie off the coast of China.The Meg cleverly invokes nostalgia for classic shark films like Jaws, while carving its own niche as a light-hearted, action-packed adventure that ultimately celebrates the ridiculousness of its premise. It's about the thrill of the chase, the bond of unlikely heroes, and the joy of watching a massive megalodon wreak havoc; just don't think too hard about the science!Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
For more than a year now, the Alliance for Measurement in Podcasting, or AMP, has been working to create new frameworks for podcast measurement. In this week's Media Roundtable, we're announcing some of our latest findings.Dan Granger (CEO & Founder, Oxford Road) and Giles Martin (EVP -Strategy, Oxford Road) welcome Pete Birsinger (CEO & Founder, Podscribe) to discuss the problem with downloads, AMP's internal tug-of-war, and the new standard metrics that could help grow the industry.“ This type of evolution should put podcasting on a better footing to compete with other media channels for an enormous part of advertising dollars.”Pete Birsinger (CEO & Founder, Podscribe)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
From the depths of Kaijune comes the King of the Monsters.... GODZILLA!But not the Godzilla many fans were expecting when a US remake was announced in the '90s, and not the first attempt to make a US version of the legendary kaiju.Steve Miner had tried to get a 3D version off the ground in 1983, and then there was the infamous Jan de Bont version in 1994. Both stories are fascinating enough, but always lurking in the background of the 1994 version were Roland Emmerich and Dean Devlin.They'd been offered Godzilla in the early '90s but turned it down repeatedly. After the 1994 project imploded due to budgetary concerns, they were offered it again.It would be the combined movies of Armageddon and Deep Impact that changed Emmerich's path, and sent him to accept a US remake of Godzilla, alongside Dean Devlin, with full creative control for the pair.And as we know, full creative control always goes to plan...Episode originally released 8th June 2023Mentioned in this episode:From the ArchiveThere's no new episode this week, so I thought you might be interested in revisiting this slightly older, but no less brilliant episode. Just bear in mind, this episode is several years old, it may not sound quite as polished as newer episodes, and new information may have come to light in recent years with regards to the making of this movie (please see above for the original date of release) Please enjoy this time capsule of an episode. Thanks for listening!This podcast uses the following third-party services for analysis: Podscribe - https://podscribe.com/privacyOP3 - https://op3.dev/privacy
Today in the business of podcasting:Tom Webster reflects on a year of rapid AI adoption — from pasting into ChatGPT to running open-source language models on a home server — arguing that the real question for creators is not whether they use AI, but whether they stand behind what they publish.The Alliance for Measurement in Podcasting (AMP) Task Force has released its first unified impression framework, defining Podcast Play, Podcast Audience, Ad Impression, and Ad Audience to enable cross-platform comparison of audio and video podcast inventory for the first time.SXSW 2027's PanelPicker submission process opens June 23, with live AMAs and office hours scheduled through July, and Podcast Movement Evolutions confirmed to return for the conference.DIRECTV Advertising's Drew Groner argues that sports rights fragmentation across streaming apps has undermined the reach of national ad buys for local and regional sports fans, while CBC Podcasts opens a pitch call for a new narrative sports feed.Podscribe's May 2026 Industry Ranker shows Crime Junkie and The Daily holding the top two spots for audio reach, The Oprah Podcast jumping from #7 to #4, and Shopify leading advertiser spend across ten industries represented in the top ten.To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.
Today in the business of podcasting:Tom Webster reflects on a year of rapid AI adoption — from pasting into ChatGPT to running open-source language models on a home server — arguing that the real question for creators is not whether they use AI, but whether they stand behind what they publish.The Alliance for Measurement in Podcasting (AMP) Task Force has released its first unified impression framework, defining Podcast Play, Podcast Audience, Ad Impression, and Ad Audience to enable cross-platform comparison of audio and video podcast inventory for the first time.SXSW 2027's PanelPicker submission process opens June 23, with live AMAs and office hours scheduled through July, and Podcast Movement Evolutions confirmed to return for the conference.DIRECTV Advertising's Drew Groner argues that sports rights fragmentation across streaming apps has undermined the reach of national ad buys for local and regional sports fans, while CBC Podcasts opens a pitch call for a new narrative sports feed.Podscribe's May 2026 Industry Ranker shows Crime Junkie and The Daily holding the top two spots for audio reach, The Oprah Podcast jumping from #7 to #4, and Shopify leading advertiser spend across ten industries represented in the top ten.To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.
When Three Men and a Baby opened on 25th November 1987, few could have predicted that a low-budget remake of a French comedy, shot in Toronto, starring two television actors, a comedy star and a baby girl, would become the highest-grossing film of the year in the US and a genuine turning point in Hollywood history. Yet that is precisely what it did.The film arrived at a specific cultural inflection point. More women were entering the workforce, the feminist movement was reshaping assumptions about domestic labour, and the recession of the early eighties had nudged more fathers into caregiving roles. Against that backdrop, watching Tom Selleck's broad-shouldered leading man coo helplessly over a baby carried real comic charge, and tapped into something the culture was quietly working through: what modern fatherhood might actually look like.But the film's off-screen legacy is arguably more significant than anything on it. Disney in 1983 had nearly gone bankrupt on the catastrophic failure of The Black Cauldron. The creation of Touchstone Pictures and its low-budget, high-concept adult comedies was the rescue plan. Three Men and a Baby was its greatest proof of concept: the studio's first ever $100 million domestic grosser, crowning Disney as the number one studio in Hollywood by the end of 1987. The revenue that film and its Touchstone stablemates generated bought the animation department enough time, talent, and resources to complete The Little Mermaid two years later, and triggered the Disney Renaissance.A film about three hapless bachelors and an abandoned baby, made cheaply and quietly in Canada, may be one of the most consequential comedies Hollywood ever produced.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
Few films have done more to reimagine a fairy tale than Ever After: A Cinderella Story, Andy Tennant's 1998 period drama that stripped the magical elements from one of the world's oldest stories and replaced it with real historical characters, and a heroine who rescues herself.Set in Renaissance-era France and shot entirely on location across the Dordogne, the film marked a quiet revolution in the Cinderella canon, arriving at a precise cultural moment between Disney's pastel dominance and the full flowering of girl power that would follow in the late 90s and beyond.The story of Ever After goes from the ancient origins of the Cinderella myth, through the literary transformations of Perrault, the Brothers Grimm, and Rossini's opera, to the cultural watershed of Disney's 1950 animated classic and the Rodgers and Hammerstein television musicals that rewrote what the story could mean for successive generations of young women. Ever After sits in that lineage, and its particular brand of post-feminist revisionism hit hard in the summer of 1998. It broke away from typical fairy tale clichés, offering a fresh take that emphasizes empowerment and self-determination for women in a historical context.Drew Barrymore, working as an unofficial producer, personally cast Anjelica Huston with a phone call invoking their shared Hollywood dynasties, went to bat for a rejected Dougray Scott, and designed the film's emotional core around a character she saw as a manifesto for her own future. For Barrymore, then navigating the transition from dangerous ingénue to bankable leading lady, Danielle de Barbarac was not simply a role, it was who she intended to become.Ever After's place in the broader arc of Cinderella adaptations, its enduring resonance with the generation that grew up with it, leaves it with the everlasting legacy of being one of the best adaptations of the story, loved by viewers, and its cast. Ever After managed to capture the essence of love and resilience, reminding us that true magic lies in our actions and connections with others, not just fairy godmothers and pixie dust.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
In the summer of 1998, Hollywood delivered two versions of the apocalypse within eight weeks of each other, and the story of how that happened is almost as dramatic as either film.Deep Impact, directed by Mimi Leder and released on 8th May, had been in development since the late 1970s, tracing its origins to producers Richard Zanuck and David Brown's desire to remake the 1951 sci-fi film When Worlds Collide. The project was ultimately merged with Steven Spielberg's adaptation of Arthur C. Clarke's The Hammer of God, before Spielberg, occupied with Amistad, handed the director's chair to Leder.What emerged was a deliberately restrained disaster film, one less interested in the mechanics of impact than in the texture of grief: how ordinary people, politicians, astronauts, and estranged families face the end with or without dignity. With scientific consultants including comet co-discoverers Carolyn and Gene Shoemaker, and ILM's groundbreaking digital tsunami, the film earned genuine respect from the astronomical community and grossed a respectable $349 million worldwide on an $80 million budget.Armageddon, released on 1st July under Disney's Touchstone Pictures banner, was a different creature entirely, and was, by most accounts, a direct competitive response to Deep Impact.Michael Bay's film was shot in just sixteen weeks, with unprecedented government and military access, under enormous studio pressure. Where Deep Impact depicted skilled astronomers, Armageddon hired oil drillers and sent them to space. Where Leder's film earned praise for plausibility, Bay's is famously scientifically inaccurate in many ways. Despite this, Armageddon grossed $553 million worldwide, topped the year's global box office, eventually received a Criterion Collection release and four Oscar nominations. Deep Impact did not.Both hinge on sacrifice, on families torn apart by cosmic indifference, on the question of who gets saved and who doesn't. Both were shaped by real cosmic events, which shook the scientific community and governments into action and Hollywood into a race to dramatise the unthinkable. One film aimed for the gut; the other aimed for the conscience.That Armageddon won commercially while Deep Impact won critically, and that Mimi Leder's career faltered, while Michael Bay built a franchise empire, tells you not just about the summer of 1998, but about which kinds of spectacle Hollywood, and audiences, are willing to reward.Everything wrong with Armageddon – Everyday Science StuffSupport Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
In 1997, two movies decided to erupt onto cinema screens at the same time, literally and figuratively. The chaotic rivalry between Dante's Peak and Volcano is one of the biggest examples of Hollywood's twin movies phenomenon, and while both were created organically, their rivalry would lead to condensed timelines and moved release dates, and a lasting legacy of "which 1997 volcanic eruption movie is your favourite?"For its part, Dante's Peak attempted to be more scientifically accurate than its Californian counterpart, showcasing a volcanic threat through a small-town lens, taking inspiration from the 1980 eruption of Mount St. Helens.Volcano, on the other hand, was filmed on location in Los Angeles, and showed the impossible geological event of a volcano suddenly appearing at the La Brea Tar Pits.Dante's Peak prioritized practical effects, while Volcano went for mostly CG lava flowing down Wilshire Boulevard.There are remarkable similarities between the two: Both centre on a scientist who reads the warning signs correctly and is dismissed by skeptical authority figures. Both embed the disaster within a tentative romance between that scientist and a civic official. Both have children in mild peril. Both have characters that meet untimely and excruciatingly painful ends. Both climax with the eruption vindicating everything the expert said from the start. And most importantly, both ensure the dog survives!The finished films feel like two productions that started from the same idea and then diverged; Dante's Peak going intimate and procedural, Volcano going maximalist and fantastical. Dante's Peak and Volcano were the product of one of Hollywood's most feverish production races, and the competition between them shaped both films in ways that went far beyond schedules and box office returns.The Geology P.A.G.E.: Geological Movie Review of Dante's Peak - OverviewSupport Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
The final episode of AIpril, M3GAN arrived in January 2023 as a modest Blumhouse horror release, and promptly became one of the most talked-about horror comedies of the year. On a budget of $12 million, it grossed over $180 million worldwide, spawned a franchise, and put a ten-second hallway dance sequence into the permanent vocabulary of internet culture.Director Gerard Johnstone insisted from the outset on a practical-effects-first approach, and supervising puppeteer Adrien Morot built a suite of six or seven animatronic puppets capable of different ranges of movement — some with articulated eyes and heads, others with fully computerised motion control. The defining creative rule was simple: animatronic when still, performer when moving. That performer was Amie Donald, a ten-year-old New Zealand national dance champion and brown belt in karate, who wore a static silicone mask on set that was later replaced in post-production with a digitally animated face by Wētā Workshop. The result is a character who occupies the uncanny valley not as a technical failure but as a deliberate aesthetic strategy; M3GAN is unsettling precisely because you can never quite be sure what you're looking at.M3GANs design decision had downstream consequences the production could not entirely have anticipated: audiences, particularly on TikTok and in queer communities, embraced M3GAN as a style icon. Universal's chief marketing officer Michael Moses identified the hallway dance sequence, performed by Amie Donald, and utilised TikTok dance trends and built the campaign around letting it spread organically rather than manufacturing a formal challenge.M3GAN is a genuinely well-crafted piece of genre filmmaking, with a practical effects philosophy rooted in old-school puppetry and a central performance of remarkable physical intelligence, which makes it fun and accessible, but also threads together anxieties about outsourced parenting, emotional dependency on technology, and the ethics of designing companion AI for children — themes that give the film considerably more thematic density than its campy surface might suggest.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
If you wanna be my podcast guest... you gotta get with my friends. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/acast-mel-c for the story links in full, and to get our daily newsletter.
He was recording a live podcast. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/pittman-charlamagne for the story links in full, and to get our daily newsletter.
Advice given to stay consistent - and be yourself. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/black-effect-2026-festival for the story links in full, and to get our daily newsletter.
We speak with the company's Head of Podcast Editorial on what they're looking for. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/spotify-promote-podcasts for the story links in full, and to get our daily newsletter.
At Marketecture Live, Peter Birsinger, Founder & CEO, Podscribe, with Matthew Drengler, Head of Partnerships, Podscribe, breaks down the current state of audio measurement and what the data really shows about podcast and streaming performance. From conversion benchmarks to ad formats and incrementality, this session reveals how brands can measure, optimize, and scale audio advertising like any other digital channel. Takeaways Audio is fully measurable today with real-time dashboards, attribution, and incrementality Podcast ads often outperform streaming audio in conversion efficiency Host-read ads deliver stronger performance and lower acquisition costs Buying individual shows drives better engagement, but programmatic can balance cost Earlier ad placement in episodes leads to higher conversion rates Longer ads tend to perform better due to storytelling and host trust Frequency caps are critical to avoid diminishing returns Incrementality is key to understanding true performance beyond attribution Chapters 00:00 Introduction to audio measurement and Podscribe 01:03 Audio is now a fully measurable digital channel 04:12 Podcast industry growth and market opportunity 06:19 Benchmark data on conversion rates and performance 08:14 Why host-read ads perform best 09:20 Single show vs. programmatic buying strategies 11:13 Best ad placement within podcast episodes 12:46 Why longer ads drive better results 15:04 Frequency caps and diminishing returns 17:10 Attribution vs. incrementality explained 20:25 Audience reach and overlap in audio channels Learn more about your ad choices. Visit megaphone.fm/adchoices
And why shouldn't podcasting make it to the small screen?. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/tv-ad-podcast-app for the story links in full, and to get our daily newsletter.
This AIpril, what is love, if not AI persevering? Spike Jonze's Her asks that question with such sincerity and precision that it never feels like a provocation; it feels like it's holding up a mirror to today's society.Her has become of one of the most quietly radical and prophetic films of the 21st century: a love story with no villain, no third act betrayal, just the aching reality of two beings in love, but evolving at different speeds.Released in 2013, Her imagined AI companions with emotional intelligence, fluid personalities, and an unsettling capacity to outgrow the humans who depend on them, years before anyone had heard of a large language model. But Her was never really about technology. It was about loneliness, intimacy, and the stories we tell ourselves about connection.From Jonze's years-long development of the script, rooted in the breakdown of his own marriage, and an early-2000s encounter with primitive chatbot technology, to the radical decision to recast Samantha Morton with Scarlett Johansson deep into post-production, this is the story of how a film in the 2010s about artificial intimacy became about actual intimacy in the 2020s.‘I felt pure, unconditional love': the people who marry their AI chatbots | The GuardianSupport Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
We have the video trailer. Sponsored by Podscribe. Radio just got measurable! Podscribe is bringing in digital-style measurement to one of the hardest channels to measure. Verify where ads aired with airchecks and track performance with attribution. Read more. https://podnews.net/cc/3471 Visit https://podnews.net/update/dolos-project for the story links in full, and to get our daily newsletter.
They'll be exclusive ad representative in the US. Sponsored by Podscribe. Join us at the Innovation Stage at POSSIBLE! Learn how to buy audio more effectively and drive measurable results with Podscribe's Matt Drengler. April 29, 12:10 PM ET. Save your spot. https://podnews.net/cc/3429 Visit https://podnews.net/update/youtube-sirius-audio-sell-ads for the story links in full, and to get our daily newsletter.
Exclusive: all the podcast winners, before anyone else. Sponsored by Podscribe. Join us at the Innovation Stage at POSSIBLE! Learn how to buy audio more effectively and drive measurable results with Podscribe's Matt Drengler. April 29, 12:10 PM ET. Save your spot. https://podnews.net/cc/3429 Visit https://podnews.net/update/webby-awards-2026-podcast-winners for the story links in full, and to get our daily newsletter.
The Ambies, memberships, and a mysterious change at the top. Sponsored by Podscribe. Join us at the Innovation Stage at POSSIBLE! Learn how to buy audio more effectively and drive measurable results with Podscribe's Matt Drengler. April 29, 12:10 PM ET. Save your spot. https://podnews.net/cc/3429 Visit https://podnews.net/update/tpa-six-years for the story links in full, and to get our daily newsletter.
One of the company's launches announced this week. Sponsored by Podscribe. Join us at the Innovation Stage at POSSIBLE! Learn how to buy audio more effectively and drive measurable results with Podscribe's Matt Drengler. April 29, 12:10 PM ET. Save your spot. https://podnews.net/cc/3429 Visit https://podnews.net/update/rode-sonaura for the story links in full, and to get our daily newsletter.
As part of Aipril, I'm delving into the back catalogue to include one of the greatest modern AI movies... Ex Machina, and a rare episode I did back in August 2022 with a guest!Impulse. Response. Fluid. Imperfect. Patterned. Chaotic. All words to describe this podcast, but also uttered by Nathan describing the brain of his ultimate creation; Ava. But can Ava pass as human? Let's find out as we delve into Alex Garland's (sort-of!) directorial debut, EX MACHINA!My guest for this episode wasn't lucky, he was chosen. I had to use all of my self-awareness, imagination, manipulation, sexuality and empathy to be joined by the terrific Jack Chambers-Ward from Sequelisers, who was made to be on this podcast talking about Ex Machina.Despite all of his work so far, Ex Machina might very well be Alex Garland's masterpiece. A complex, character-driven piece, on the power of nature vs future, nature vs nurture and man vs object of desire.Basically this movie and this episode.... is all about Kyoko. Kyoko is the key. Don't believe us? Listen in and we'll explain why....If you've created a conscious machine, it's not the history of man. That's the history of gods.The YouTube video we mention several times, by Shaun, is titled How Wikipedia Got Ex Machina (2014) Wrong and is available hereJack (@jlwchambers) hosts Sequelisers alongside Matt Stogdon and Tim Maytom. You can find their back catalogue of brilliant episodes in your podcast app of choice, and they're on Twitter as @Sequelisers(Episode originally released 18th August 2022)Mentioned in this episode:From the ArchiveThere's no new episode this week, so I thought you might be interested in revisiting this slightly older, but no less brilliant episode. Just bear in mind, this episode is several years old, it may not sound quite as polished as newer episodes, and new information may have come to light in recent years with regards to the making of this movie (please see above for the original date of release) Please enjoy this time capsule of an episode. Thanks for listening!This podcast uses the following third-party services for analysis: Podscribe - https://podscribe.com/privacyOP3 - https://op3.dev/privacy
More revenue, more profit, but how's video helping?. Sponsored by Podscribe. Join us at the Innovation Stage at POSSIBLE! Learn how to buy audio more effectively and drive measurable results with Podscribe's Matt Drengler. April 29, 12:10 PM ET. Save your spot. https://podnews.net/cc/3429 Visit https://podnews.net/update/audioboom-q126-records for the story links in full, and to get our daily newsletter.
AI generated shows are flooding the podcast directories. Sponsored by Podscribe. What are the top podcast shows in March 2026? NPR leads in reach, Diary of a CEO tops engagement, and top rankings shift across charts. Explore the Podscribe Ranker: Shows | Publishers | Advertisers https://podnews.net/cc/3429 Visit https://podnews.net/update/ai-slop-overtakes-humans for the story links in full, and to get our daily newsletter.
Donovan Woods and Tom Power to host a new show. Sponsored by Podscribe. What are the top podcast shows in March 2026? NPR leads in reach, Diary of a CEO tops engagement, and top rankings shift across charts. Explore the Podscribe Ranker: Shows | Publishers | Advertisers https://podnews.net/cc/3429 Visit https://podnews.net/update/cbc-2026-spring-summer-slate for the story links in full, and to get our daily newsletter.
Copying the names and the designs of more than 75 shows. Sponsored by Podscribe. What are the top podcast shows in March 2026? NPR leads in reach, Diary of a CEO tops engagement, and top rankings shift across charts. Explore the Podscribe Ranker: Shows | Publishers | Advertisers https://podnews.net/cc/3429 Visit https://podnews.net/update/cloning-podcasts for the story links in full, and to get our daily newsletter.
There is one big show on there. Sponsored by Podscribe. What are the top podcast shows in March 2026? NPR leads in reach, Diary of a CEO tops engagement, and top rankings shift across charts. Explore the Podscribe Ranker: Shows | Publishers | Advertisers https://podnews.net/cc/3429 Visit https://podnews.net/update/netflix-podcasts-stats for the story links in full, and to get our daily newsletter.
In 1992, a little-known Philip K. Dick short story was optioned as a sequel to Total Recall, with Arnold Schwarzenegger set to reprise his role. After a decade of Hollywood turbulence, involving a studio bankruptcy, a directorial hand-off, and two blockbusters that kept getting in the way, Steven Spielberg was finally behind the camera on what would become one of the most visually inventive science fiction films ever made: Minority Report.A sequence of remarkable events would lead to Tom Cruise passing a script to Spielberg that kick-started a collaboration ten years in the making. Jan de Bont, fresh off Speed and Twister, was briefly attached as director before quietly fading from the project; and the delays caused by Mission: Impossible 2 and A.I. Artificial Intelligence paradoxically gave Spielberg and his team the time to make the film better, and make the film way more prescient than any other cinematic dystopian utopia future.In the world of Minority Report, predicting crime before it happens raises serious moral and ethical questions. The Precogs, while gifted, are treated more like tools than human beings, in a system that claims to prevent crime but at what cost to individual freedom?Minority Report had the world's first fully digital production design, a sixteen-person think tank of scientists and futurists who designed the world of 2054, and ILM's groundbreaking effects work blending physical model-making with cutting-edge CGI.And... Tom Cruise runs. A lot.(You're not seeing double! This episode had to be reissued due to an issue with Spotify. They couldn't fix it their end, so the episode has been re-released instead. Apologies for any confusion!)Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
In 1992, a little-known Philip K. Dick short story was optioned as a sequel to Total Recall, with Arnold Schwarzenegger set to reprise his role. After a decade of Hollywood turbulence, involving a studio bankruptcy, a directorial hand-off, and two blockbusters that kept getting in the way, Steven Spielberg was finally behind the camera on what would become one of the most visually inventive science fiction films ever made: Minority Report.A sequence of remarkable events would lead to Tom Cruise passing a script to Spielberg that kick-started a collaboration ten years in the making. Jan de Bont, fresh off Speed and Twister, was briefly attached as director before quietly fading from the project; and the delays caused by Mission: Impossible 2 and A.I. Artificial Intelligence paradoxically gave Spielberg and his team the time to make the film better, and make the film way more prescient than any other cinematic dystopian utopia future.In the world of Minority Report, predicting crime before it happens raises serious moral and ethical questions. The Precogs, while gifted, are treated more like tools than human beings, in a system that claims to prevent crime but at what cost to individual freedom? Minority Report had the world's first fully digital production design, a sixteen-person think tank of scientists and futurists who designed the world of 2054, and ILM's groundbreaking effects work blending physical model-making with cutting-edge CGI.And... Tom Cruise runs. A lot.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
7.6 million people are helping fund podcasters on the platform. Sponsored by Podscribe. Podscribe is heading to POSSIBLE 2026! We're excited to sponsor one of the year's biggest marketing events. In Miami? Let's connect and talk measurement, media strategy, and what's next for the industry. https://podnews.net/cc/3424 Visit https://podnews.net/update/patreon-629-million for the story links in full, and to get our daily newsletter.
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In 1986, a clunky, tank-treaded robot, hungry for input, stole the hearts of cinema audiences worldwide. Short Circuit, the sci-fi comedy that gave us one of cinema's most beloved mechanical characters, might not be your first choice when you think of AI in cinema, but it is this podcast's first choice in AIpril.Director John Badham convinced a room full of designers, including legendary visual futurist Syd Mead, the man behind the look of Blade Runner and Tron, to design something genuinely unlike anything seen on screen before, built by ex-Green Beret Eric Allard and a team of mechanics. The result? A robot so convincing that audiences genuinely believed Number Five was alive.Number Five remains a remarkable achievement in robotic design, conceived to be able to show a range of emotions, and voiced by Tim Blaney. He was the star of the show, so much so he got the same respect on set any major actor would, including hugs every morning.But while Johnny Five, as he named himself, remains a high point of the movie, the movie itself has faced criticism in the years after its release, for casting Fisher Stevens, a white Jewish actor, to play the Indian character Ben in brownface; a decision that both Stevens and John Badham regret.Where AI is concerned, much of science fiction is now becoming science fact. In 2022, a Google chatbot claimed it was also alive, and feared being switched off, however that was quickly debunked by experts. Can AI ever truly be alive? Can AI have a soul? Johnny Five not only learns empathy, compassion, and defies his war machine programming, he reminds us all that life is not a malfunction.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app
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