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Movie of the Year: 2006The Puffy ChairThe Puffy Chair Podcast Hits the RoadThe Puffy Chair podcast episode sends the Taste Buds on a road trip through the Duplass brothers' scrappy 2006 breakout. Ryan, Mike, and Greg buckle up to decide whether this mumblecore landmark deserves a deep run in the Movie of the Year 2006 bracket. Moreover, they bring serious backup this week. Critic and author Keith Phipps joins the panel to help unpack a movie made for the price of a used car. Together, the group digs into fragile relationships, DIY filmmaking, and one very symbolic recliner. Can a $15,000 indie outmuscle the blockbusters of 2006? Press play and ride along.About the FilmThe Puffy Chair follows Josh, a struggling New York booking agent played by Mark Duplass. Josh wins an eBay auction for a burgundy recliner that matches the one his dad owned years ago. Consequently, he plans a road trip to deliver the chair as a birthday gift. His girlfriend Emily, played by Katie Aselton, comes along for the ride. His free-spirited brother Rhett, played by Rhett Wilkins, joins them on the way. Naturally, the trip tests every relationship in the van.Jay Duplass directed the film, which he created with his brother Mark. The brothers shot it for roughly $15,000 borrowed from their parents, and the cast earned $100 a day. The movie premiered at Sundance in January 2005 and later won the Audience Award at South by Southwest. Roadside Attractions and Netflix released it theatrically on June 2, 2006. As a result, it qualifies for our 2006 bracket, and it arrives with real critical pedigree. Check the full credits at IMDb and the reviews roundup at Metacritic. New to the season? Start with our Movie of the Year 2006 introduction.Guest Panelist: Keith PhippsKeith Phipps brings nearly three decades of film criticism to the panel this week. He joined The A.V. Club in 1997 and became its editor in 2004, helping build it into a cultural institution. Later, he co-founded the beloved film site The Dissolve and served as editorial director for film and TV at Uproxx. His byline has appeared in Rolling Stone, Slate, GQ, Vulture, and The New York Times, among many others. Currently, he writes The Reveal, a film newsletter he created with longtime collaborator Scott Tobias. He also co-hosts The Next Picture Show, a biweekly podcast in the Filmspotting family that pairs classic films with modern successors. Additionally, Phipps wrote the acclaimed book Age of Cage: Four Decades of Hollywood Through One Singular Career, an NPR Books We Love selection. Few guests know indie film history better, so the Taste Buds put him straight to work.Josh and Emily (and Rhett)Every road movie needs passengers, and this one packs the van with tension. The panel starts with Josh and Emily, a couple fluent in baby talk but allergic to honest conversation. Their relationship anchors the film, and the podcast crew debates whether Josh ranks among 2006's most frustrating boyfriends. Emily wants commitment and emotional validation. Josh wants to deliver a chair and dodge every hard question along the way. Meanwhile, Rhett climbs aboard and scrambles the whole dynamic. His impulsive romanticism works as comic relief, yet it also lights the fuse under Josh and Emily's slow-motion breakup. Keith Phipps helps the Taste Buds weigh how the improvised performances make these fights feel painfully real. Ultimately, the group asks a simple question. Do we root for this couple, or do we root for the exits?Filmmaking Style on The Puffy Chair 2006 PodcastStyle takes center stage in the second discussion topic. The Duplass brothers shot with handheld cameras, natural light, and a whole lot of improvisation. Critics soon filed the film under mumblecore, a label built on low budgets, naturalistic dialogue, and twentysomething malaise. However, the panel debates whether that label helps or flattens the movie. The Puffy Chair podcast crew also examines the famous snap zooms, the cramped framing, and the brothers' choice to cast their actual parents. Furthermore, Phipps places the film within the mid-2000s indie boom that he covered firsthand as a critic. The $15,000 budget becomes a character in itself. Does the rough look create intimacy, or does it simply look cheap? Notably, the panel connects this DIY approach to the music of the era covered in our 2006 Mixtape Part I.The ChairWhat about the recliner itself? The chair works as the film's MacGuffin, its symbol, and arguably its best supporting player. Josh buys it because it resembles the chair from his childhood living room. Therefore, the purchase says less about his dad and more about Josh's own nostalgia. The panel unpacks what the chair represents: arrested development, misplaced sentimentality, and the gap between a grand gesture and genuine care. Along the journey, the chair suffers indignities that mirror the crumbling relationships around it. By contrast, the film's quietest moments reveal what an honest gift might have looked like. The Taste Buds and Keith Phipps debate whether the chair earns its title billing. No spoilers here, though. The chair's final fate stays a surprise for listeners.Genre BlastThe episode also features a Genre Blast segment, a PopFilter favorite. The Taste Buds zoom out from the film and blast through its genre lineage. Is The Puffy Chair a road movie, a romantic comedy, a breakup drama, or the founding text of mumblecore? Each label carries its own history, and the panel traces them all. Specifically, the crew connects the film to decades of American road pictures and indie relationship stories. Keith Phipps adds critical context from his years covering the movement's rise and fall. Listen to the full episode to hear where the genre conversation lands.Why The Puffy Chair Still MattersTwenty years later, this tiny film casts a surprisingly long shadow. The Duplass brothers parlayed it into a remarkable career spanning Cyrus, Safety Not Guaranteed, Togetherness, and Room 104. Mark Duplass and Katie Aselton became one of indie film's great creative couples. Meanwhile, the movie's distribution deal made history of its own. Netflix co-released it theatrically in 2006, an early experiment that hinted at the streaming future to come. The mumblecore movement it helped launch reshaped American independent film and influenced a generation of DIY creators. Above all, The Puffy Chair podcast conversation proves the film still sparks real debate. Its questions about commitment, communication, and growing up have not aged a day. The AFI Catalog preserves the film's place in the historical record. Our bracket will decide its place in 2006.Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 Intro Part 1Movies of 2006 Bracket Reveal and Sweet 16Tristram Shandy: A Cock and Bull Story2006 Mixtape Part IAll Movie of the Year EpisodesFAQ: The Puffy Chair Podcast and FilmWhat is The Puffy Chair podcast episode about?The Puffy Chair podcast episode features the Taste Buds and guest Keith Phipps evaluating the Duplass brothers' 2006 film for the Movie of the Year bracket. Topics include the Josh and Emily relationship, the film's mumblecore style, the symbolism of the chair, and a Genre Blast segment.What is The Puffy Chair about?The film follows Josh, who wins an eBay auction for a recliner matching his dad's old chair. He road-trips to deliver it as a birthday gift, joined by his girlfriend Emily and his brother Rhett. Consequently, the journey exposes every crack in their relationships.Who directed The Puffy Chair?Jay Duplass directed the film, which he made with his brother Mark Duplass, who wrote, produced, and starred. Many sources credit the brothers as a filmmaking team, and the movie launched their careers.Who stars in The Puffy Chair?Mark Duplass stars as Josh, Katie Aselton plays Emily, and Rhett Wilkins plays Rhett. Notably, the Duplass brothers' real parents appear as Josh's parents.Is The Puffy Chair a mumblecore movie?Yes, critics widely consider it a founding film of the mumblecore movement. Its low budget, improvised dialogue, and naturalistic performances defined the style. However, the Duplass brothers have expressed mixed feelings about the label, a tension the episode explores.How much did The Puffy Chair cost to make?The

Movie of the Year: 2006Mixtape, Part IIThe 2006 Mixtape Part 2 Podcast Finishes the PlaylistThe 2006 Mixtape Part 2 podcast picks up exactly where Part I left off. The full five person panel returns to finish what they started: a definitive, collectively built playlist of the best songs of 2006. Ryan, Mike, and Greg, the Taste Buds behind Movie of the Year, are once again joined by guests Nate Ragolia and Taylor Wilhite. Consequently, the debates get sharper as the remaining playlist slots get scarcer.Part I established the ground rules and the early picks. Now, in Part 2, the panel faces the harder half of the job. The obvious anthems are gone. Therefore, every remaining selection demands a real argument, a defense of taste, and a willingness to absorb four rounds of pushback.How the 2006 Mixtape Podcast Format WorksThe Mixtape episodes mark a deliberate departure from the standard Movie of the Year format. Normally, the show runs films through a bracket, as it did in the 2006 bracket reveal. The Mixtape works differently. Each panelist adds one song per round to a shared playlist. There are no eliminations and no head to head matchups. Instead, the tension comes from scarcity and pride.Every pick claims a slot that another panelist wanted. Moreover, every pick invites immediate judgment from the rest of the table. The format rewards conviction above all. A safe choice earns shrugs. A bold choice, defended well, earns respect. In practice, the round-robin structure turns a simple playlist into a portrait of five distinct musical sensibilities colliding in real time.Guest Panelists: Nate Ragolia and Taylor WilhiteNate Ragolia returns for the second half of the Mixtape. Nate co-hosts Debut Buddies, a podcast dedicated to firsts of all kinds, and he has authored three published books. His background as a writer and critic gives his picks analytical weight. Additionally, he arrives with the confidence of someone who has already survived one full round of Taste Bud scrutiny in Part I.Taylor Wilhite also returns to complete the panel. Taylor is a former PopFilter mainstay whose appearances are now rare, which gives the Mixtape episodes a sense of occasion. Longtime listeners know his taste and his willingness to fight for it. Together, the two guests expand the show's usual trio into a five voice ensemble. As a result, the playlist reflects a far wider slice of 2006 than any single host could deliver.The Music of 2006, RevisitedThe year 2006 offered an unusually rich field for a project like this. Pop radio belonged to Justin Timberlake, Beyonce, and Rihanna. Meanwhile, Gnarls Barkley's Crazy became an inescapable cultural event. Emo and pop-punk hit a commercial peak, hip-hop delivered landmark records, and indie rock crossed over to mainstream ears. The full sweep of the year is documented at Wikipedia's 2006 in music page, and it is staggering in retrospect.Movie of the Year usually spends its energy on cinema, the kind of work chronicled at RogerEbert.com. However, the Mixtape episodes prove the same critical instincts apply to music. The panel treats each song the way the show treats films like Brick or Tristram Shandy: with curiosity, skepticism, and a genuine desire to figure out what holds up twenty years later.Completing the PlaylistPart 2 covers the closing rounds of the mixtape. The panel works through the final picks, and the stakes rise with every turn. Notably, the late rounds force each panelist to confront what the playlist still lacks. Does it need another ballad? Another guitar record? Another undeniable radio smash? Each answer reshapes the final product.The completed tracklist stays a surprise until you press play. No spoilers here. Nevertheless, expect passionate defenses, at least one pick that baffles the room, and the special satisfaction of hearing a playlist snap into its final form. By the end, the panel delivers a mixtape that could only exist through this exact collision of five sensibilities.Why the 2006 Mixtape Part 2 Podcast Still MattersThe 2006 Mixtape Part 2 podcast completes the season's most distinctive experiment. The Movie of the Year season began with the 2006 intro episode and a field of 128 films. The Mixtape widens that lens. It argues that a year of culture includes its soundtrack, and that the songs of 2006 shaped memory just as powerfully as its movies did.Above all, the episode captures why list making endures as a critical exercise. A playlist forces choices, and choices reveal values. Ultimately, the 2006 Mixtape Part 2 podcast delivers both a finished tracklist and a spirited argument about what deserves to last. Subscribe, listen to both parts, and then build your own version. Yours will differ, and that is exactly the point.Related Episodes from Movie of the Year: 20062006 Mixtape, Part IMovie of the Year: 2006 Intro, Part 1Movies of 2006: Bracket Reveal and Sweet 16Tristram Shandy: Movie of the Year 2006Brick: Movie of the Year 2006Browse All Movie of the Year EpisodesFAQ: 2006 Mixtape Part 2 PodcastAbout the EpisodeWhat is the 2006 Mixtape Part 2 podcast about?The 2006 Mixtape Part 2 podcast is the concluding half of a special Movie of the Year episode. The five person panel of Ryan, Mike, Greg, Nate Ragolia, and Taylor Wilhite finishes building a collective playlist of the best songs of 2006, one pick at a time.Do I need to listen to Part I first?Listening to Part I first is recommended. Part I establishes the format, introduces the panel, and covers the opening rounds. Part 2 continues directly from that point and completes the tracklist.Who are the guests on the 2006 Mixtape Part 2 podcast?Nate Ragolia and Taylor Wilhite return for Part 2. Nate Ragolia co-hosts the Debut Buddies podcast and has authored three published books. Taylor Wilhite is a former PopFilter regular who now makes occasional guest appearances.About the Mixtape and the MusicHow does the Mixtape format work on Movie of the Year?Each panelist takes turns adding one song per round to a shared 2006 playlist. There is no bracket and no eliminations. Every pick must survive the scrutiny of four other panelists with strong opinions about the music of 2006.What songs are on the 2006 mixtape?The full tracklist stays a surprise until you hear the episodes. The picks span pop, hip-hop, indie rock, R&B, and the emo and pop-punk wave that defined 2006 radio. Listen to both parts to hear every selection and the arguments behind them.Who are the Taste Buds?The Taste Buds are Ryan, Mike, and Greg, the three core hosts of Movie of the Year on the PopFilter network. Each season they run a bracket style competition to crown the best film of a single year. The current season covers 2006.What were the biggest songs of 2006?2006 produced era defining hits like Gnarls Barkley's Crazy, Justin Timberlake's SexyBack, and Beyonce's Irreplaceable. The year also marked a commercial peak for emo and pop-punk. The Mixtape episodes dig into which songs actually deserve playlist immortality.Where can I listen to the 2006 Mixtape Part 2 podcast?You can stream the episode right on this page using the player above. Movie of the Year is also available on all major podcast platforms through the PopFilter network.

Movie of the Year: 2006Mixtape, Part IThe 2006 Mixtape Podcast Kicks Off — One Song at a TimeThe 2006 Mixtape podcast episode is unlike anything else in the Movie of the Year catalog. Instead of debating a single film, Ryan, Mike, and Greg welcome two special guests — Nate Ragolia of Debut Buddies and longtime PopFilter friend Taylor Wilhite — for a round-robin music showcase that captures the full, chaotic glory of 2006's soundscape. Each panelist takes a turn placing one song into a collective playlist, building something that is part argument, part love letter, and part time machine back to a genuinely strange year in pop culture.2006 was a transitional moment in popular music. Rap remained dominant, but with several megastars between album cycles, the charts opened up to a remarkably diverse mix of genres. Moreover, pop-punk and emo were infiltrating the mainstream at full speed. Additionally, R&B, dancehall, and indie rock were all jostling for space on the same playlists. The result was a year where "SexyBack," "Hips Don't Lie," "I Write Sins Not Tragedies," and "Dani California" could all feel equally essential — and equally of the moment. Consequently, building a 2006 mixtape is less a curation exercise and more a negotiation, which is exactly what makes this episode so much fun.Tune in for Part I of the 2006 Mixtape on the Movie of the Year 2006 podcast, and find out whose taste holds up, whose picks land with a thud, and which songs define the year better than any film ever could.About the 2006 Mixtape FormatThe Mixtape episode breaks from the standard Movie of the Year formula in the best possible way. Rather than a single film under the microscope, the full panel of five — Ryan, Mike, Greg, Nate, and Taylor — each take turns contributing one song per round to a shared playlist. The songs land wherever they land: the bracket, the conversation, the collective memory. No rules govern the selection beyond personal conviction and a willingness to defend the pick.The format rewards both champions of the obvious and advocates for the overlooked. Someone will inevitably go for the consensus anthem. Someone else will go deep on an album cut that never charted but defined their year. Furthermore, disagreements are baked in. Five people with five different relationships to the music of 2006 means that every pick is a small act of argument — an assertion about what mattered and why.Part I covers the opening rounds of that playlist construction. Part II will follow, continuing the conversation and expanding the tracklist. Together, they form a two-part portrait of a year in music told through the ears of five people who were living it.Guest Panelists: Nate Ragolia and Taylor WilhiteNate Ragolia is a freelance writer, editor, published author, voice over artist, and podcaster based in the PopFilter extended universe. He co-hosts Debut Buddies, a fortnightly podcast dedicated to firsts — debut albums, premiere episodes, inaugural seasons, the first of anything worth examining. Co-hosted with Kelly Attaway and Chelsea Hollander, Debut Buddies has built a devoted audience by taking the concept of beginnings seriously and hilariously. Nate is also the author of three books: There You Feel Free (2015), The Retroactivist (2019), and One Person Can't Make a Difference (2022). He brings to the Mixtape episode both the analytical rigor of someone who thinks carefully about cultural artifacts and the genuine enthusiasm of a lifelong music fan.Taylor Wilhite is a familiar voice to longtime PopFilter listeners. A former mainstay of the network, Taylor steps back into the booth for this special occasion — one of his rare guest appearances since stepping back from regular podcasting. His history with the PopFilter crew means he arrives fully acclimated to the energy, the arguments, and the particular pleasure of five people trying to out-taste each other in real time. His presence makes Part I feel like a reunion as much as a music show.Building the Playlist: Round by RoundEach round of the 2006 Mixtape follows the same structure: one panelist, one song, one chance to make the case. The picks accumulate into something that starts to resemble an actual playlist — though a playlist with a lot of disagreement baked into its sequencing.2006 was the kind of year where the argument over what belongs is genuinely interesting. The Billboard charts were dominated by Daniel Powter's "Bad Day," Sean Paul's "Temperature," and Justin Timberlake's "SexyBack." However, the year also produced landmark indie and alternative releases, left-field hip-hop moments, and a wave of pop-punk anthems that hit a specific generation square in the chest. Notably, the question of which songs were great versus which songs were simply inescapable is a distinction worth debating — and this episode debates it at length.As a result, the round-by-round format becomes a kind of stress test for taste. Each pick either extends the playlist's internal logic or breaks it, and the panel's reactions reveal as much about their musical identities as about the songs themselves. Part I lays the groundwork for what promises to be a contentious and deeply enjoyable full tracklist.Why 2006's Music Deserves a Closer ListenIt is easy to dismiss the music of 2006 as a transitional era — neither the peak years of hip-hop's commercial dominance nor the coming digital disruption that would reshape the industry within a few years. Nevertheless, that framing undersells how much was actually happening. Beyoncé released B'Day. The Raconteurs debuted. Stadium Arcadium by the Red Hot Chili Peppers dropped as a double album. FutureSex/LoveSounds by Justin Timberlake redefined what a mainstream pop record could sound like.Above all, 2006 was the last full year before the iPhone and streaming would begin to permanently reorganize how people discovered and consumed music. In practice, this means the mixtape as a cultural object — physical or digital — still carried enormous weight. A playlist in 2006 was still a statement, still a gift, still a way of saying something about who you were and what you cared about. Therefore, building a 2006 mixtape now is an act of archaeology as much as curation, and the Movie of the Year crew approaches it with exactly the right combination of nostalgia and rigor.Meanwhile, the Mixtape format itself reflects something true about the show: Movie of the Year has always been as much about the people doing the talking as about the films under discussion. Bringing in Nate Ragolia and Taylor Wilhite expands that conversation in ways that a single-film episode simply cannot. The result is one of the most purely enjoyable episodes in the 2006 season.Why the 2006 Mixtape Podcast Still MattersThe mixtape as a format has never really gone away. Streaming playlists are its digital descendants, and the impulse behind them — the desire to arrange songs into an argument about feeling and meaning — is as alive now as it was when people were still burning CDs. The 2006 Mixtape episode taps into that impulse directly, using the year's music as a lens for understanding both the culture of 2006 and the tastes of the five people assembled to discuss it.Specifically, the episode works because it trusts its panelists. Nate Ragolia's credentials as a critic and author give his picks analytical weight. Taylor Wilhite's history with PopFilter gives the episode a sense of occasion. And the core Taste Buds — Ryan, Mike, and Greg — provide the continuity and argumentative energy that listeners have come to expect from the 2006 season. Together, they make a compelling case that the music of 2006 is worth revisiting, debating, and yes, assembling into a playlist — even twenty years later.Ultimately, the 2006 Mixtape podcast is the season's most distinctive episode, and Part I is where it all begins. Subscribe, listen, and start forming your own opinions about what should have made the cut.Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 — Intro Part 1Movies of 2006 — Bracket Reveal and Sweet 16Tristram Shandy — Movie of the Year: 2006Brick — Movie of the Year: 2006Browse All Movie of the Year EpisodesFAQ: 2006 Mixtape Podcast — Part IAbout the EpisodeWhat is the 2006 Mixtape podcast episode about?The 2006 Mixtape, Part I is a special episode of Movie of the Year in which the full five-person panel — Ryan, Mike, Greg, Nate Ragolia, and Taylor Wilhite — take turns contributing songs to a shared 2006 playlist. Each round features one pick per panelist, building a collective mixtape that reflects the full range of the year's music while generating plenty of debate along the way.Who are the guests on the 2006 Mixtape episode?The episode features two special guests. Nate Ragolia is the co-host of Debut Buddies, a podcast about firsts,...

Movie of the Year: 2006The Sweet 16 RevealedThe Best Movies of 2006 Enter the BracketThis episode puts the movies of 2006 on the clock, as Ryan, Mike, and Greg reveal which 16 titles advance to the bracket season. The Taste Buds have spent weeks wrestling with a starting field of 64 films, and the cuts have been real. The debates ahead will be worth every minute.Getting from 64 films to 16 requires real conviction. Every cut involves films with legitimate credentials, passionate defenders, and strong arguments in their favor. Consequently, this episode does more than announce a list. It reflects a set of choices the Taste Buds are prepared to defend all season long.About Movie of the YearMovie of the Year is a PopFilter podcast built around one question: what was the best film of a given year? Ryan, Mike, and Greg select a year, assemble a 64-film bracket, and argue their way to a champion. The format rewards deep cinematic knowledge, honest disagreement, and a willingness to change your mind when the argument demands it.The show has built a catalog of bracket seasons that reward both longtime listeners and newcomers. Each season has its own personality, shaped by the films in contention and the friction those films generate in debate. The 2006 season carries that tradition forward with a year that has only gotten more interesting with time.2006: A Year Worth Arguing AboutFew years in recent memory offer the range that 2006 does. Prestige dramas, international films, genre pictures, and independent features all had strong years, and the critical consensus at the time did not always hold up. Some films that dominated awards conversation look different now. Meanwhile, others that were overlooked at release have since built lasting reputations.Roger Ebert captured the energy of 2006 well. His review of The Departed reflected a year when ambitious filmmaking found real audiences, and when the line between commercial and prestige cinema blurred in productive ways. Additionally, 2006 produced genuine disagreement between critics and general audiences, which is exactly the kind of tension that makes a bracket season compelling.The Taste Buds considered films across every genre and profile when building the 64-film field. Notably, some titles with strong critical support did not survive the early cuts, while others with devoted fanbases made a stronger case than expected. That tension runs through every round of the bracket.How the Movies of 2006 Bracket WorksThe bracket is central to what makes Movie of the Year function as a podcast. The Taste Buds begin with 64 films, then work through rounds of debate until one film stands alone. Each episode focuses on a specific matchup or group of films, with Ryan, Mike, and Greg arguing for and against each contender.The Sweet 16 revealed in this episode seeds the season ahead. From there, head-to-head matchups determine which films advance through the Elite Eight, the Final Four, and ultimately the championship. However, seeding does not guarantee anything. A well-argued case can always change the outcome, and upsets are part of the format.For listeners new to the show, this episode therefore serves as an ideal starting point. The Taste Buds make each debate accessible and entertaining, regardless of how familiar you are with any individual film.The Road to the Sweet 16Cutting 64 films to 16 means making hard calls. The Taste Buds apply consistent criteria across every cut: rewatchability, cultural staying power, craft, and genuine argument value within the bracket. A film that cannot generate a compelling debate does not serve the season well, regardless of its pedigree.Above all, the goal is a Sweet 16 that produces great arguments. A bracket full of obvious consensus picks would make for a dull season. Consequently, the Taste Buds deliberately include films that create friction, titles where reasonable and informed people genuinely disagree about their value and legacy.Some of the 16 films advancing will surprise listeners. Others will feel inevitable. The full reveal happens in this episode, and the reasoning behind each selection is part of what makes debating the movies of 2006 so worthwhile from start to finish.A Starting Field Built for DebateThe 64-film field the Taste Buds assembled for 2006 reflects the full range of what the year produced. Genre range mattered in the curation process. So did the desire to include films that cut against consensus and force the bracket to reckon with less comfortable choices. Specifically, the films that survive into the Sweet 16 represent a cross-section of 2006 that rewards close attention and strong opinions.Why the Movies of 2006 Still MatterThe Movie of the Year podcast treats film debate as something worth doing seriously. The 2006 season carries that forward with a year whose critical reputation has shifted meaningfully since its release. Films that seemed certain to endure have faded. Others that barely registered in awards conversation have grown into genuine touchstones.The bracket format demands accountability that casual film lists do not. When you argue for a film head-to-head against another specific film, you have to articulate why you believe what you believe. Furthermore, you have to hold that position under pressure from two other opinionated co-hosts who may disagree entirely.Specifically, 2006 sits at a cultural inflection point. Studio filmmaking, independent cinema, and international film all competed for serious critical attention that year, and the market rewarded each in different ways. The season will reflect that range, and the debates will run deep. The movies of 2006 have a lot left to say, and this season is where they say it.Related Episodes from Movie of the YearMovie of the Year — Full Episode ArchiveThe Last Picture Show — Movie of the Year: 1971A Clockwork Orange — Movie of the Year: 1971The French Connection — Movie of the Year: 1971Willy Wonka and the Chocolate Factory — Movie of the Year: 1971Note: Add 2006 episode URLs to this list as they are published.FAQ: Movies of 2006 and the Bracket RevealAbout the Episode and the ShowWhat is this movie's 2006 podcast episode about?Ryan, Mike, and Greg reveal the 16 films advancing to the 2006 bracket season. They narrow a starting field of 64 films down to the Sweet 16, setting up the full season of head-to-head debates ahead.What is Movie of the Year?Movie of the Year is a PopFilter podcast where hosts Ryan, Mike, and Greg debate and rank films from a single year using a bracket format. Each season covers one year of cinema and ends with one film crowned champion.Who hosts Movie of the Year?The show is hosted by Ryan, Mike, and Greg, collectively known as the Taste Buds, on the PopFilter podcast network. Each host brings a distinct critical perspective to every debate.How does the Movie of the Year bracket work?The Taste Buds begin each season with 64 films from the chosen year. Through debate-style episodes, films compete head-to-head until one film is crowned Movie of the Year. The Sweet 16, Elite Eight, Final Four, and championship rounds each produce their own episodes.About the 2006 SeasonWhy is 2006 a significant year in film history?2006 produced a strong and varied field of films across genres and profiles. Prestige dramas, international cinema, genre filmmaking, and independent features all had notable years, making 2006 an ideal year for bracket debate.How did the Taste Buds select the 64-film starting field?The Taste Buds curated the field based on critical reception, cultural staying power, rewatchability, and argument value within the bracket format. The goal was a field that represents the full range of 2006, including some selections that will surprise listeners.Where can I listen to Movie of the Year?Movie of the Year is available on Spotify, Apple Podcasts, and wherever you listen to podcasts. Full episodes and archives are also available at popfilter.co.What films made the 2006 Movie of the Year Sweet 16?The 16 films advancing to the bracket are revealed in this episode. Listen to find out which films survived and how the Taste Buds justify every selection.

Movie of the Year: 2006A New Season Begins The Movies of 2006 Podcast Begins: 128 Films Enter the BracketThe movies of 2006 podcast is officially underway, and the Taste Buds are ready to take on one of the richest film years of the 21st century. Ryan, Mike, and Greg kick off the 2006 season on PopFilter by introducing the year, explaining the bracket structure, and beginning the first round of eliminations. Furthermore, Part 1 of the intro sets the tone for a season packed with genuine heavyweights, unlikely contenders, and some of the most debated films of the decade.2006 delivered a field that refuses to cooperate with easy rankings. The Departed sits alongside Pan's Labyrinth, Children of Men, and Little Miss Sunshine in the same calendar year. Additionally, Casino Royale, The Prestige, Babel, Borat, and Idiocracy all arrived in 2006, representing wildly different visions of what cinema can accomplish. The Taste Buds have their work cut out for them.About the 2006 Film Year2006 stands as one of the most celebrated film years of the decade. Martin Scorsese's The Departed swept the Academy Awards, winning Best Picture and earning Scorsese his first Oscar for Best Director. Meanwhile, Guillermo del Toro delivered Pan's Labyrinth, a Spanish-language dark fantasy that works equally as a fairy tale and a historical horror. Alfonso Cuarón's Children of Men earned near-universal acclaim for its singular, one-take-heavy vision of a dying civilization.The box office reflected 2006's breadth. Pirates of the Caribbean: Dead Man's Chest topped the global charts. Casino Royale relaunched the Bond franchise with Daniel Craig in his debut as 007. Cars kept Pixar's winning streak intact. Moreover, the comedies were just as crowded: Borat, Talladega Nights, Idiocracy, and Clerks II each built devoted audiences. Consequently, building a bracket from this year means making choices that will draw genuine disagreement from all directions.International cinema contributed heavily to 2006's depth. Alejandro González Iñárritu's Babel earned seven Academy Award nominations after competing at Cannes. Pedro Almodóvar's Volver brought Penélope Cruz one of her most celebrated screen performances. The year also produced major releases from Darren Aronofsky (The Fountain), Sofia Coppola (Marie Antoinette), Christopher Nolan (The Prestige), and Mel Gibson (Apocalypto). In practice, few years in recent memory offer this density of debate-worthy titles across this many genres. The movies of 2006 represent a year when every corner of the industry produced something worth arguing about.How the Movie of the Year Bracket WorksMovie of the Year uses a bracket format borrowed from sports tournaments. The Taste Buds seed 128 films from a given year and match them head-to-head across multiple rounds until one earns the title of best of the year. The movies of 2006 provide an especially deep pool to draw from. Each round cuts the field in half: 128 to 64, 64 to 32, 32 to the Sweet 16, and on through the Elite Eight, Final Four, and championship. Notably, the bracket covers the full range of the year — prestige titles, genre pictures, comedies, blockbusters, and deep cuts all compete on equal footing.The seeding and matchups drive the conversation. A high-seeded favorite facing a scrappy underdog often produces the most spirited debates, because the Taste Buds evaluate every film on its own terms. No film earns an automatic pass based on reputation alone. A beloved blockbuster can fall in round one. A smaller film can advance much further than anyone expects. Therefore, the bracket functions as a pressure test for every assumption the hosts carry into the season.The format also distinguishes Movie of the Year from a standard best-of list. The hosts cannot simply rank their favorites and close the debate. Instead, they defend each pick against a direct opponent, round after round. Above all, the bracket produces arguments that a list never could, because every vote carries immediate consequences. To see what this process looks like across a full season, the Movie of the Year archive includes complete coverage of every year the Taste Buds have tackled, including the recently completed 1971 season.The 2006 First Round: Inside the Movies of 2006 Podcast BracketThe first round of the 2006 season pits 64 matchups against one another and cuts the field in half. Part 1 of the intro covers the opening set of battles, with Part 2 completing the round. Even the quickest first-round decisions carry weight, because an early upset can remove a major contender long before the serious rounds begin.2006 gives the hosts no shortage of compelling first-round scenarios. High-profile releases like Superman Returns, X-Men: The Last Stand, and Blood Diamond arrive as recognizable titles but face real scrutiny on merit. Films like Half Nelson, Brick, and Thank You for Smoking represent the indie side of the year with strong critical backing. Moreover, the international titles — Pan's Labyrinth, Volver, Perfume: The Story of a Murderer — introduce a different set of criteria into the matchups entirely.The documentary field adds another dimension. An Inconvenient Truth became one of 2006's most discussed releases and earned Al Gore an Academy Award. Jesus Camp generated controversy and critical notice in equal measure. Additionally, the horror entries, the prestige dramas like United 93 and The Good Shepherd, and the awards-season crowding all create pressure across the bracket from the opening round. Roger Ebert's four-star review of The Departed captures the critical consensus around 2006's most decorated film. Nevertheless, the first round is only the beginning.Why 2006 Still Matters2006 represents a pivotal moment in 21st-century cinema. The year demonstrated that prestige filmmaking and mass entertainment could share a single calendar without one displacing the other. The Departed and Pan's Labyrinth both belong to 2006. Borat and Children of Men arrived the same year. That range matters because the best film years do not produce one kind of great film — they produce many kinds simultaneously.Moreover, 2006 produced titles that have only grown in cultural stature since their release. Idiocracy arrived with little fanfare and now functions as a widely cited cultural reference point. Children of Men drew modest theatrical audiences and currently ranks among the most admired films of the decade in retrospective criticism. The Prestige built a devoted following that continues to generate debate about its structure and its final image. Additionally, Casino Royale remains the gold standard for modern Bond films nearly two decades later.The movies of 2006 podcast gives these films a structured arena to compete. That structure reveals something a ranked list cannot: which films hold up under sustained comparison, which reputations survive direct opposition, and which consensus picks turn out to be more fragile than they appear. 2006 deserves this treatment. The Taste Buds are the right crew to find out which film earns the crown.Related Episodes from Movie of the YearMovie of the Year — Full Episode ArchiveThe Last Picture Show — Movie of the Year: 1971A Clockwork Orange — Movie of the Year: 1971More 2006 episode pages will be linked here as the season progresses.FAQ: Movies of 2006 Podcast and Film YearWhat is the movies of 2006 podcast intro episode about? This episode launches the 2006 season of Movie of the Year on PopFilter. Ryan, Mike, and Greg introduce the 2006 film year, explain the bracket format, and work through Part 1 of the first round, taking the field from 128 films down toward 64.How does the Movie of the Year bracket format work? Movie of the Year seeds 128 films from a given year into a tournament-style bracket. Films compete head-to-head across multiple rounds — from 128 to 64, then 32, the Sweet 16, Elite Eight, Final Four, and championship — until one film earns the title of best of the year. The format produces arguments that a simple ranked list cannot, because every vote has immediate consequences.What films are in the 2006 Movie of the Year bracket? The 2006 bracket includes 128 films from across the year: prestige dramas like The Departed, Babel, and Letters from Iwo Jima; international titles like Pan's Labyrinth and Volver; genre films like Children of Men and The Prestige; comedies like Borat, Idiocracy, and Little Miss Sunshine; and blockbusters like Casino Royale and Pirates of the Caribbean: Dead Man's Chest.What won Best Picture for the 2006 film year? The Departed, directed by Martin Scorsese, won the Academy Award for Best Picture at the 79th Academy Awards in 2007. The film also earned Scorsese his first Best Director Oscar. However, Oscar history and the Movie of the Year bracket determine their...

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Bracket Podcast Reaches the Elite EightThis 1971 film bracket podcast returns with its most dramatic episode yet. Ryan, Mike, and Greg — the Taste Buds — work through the bottom half of the Sweet 16, producing four matchups that nobody saw coming. Furthermore, the episode hands out two major awards: Comedic Performance and Biggest Shithead. The results set the stage for Part III, where the Elite Eight will be whittled down to a single 1971 champion.If you missed Part I of the finale, start there first. The bracket has been full of upsets throughout the season. Consequently, no outcome here should be taken for granted.The Sweet 16: Bottom Half of the 1971 Film BracketThe bottom half of the 1971 Sweet 16 is stacked. These four matchups pit some of the most beloved and argued-over films in the entire bracket against one another. Moreover, the range of cinema on display — from Hollywood blockbusters to European art films to New Hollywood grit — illustrates exactly why 1971 is one of the most fertile film years ever put to a bracket.The Taste Buds debate each matchup using their standard evaluative framework: craft, cultural impact, rewatchability, and gut feeling. Above all, they trust their instincts — and their instincts have produced surprises at every turn this season. Tune in to find out which four films advance to the Elite Eight.Willy Wonka and the Chocolate Factory vs. WandaThis matchup pits one of cinema's most beloved fantasies against one of its most criminally underseen gems. Willy Wonka and the Chocolate Factory needs little introduction — Gene Wilder's performance alone has kept it in the cultural conversation for over fifty years. Nevertheless, Wanda is no pushover. Barbara Loden's Wanda (1971) is a raw, naturalistic landmark of American independent cinema, and its inclusion in the bracket has been a point of pride for whoever seeded it.This is a clash of tone, scale, and intention. One film is a spectacle engineered for maximum delight. The other strips cinema down to its bones. However, the Taste Buds must pick one — and the pick will tell you something about where their tastes landed by the time the 1971 season reached its final stretch.The French Connection vs. Brian's SongTwo films that defined what mainstream American cinema could do with raw emotional and procedural intensity. The French Connection won the Academy Award for Best Picture in 1971. It features one of the most celebrated car chases in film history and a career-defining performance from Gene Hackman as the relentless, morally compromised Popeye Doyle. Additionally, William Friedkin's direction remains a masterclass in gritty, kinetic storytelling.Brian's Song, meanwhile, hit American living rooms as a TV movie and destroyed everyone who watched it. The story of Gale Sayers and Brian Piccolo remains one of the most emotionally devastating sports films ever made. Notably, the Taste Buds covered both films earlier this season — so this rematch in the 1971 film bracket carries the weight of all those prior arguments.The Last Picture Show vs. KluteTwo of New Hollywood's most enduring films square off here, and neither one will go quietly. The Last Picture Show is Peter Bogdanovich's elegiac black-and-white portrait of a dying Texas town — a film the American Film Institute has called one of the greatest ever made. Furthermore, its ensemble cast, including Jeff Bridges, Cybill Shepherd, Cloris Leachman, and Ben Johnson, delivers some of the finest performances in the bracket.Klute, however, has Jane Fonda. Her performance as Bree Daniels earned her the first of her two Academy Awards, and it remains one of the most psychologically intricate portrayals of a woman in crisis in American cinema. Alan J. Pakula's direction is coiled and paranoid in all the right ways. Consequently, this matchup may be the most difficult call in the entire bracket.The Conformist vs. The Panic in Needle ParkThe final Sweet 16 matchup is the most arthouse of the four — and arguably the most fascinating. Bernardo Bertolucci's The Conformist is a landmark of European cinema. Vittorio Storaro's cinematography is among the most studied in film school history, and the film's meditation on fascism, identity, and moral cowardice has only grown richer with time. You can read more about the film at Roger Ebert's review on RogerEbert.com.The Panic in Needle Park, by contrast, is bracingly American — a gritty, unglamorous portrait of heroin addiction on the streets of New York. It introduced Al Pacino to mainstream audiences. Moreover, Jerry Schatzberg's unflinching direction makes the film feel almost documentary in its honesty. These two films represent opposite ends of world cinema in 1971, and the Taste Buds must choose one.Award: Best Comedic Performance — 1971 Film Bracket PodcastThe Taste Buds hand out individual performance awards throughout the season, and the Comedic Performance category drew a fascinating and eclectic field of nominees. The 1971 bracket is not short on laughs — from the anarchic fantasy of Willy Wonka's chocolate factory to the dark comedy of Harold and Maude. Furthermore, the nominees represent a range of comic registers, from broad physical performance to pitch-black wit.The nominees are:David Battley — Willy Wonka and the Chocolate Factory (Mike's pick)Julie Dawn Cole — Willy Wonka and the Chocolate Factory (Greg's pick)Bud Cort — Harold and Maude (Mike's pick)Michael Gothard — The Devils (Ryan's pick)Gene Wilder — Willy Wonka and the Chocolate Factory (Greg's pick)David Battley's turn as the hapless Mr. Turkentine in Willy Wonka is a masterwork of bewildered reaction comedy. Julie Dawn Cole's Veruca Salt is a full-throttle comic creation — spoiled, relentless, and somehow sympathetic. Additionally, Bud Cort's Harold is a genuinely difficult comic achievement: deadpan to the point of catatonia, yet somehow enormously warm.Michael Gothard's Father Barre in The Devils is Ryan's wild-card choice — a performance of manic, committed intensity that functions as dark comedy whether or not Ken Russell intended it. Meanwhile, Gene Wilder's Willy Wonka remains one of cinema's great comic performances — menacing, whimsical, and deeply strange all at once. The winner is waiting for you in the episode.Award: Biggest Shithead of 1971One of the Taste Buds' most beloved recurring awards, the Biggest Shithead category recognizes the most memorably awful person — or entity — in the bracket. Notably, this award rewards commitment. Nominees do not simply do bad things. They do bad things with style, conviction, and a complete lack of self-awareness.The nominees are:Baron de Laubardemont — The Devils (Greg's pick)The Lady at Snakearama — Duel (Ryan's pick)The Motorcycle Cop — Harold and Maude (Greg's pick)Mr. Deltoid — A Clockwork Orange (Mike's pick)Veruca Salt — Willy Wonka and the Chocolate Factory (Mike's pick)Baron de Laubardemont, the cold bureaucratic villain of The Devils, brings state-sanctioned cruelty to the category. The Lady at Snakearama from Duel is Ryan's inspired choice — a brief but indelible portrait of someone who simply should not be in this movie. Furthermore, Harold and Maude's Motorcycle Cop is a monument to institutional pettiness.Mr. Deltoid from A Clockwork Orange is a sweaty, oleaginous masterpiece of ineffectual authority — Mike's nomination is well-argued. Veruca Salt, however, may be the category's most pure entry: a child who has elevated wanting things to an art form. The winner, as always, is in the episode.Why This 1971 Film Bracket Podcast Still MattersThe Sweet 16 is where bracket tournaments reveal their true character. By this stage, the obvious candidates are mostly gone. What remains are the films that survived not on reputation alone but on genuine argument. Moreover, the bottom half of the 1971 Sweet 16 contains some of the season's most debated films — which means every matchup result carries real emotional weight.The year 1971 is one of the most remarkable in cinema history. New Hollywood was hitting its stride. European art cinema was pushing form to its limits. Genre filmmaking was getting stranger, darker, and more personal. Consequently, any bracket drawn from this year produces matchups that feel genuinely impossible to call. The Taste Buds do not pretend otherwise — they argue, they agonize, and they vote.Part III is coming. The Elite Eight will determine the Movie of the Year: 1971 champion. Above all, this episode is the last chance to see which films survive before the final reckoning. Subscribe to PopFilter and follow along — the 1971 film...

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

Movie of the Year: 1971Harold and Maude (feat. Van from the Gaymer Girls pod!)The Harold and Maude podcast episode is here — and the Taste Buds are diving deep into one of 1971's most subversive and life-affirming films. Hal Ashby's Harold and Maude (1971) has been a cult touchstone for over fifty years. This episode gives it the full PopFilter treatment. Ryan, Mike, and Greg welcome guest panelist Van Baumann from the Gaymer Girls podcast for a conversation about this singular film. It baffled studios, bombed at the box office, and somehow became a defining work of American cinema. Furthermore, this episode features a Rushmore segment on the most iconic May-December romances in movie history, plus a Shopping Spree. Consequently, this is one of the most spirited episodes of the Movie of the Year: 1971 series. About the Harold and Maude FilmDirected by Hal Ashby, Harold and Maude arrived in December 1971 as one of the most unusual films Paramount Pictures had ever released. The screenplay, written by Colin Higgins, began as his master's thesis at UCLA film school. It follows Harold Chasen (Bud Cort), a wealthy young man obsessed with death. Harold stages elaborate fake suicides to shock his emotionally absent mother. Moreover, he fills his days with funerals, hearses, and junkyards — searching for something authentic in a world of suffocating privilege. At one such funeral, he meets Maude (Ruth Gordon), a 79-year-old woman. Her boundless appetite for life stands in complete contrast to his morbid worldview. Above all, their unlikely friendship — and eventual romance — challenges every social convention the Hal Ashby 1971 film can find.The Harold and Maude film bombed on initial release. Critics were baffled, and audiences didn't know what to make of it. Nevertheless, it found its audience through midnight screenings and college campuses, eventually becoming one of cinema's defining 1971 cult classics. The Cat Stevens Harold and Maude soundtrack became inseparable from the film's identity. Notably, the Criterion Collection released a full restoration on Blu-ray in 2012. That cemented its status as a genuine classic. You can explore the full credits at its IMDb page. Guest Panelist: Van BaumannVan Baumann joins the Taste Buds for this Harold and Maude podcast episode. She co-hosts Gaymer Girls — a weekly podcast covering gaming, queer culture, and pop culture. Van and co-host Sana cover topics ranging from Baldur's Gate 3 to LGBTQ+ representation in gaming. Their wit and expertise extend to the cultural politics of the industry as well. Moreover, the show specializes in IP deep-dives for newcomers. Long-running franchises get broken down in ways that are accessible, funny, and genuinely informative.Van's perspective on the Harold and Maude film is a particularly fitting one. The 1971 cult classic resonates strongly with queer audiences for its anti-establishment energy and rejection of conventional romance. Additionally, her background in gaming culture and media criticism brings a fresh lens to Ashby's film. It is a perspective the Taste Buds couldn't provide on their own.Harold and Maude as Characters: An Unlikely Mirror in a Harold and Maude Podcast DiscussionAt the heart of the Harold and Maude film are two characters who could not appear more different on paper. Harold is young, wealthy, and surrounded by privilege — yet profoundly miserable. Maude is elderly and owns almost nothing. She has lived through extraordinary hardship. The film subtly implies she is a Holocaust survivor. However, both characters share a fundamental rejection of the life society has scripted for them. Harold's fake suicides are acts of rebellion against his mother's indifference. Meanwhile, Maude steals cars and uproots city trees without malice. She acts from a deep belief that the world belongs to everyone equally.Ruth Gordon's performance is magnetic. Gordon plays Maude not as a quirky old woman. Rather, she portrays someone who earned every ounce of joy through survival and deliberate choice. Bud Cort embodies Harold's blankness with quiet precision. His deadpan delivery makes every small shift in the character feel earned. Consequently, the chemistry between them feels less like a conventional romance and more like a transmission. Maude passes something essential to Harold before her time runs out. The Taste Buds and Van explore what makes these characters so enduring. Both discuss why the film still resonates more than fifty years later. Life and Philosophy: What the Harold and Maude 1971 Film Actually TeachesHarold and Maude is, at its core, a film about choosing to live. Specifically, it argues that joy is not something handed to you — it is something you practice, steal, nurture, and defend. Maude embodies this philosophy in every scene. She makes art and plays music with equal passion. Furthermore, she transplants a struggling tree from a concrete sidewalk to the open forest. She believes living things deserve better conditions than city concrete. Above all, she treats every encounter as an opportunity rather than an obligation.The Hal Ashby 1971 film engages with existentialism in a remarkably accessible way. It never lectures. Instead, it dramatizes the tension between Harold's death drive and Maude's life force. The audience feels the shift as the film progresses. In addition, Harold and Maude is bracingly anti-authoritarian — Harold's priest, his psychiatrist, and his militaristic uncle are all buffoons. Authority, Ashby and Higgins suggest, is part of what kills the spirit. Therefore, the film's philosophy is ultimately about sovereignty: the right to live, love, and die on your own terms. The Taste Buds unpack all of it across this Harold and Maude podcast episode.Legacy: How the Harold and Maude 1971 Podcast Goes Deep on a Cult IconFew films have had a stranger journey from flop to icon. The Harold and Maude film opened to near-universal bewilderment in 1971. Paramount barely knew how to market it. Nevertheless, word of mouth — particularly among countercultural and college audiences — kept it alive. By the late 1970s, it was a staple of midnight movie circuits. By the 1980s, it had influenced a generation of filmmakers. Notably, Wes Anderson has cited it as a key influence on his film Rushmore. Both films center on unlikely intergenerational bonds.Moreover, the 1971 cult classic has always commanded a substantial queer following. Its rejection of normative romance, its celebration of chosen family, and Maude's radical individuality have made it a touchstone for LGBTQ+ audiences for decades. Additionally, the Cat Stevens Harold and Maude soundtrack is among cinema's most celebrated. Stevens later converted to Islam and stepped back from this earlier work. Above all, Harold and Maude endures because it offers something rare: a film that insists life is worth living, and actually means it. For a bracket-style podcast covering the greatest films of 1971, this Hal Ashby film demands serious consideration.Rushmore: The Most Iconic May-December Romances in Movie HistoryIn this week's Rushmore segment, each panelist makes their case for the most iconic May-December romance in movie history. The prompt is inspired by the film itself — cinema's most famous age-gap romance. However, the Taste Buds range far beyond 1971 for their nominations. Furthermore, the debate gets heated fast as the panel navigates decades of Hollywood romance to crown their personal MVPs. Tune in to find out who made the cut — and whose picks got laughed out of the room.Shopping SpreeThe Taste Buds and Van also sit down for a Shopping Spree segment, one of PopFilter's beloved recurring features. Each participant brings a recommendation that pairs well with the episode's themes. Films, media, and cultural artifacts are all fair game. In addition, the segment is a chance for the panel to let their enthusiasms run free outside the main discussion. Notably, the Harold and Maude Shopping Spree delivers some particularly inspired picks. Listen in to find out what made the list.Why Harold and Maude Still MattersMore than fifty years after its release, the Harold and Maude film remains one of the most emotionally honest ever made. It refuses to sentimentalize death or romanticize youth. Instead, it argues that wisdom, joy, and love have no age limit. Choosing to be fully alive, it suggests, is the most radical act of all. Moreover, in an era of increasing conformity and algorithmic culture, Maude's anarchic embrace of experience feels more urgent than ever.The 1971 cult classic also matters as a document of its moment. 1971 was a year of profound cultural friction. The counterculture was fading, the Vietnam War continued, and a deep national anxiety had taken hold. Harold and Maude absorbed all of that tension and responded with something unexpected: grace. Consequently, it stands as one of 1971's most essential films and a worthy contender in PopFilter's Movie of the Year bracket. Additionally, Van Baumann's perspective adds a dimension the Taste Buds alone couldn't provide. This Harold and Maude podcast episode is a must-listen for fans of film and philosophy.Related Episodes from Movie of the Year: 1971

A Popfilter vendége Sipos Orsolya és Török Ádám. A két stand-upossal a humor sokféleségéről, párkapcsolati nehézségekről, a nyilvánosság erejéről és a közösségi médiáról beszélgetett Csepelyi Adrienn.

Movie of the Year: Best of the Year 2025Century of the YearA 2025 Year in Review in Real TimeEvery year tells a story — but rarely this fast.In this special episode of Movie of the Year, the panel presents 2025 – Century of the Year, a bold and chaotic 2025 year in review that attempts something simple, ambitious, and wildly entertaining: 100 of the biggest moments of the year, discussed in just 100 minutes.This isn't a countdown.It isn't a competition.It's a real-time replay of the year as it unfolded.If you're looking for a 2025 year-in-review podcast that values memory over rankings and chaos over consensus, this episode delivers.What This 2025 Year in Review CoversAcross 100 minutes, the episode touches on a wide range of moments that defined the year, including:major film releases and pop-culture eventsTV moments that dominated conversationinternet and media chaosstories that felt huge in the momentrobot chickensThe goal isn't to judge what mattered most — it's to remember what actually happened, when it happened.The Format: 100 Moments, 100 MinutesUnlike traditional year-end lists, Century of the Year moves chronologically, creating a true 2025 year in review rather than a retrospective ranking.Each moment gets:one minuteone burst of conversationOne chance to capture why it mattered thenJanuary flows into February, February into March, and suddenly the year is racing by. The format mirrors how 2025 actually felt: relentless, noisy, and impossible to fully process in real time.Who's on the MicTo keep pace with the format, Movie of the Year brings together a full PopFilter lineup:GregMikeRyanCassie, host of The Superhero Show ShowKatelynnMackennaWith six voices rotating through the moments, the episode becomes a rolling conversation — jokes collide with reflection, and no one has time to overthink. The result is a loose, funny, and surprisingly emotional 2025 year-in-review podcast.Why Century of the Year Is a 2025 Year in Review Unlike Any OtherThere are no winners.No awards.No arguments to settle.Instead, this episode leans into playful chaos. One minute forces instinct. Tangents get cut short. Opinions are stated boldly and sometimes abandoned just as quickly. That's not a flaw —...

Send us a textHow To Fix Plosives In Voice OverIn this episode of A VO's Journey, we tackle one of the most common problems voice actors face in their recordings: plosives. Those harsh bursts of air on letters like P and B can ruin an otherwise clean take—but the good news is, they're fixable.We break down what plosives are, why they happen, and most importantly, how to prevent and fix them. From mic technique and placement, to using pop filters and windshields, to editing tricks in post-production, you'll get practical solutions that work for any home studio setup.If you've ever listened back and heard that dreaded “pop,” this episode gives you the tools and confidence to clean up your audio and deliver broadcast-quality voice overs every time.50% Off First MONTH FOR VO JOURNEY ACADEMY HERE:  https://www.avosjourney.comJoin Academy Voices Talent Roster Here: https://www.academyvoices.com/offers/4sNBzDc9 Support the showSocial Links: Instagram - https://www.instagram.com/anthony_pica_vo/ Twitter - https://twitter.com/AVOsJOURNEY Facebook - https://www.facebook.com/groups/avosjourney/ LinkedIn - https://www.linkedin.com/in/anthonypicavo/

A Campus Fesztivál negyedik napján a DVSC két Európa-bajnoki bronzérmes játékosa, Petrus Mirtill és Füzi-Tóvizi Petra voltak a Popfilter Live vendégei. Csepelyi Adrienn kérdezte őket a csapaton belüli összetartásról, a győzelem öröméről és a nehéz időszakokról is, szóba került, hogy milyen lemondásokkal jár az élsport, hogyan viselik a lányok, ha felismerik őket az utcán, és mit éreznek, amikor a keretszűkítés miatt nem vehetnek részt egy fontos mérkőzésen. Tartsatok velük!

Kendőzetlenül őszinte – talán ezzel írható le legjobban Molnár Tamás és Csepelyi Adrienn beszélgetése. Adrienn a Campus Fesztiválon kérdezte a zenészt megújulásról és hiteleségről, függőségről és józanságról, a bélyegről, ami az absztinens szenvedélybetegeket egy életen át elkíséri, és az is szóba került, hogy a szereket elhagyva mi adja meg most Tamásnak a teljes felszabadultság érzését. Tartsatok velük! Popfilter – Szűrjük a zajt a Campus Fesztiválon is!

Rendezett már klipet a Carson Comának, az Ivan and The Parazolnak, Saya Noénak, Fehér Balázsnak is – de ő jegyzi Hien Túl szép című dalának 2025-ös verziójához készült videót is. A Campus Fesztiválon egyik legújabb projektjéről beszélgettünk: a WAVY kollektíva három tagjáról, Co Lee-ról, Aminonról és Blaize-ről forgatott dokumentumfilmjéről. (Eredetileg Co Lee is a vendégünk lett volna, de betegség miatt sajnos le kellett mondania a beszélgetést.) Az egyedi látásmódú, rendkívül alapos szakember elmeséli, hogyan választ témát, miként kerül olyan viszonyba a szereplőkkel, hogy tényleg lehessen „légy a falon”, de szó esik arról is, hogy kinek nem rendezne soha klipet és miért. A Popfilter Live második vendége Szelei Dóra! Popfilter – Szűrjük a zajt a Campus Fesztiválon is!

A WMN Popfilter Live második évben jelentkezik a debreceni Campus Fesztiválról. Az első rész vendége Koósz Milán, az ország egyik legismertebb DJ-je, Csepelyi Adrienn műsorvezetőtársa a fesztiválon. Saját bevallása szerint vidám bohóc – aki persze néha szomorú. De akkor is neve. Popfilter – Szűrjük a zajt a Campus Fesztiválon is!

Földes Eszter színművész társulati munkáról, a Loupe A kezdet/vége című előadásáról, magánéleti mélypontokról és igazságtalan helyzetekről is beszélt a Popfilter stúdiójában.

Héja Domonkos karmester, a Magyar Rádió Művészeti Együtteseinek új főzeneigazgatója új megbízatásáról, önismereti útjáról és szakmai meglátásairól beszél – rengeteg öniróniával, egyben kellő komolysággal. Popfilter – szűrjük a zajt!

Az e heti Popfilter vendége az állandóság az életünkben: évtizedek óta ő mondja nekünk a híreket az RTL Híradójában. Közben azonban ő maga is rengeteget változott (például „nemkutyásból” díjjal kitüntetett gazdi lett), meg a minket körülvevő világ is, amihez értelemszerűen a műfajnak is idomulnia kellett. Emellett Csepelyi Adrienn beszélgetőtársának abban is rendkívül fontos szerepe van, hogy ma sokkal többet tudunk a cukorbetegségről társadalmilag, mint amikor őt magát diagnosztizálták. Példamutatásával és az Egy Csepp Figyelem alapítványbeli tevékenységével rengeteg gyereknek és felnőttnek könnyíti meg az életét. És milyen jó, amikor a híreket olykor felváltják a személyes sztorik! Popfilter – Szűrjük a zajt!

Emberevés, Bánatszalonna, magyar néplélek, külföldi karrier, szürreális utazós sztorik, kommunában élés és vidékre költözés – ezekről mind szó esett a stúdióban. Ez tulajdonképpen a Bohemian Betyars egy képben: a felszínen felszabadítóan szórakoztató – a mélyben azonban megannyi gondolat, üzenet és megélt fájdalom. Csepelyi Adrienn Szűcs Leventét és Dankó Dánielt kérdezte a Bohemian Betyarsból. Popfilter – Szűrjük a zajt!

A Popfilter mai adásának vendége Bányai Judit, aki a Nem akarok beleszólni csapat tagjaként lett ismert, számos fontos közéleti témában készít tartalmat, egy ideje pedig a Fókusz Stúdió szerkesztő-gyártásvezetője.

Nem a tökélyre törekszik, hanem a valódira. Nem véletlen, hogy főztjével nagy érzelmeket képes megmozgatni, de közben a nemzetközi gasztrovilág és a szakma elismerését is kivívta. A Michelin-csillagos és Michelin Green Star-tulajdonos SALT étterem séfje, a Konyhafőnök zsűritagja – közben pedig olyan keresetlen egyszerűséggel lehet vele beszélgetni, ami üdítő ritkaság ebben a világban. De hogy fér össze a paraszti egyszerűség a fine dininggal? Óhatatlanul kényelmes-e a szereplés egy séfnek, vagy szoknia kell, hogy a világ száz legjobbja közé választják a pályatársai? Hogyan jut el valaki Mátészalkáról ide, miként tervez újra krízisben, és vajon miért fontosabb neki a végzettségnél, hogy valakivel meglegyen a kémia? Tudjuk-e értékelni a jó szakmunkásokat, az egyszerű alapanyagokat vagy egy pohár alkoholmentes italt? Mindezeken túl az is kiderül, mire mondják mifelénk, hogy cifra nyomorúság! A mai adásban Tóth Szilárd Michelin-csillagos séf! Popfilter – Szűrjük a zajt!

Im Januar veröffentlichen wir die finalen drei Folgen unseres Storytelling-Podcasts „Teurer Fahren“ und empfehlen besondere Podcast-Folgen beim Podcast-Radio detektor.fm. (00:00:11) Begrüßung (00:00:55) Teurer Fahren (00:08:54) Mission Energiewende — Zwischenstand Klimaziele (00:10:06) Mission Energiewende — Tren Maya (00:10:38) brand eins — Themenwochen Employer Branding (00:12:30) Antritt — Über die Ursprünge des Mountainbikings (00:13:34) Abschied vom Popfilter (00:17:42) Stephan empfiehlt den OMR Podcast mit Clueso und seinem Manager (00:19:10) Christian empfiehlt den Wondery Podcast „Hysterical“ (00:20:53) Christians Buchtipp: Anke Stelling — Schäfchen im Trockenen >> Artikel zum Nachlesen: https://detektor.fm/wissen/destilliert-januar-2025-finale-bei-teurer-fahren-podcast-tipps

Im Januar veröffentlichen wir die finalen drei Folgen unseres Storytelling-Podcasts „Teurer Fahren“ und empfehlen besondere Podcast-Folgen beim Podcast-Radio detektor.fm. (00:00:11) Begrüßung (00:00:55) Teurer Fahren (00:08:54) Mission Energiewende — Zwischenstand Klimaziele (00:10:06) Mission Energiewende — Tren Maya (00:10:38) brand eins — Themenwochen Employer Branding (00:12:30) Antritt — Über die Ursprünge des Mountainbikings (00:13:34) Abschied vom Popfilter (00:17:42) Stephan empfiehlt den OMR Podcast mit Clueso und seinem Manager (00:19:10) Christian empfiehlt den Wondery Podcast „Hysterical“ (00:20:53) Christians Buchtipp: Anke Stelling — Schäfchen im Trockenen >> Artikel zum Nachlesen: https://detektor.fm/wissen/destilliert-januar-2025-finale-bei-teurer-fahren-podcast-tipps

Schweren Herzens beenden wir unseren täglichen Musikpodcast Popfilter. In der letzten Folge blickt das Team zurück auf die letzten 637 Tage. Ein Nerd-Talk der Extraklasse und Einblicke hinter die Popfilter-Kulissen. Danke fürs Zuhören! Über diese Folgen und Songs sprechen wir in der Folge: A.S. Fanning – „Haunted“ Connie Converse – „Roving Woman“ Margo Guryan – „Sunday Morning“ These Girls Takeover-Woche Takeover-Woche mit Dry Cleaning Takeover-Woche mit Eric Pfeil und Francesco Wilking Takeover-Woche mit Uche Yara Takeover-Woche mit Kate Nash Takeover-Woche mit Kevin Kuhn Rita Lee – „Mania De Você“ The Notorious B.I.G. – „Gimme The Loot“ Masha Qrella – „Um die weite Welt zu sehen“ (Manfred Krug Cover) Brutalismus 3000 – „Safe Space“ >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-die-letzte-folge

Die Musikerinnen Julien Baker und TORRES kommen beide aus den US-Südstaaten. Ihre Liebe zu Country-Musik gipfelt in einem gemeinsamen Album. Als lesbische Künstlerinnen spielt Queerness darin auch eine Rolle. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-queer-country-mit-julien-baker-und-torres

In Deutschland sind sie eher in kleineren Venues zu sehen, in Großbritannien spielen sie auf den größten Festivals des Landes. Circa Waves kehren mit einem neuen Album zurück. Musikalisch klingt es nach tanzbarem Indie. Hinter den Texten verbergen sich zum Teil aber tiefgründige Nachrichten. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-circa-waves-indie-ueber-leben-und-tod

Die Band Papooz und Musikerin Sofia Bolt schließen sich für ein Weihnachtssong zusammen. So richtig weihnachtlich ist da aber nichts außer einem kleinen moralischen Zeigefinger. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-a-very-indie-christmas-papooz-und-sofia-bolt-setzen-auf-ehrlichkeit

Indie-Veteranen Dean & Britta und Sonic Boom haben zusammen ein Weihnachtsalbum aufgenommen. Darauf befindet sich auch eine Neuinterpretation des Willie Nelson Hits „Pretty Paper“. Aus dem schunkeligen Country-Song machen sie dabei einen gloomy Elektropop-Track. >> Artikel zum Nachlesen: https://detektor.fm/politik/popfilter-dean-britta-sonic-boom-bringen-weihnachten-auf-den-dancefloor

Als einer der ersten offen homosexuellen Country-Musiker ist der Kanadier Orville Peck sehr erfolgreich. Sein Markenzeichen sind Fransenmaske und glitzernde Rodeo-Anzüge – da fehlt auch zum Weihnachtsmann-Kostüm nicht mehr viel. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-a-very-indie-christmas-mit-orville-peck-auf-dem-weihnachtstrail

Lehet-e közélettől mentesen beszélgetni a Tankcsapdával? Nos, legalábbis kísérletet tettünk rá. Hogy miért? Talán, mert hasznos, ha nem vész el az ember – legyen szó akár rajongóról, akár zenészről. Vagy mert így nehezebb? Nem tudom. De az biztos, hogy szerettem ezt a beszélgetést ejtőernyőzéstől bokszig, törött végtagoktól vicces történetekig. És azért is, mert a nevetés mellett benne van a lemondások története és még egy csomó minden. Ami talán nem olyan kattintékony, de a nagy kép fontos része. A mai epizódban tehát Lukács László és Sidlovics Gábor Sidi. Popfilter – Szűrjük a zajt!

In diesem Monat feiern wir 15 Jahre detektor.fm. Gründer Christian Bollert und Musikchef Gregor Schenk schwelgen für diese Folge in Erinnerungen. Außerdem erklären sie, wie wir den Geburtstag mit euch feiern und welche Bands dabei sind. (00:00:09) Begrüßung (00:00:35) Dienstälteste (00:01:52) 15 Jahre detektor.fm (00:04:11) Preise über die Jahre (00:05:17) Geburtstagsfeier am 28. November (00:06:21) Mit Live Podcast (00:07:34) Und Live Musik (00:10:36) Gregor über die Arbeit in der Musikredaktion (00:12:03) Kate Nash: Takeover im Popfilter (00:13:56) Martin Kohlstedt zu Gast im Popfilter (00:16:16) Storytelling-Podcast: Deutschland ein Halbes Leben (00:19:51) Ankündigung und Ausblick (00:21:04) Verabschiedung >> Artikel zum Nachlesen: https://detektor.fm/gesellschaft/destilliert-november-2024-15-jahre-detektor-fm

Rost Andrea világhírű operaénekesnő a Popfilterben a pályája fontos állomásairól, Callasról, szerepformálásról és rendezésről, a kritikáról és a hangi adottságokról is beszélt.

Október 8. a Dalszerzők Napja, az Artisjus idei kampányából Pátkai Rozina és Sára Gergely Gege (6363) volt a Popfilter Backstage vendége.

Will Gregory of Goldfrapp chats with JoE Silva about the Will Gregory Moog Ensemble debut album "Heat Ray: The Archimedes Project ." Plus new music from WUT, Pop Filter and Australian post-punk phenoms Delivery

Eke Angélát annak apropóján hívtuk beszélgetni, hogy bejelentette: ezt a színházi évadot feltöltődéssel, alkotói pihenéssel tölti. És itt jön a csavar: nem, nincs baj, Angéla jól van – és szeretné, ha ez így is maradna. Ezért megy el töltekezni, mielőtt gond lenne. Ebben a már-már meditatív beszélgetésben sok minden szóba kerül a gyerekkorból cipelt terheken át a nagyvárosi beilleszkedésig, a művészi lét kimerítő voltán át addig, milyen is, amikor vadidegen, véletlenszerűen összesorsolt emberek együtt alszanak. Az évadnyitó epizódban tehát Eke Angéla színésznő. Popfilter – szűrjük a zajt!

Seit eineinhalb Jahren versorgt der detektor.fm-Podcast Popfilter Musikfans täglich mit neuen Songempfehlungen. Die beiden Hosts Marie Jainta und Gregor Schenk erzählen, warum es sich lohnt, Popmusik auch mal mit anderen Ohren zu hören und alte Schätze auszugraben. (00:00:09) Begrüßung Marie und Gregor vom Popfilter (00:00:34) Die nächste Takeover-Woche steht an (00:01:21) Christin Nichols übernimmt dieses Mal (00:03:00) Über die letzte Takeover-Woche, mit den Leoniden (00:04:40) Was ist das Besondere am Popfilter? (00:06:22) Wiedervereinigung von Oasis und 30 Jahre „Definitely maybe“ (00:10:56) Nicht nur Songs, auch Pop-Phänomene werden besprochen (00:13:18) Empfehlung: Geschichten aus der Mathematik (00:15:30) Empfehlung: Monopol-Podcast über den Künstler Alfredo Jaar (00:16:13) Empfehlung: Antritt Podcast zur Tour de France Femmes (00:17:17) Marie empfiehlt das neue Buch von Paula Irmschler (00:18:45) Verabschiedung >> Artikel zum Nachlesen: https://detektor.fm/wissen/destilliert-september-2024-popfilter-im-spotlight

Mindenki a humorát emeli ki elsőként, ám az legalább ugyanilyen fontos vonása, hogy mer és tud is nehéz témákról beszélni. Láb, smink, haj, menstruáció... Ebben a Popfilterben minden előkerült!

Az Analog Balaton olyan gyorsan vált kultikussá, amilyen lassan építkezett az elején. Közönségsiker és szakmai díjak: mégis hogyan érhető el mindez tudatosság nélkül? A Popfilterben elmesélik.

Metzker Viki minden létező sztereotípiával megküzdött karrierje során, ám a kemény munka és a szakmai alázat immár két évtizede az ország legismertebb DJ-i között tartja. Karrierről, zeneiparról, a DJ-zés lelki hátteréről is mesélt.

Érzem, hogy Csorba »Nem táncolsz jobban, mint én« Lórántként fogok meghalni – mondja a Lóci játszik dalszerző-énekese, aki amúgy „nappali bölcsődei szolgáltatást nyújtó személy”. Mármint tényleg. Popfilter Live fesztiválos különkiadás.

Es beginnt mit einer einfachen E-Mail — es folgt ein absoluter Überraschungserfolg. Mit zehn Millionen Abrufen ist der Spektrum-Podcast von Spektrum der Wissenschaft und detektor.fm einer der erfolgreichsten Podcasts der vergangenen Jahre. (00:00:09) Begrüßung Marc Zimmer – 200 Folgen Spektrum Podcast (00:01:44) Wie gings los für dich mit dem Podcast? (00:04:24) Die Jubiläumsfolge (00:08:32) Wie geht es weiter mit dem Podcast? (00:11:08) Geschichten aus der Mathematik (00:12:42) Brand eins Jubiläum – 25 Jahre (00:15:43) Leoniden übernehmen Popfilter (00:17:02) Teurer Wohnen – Deutscher Podcastpreis (00:18:58) Marc empfiehlt „Wir waren wie Brüder“ von Daniel Schulz >> Artikel zum Nachlesen: https://detektor.fm/wissen/destilliert-august-2024-spektrum-podcast-feiert-200-folge

Check out this week's Suburban Underground.  Amongst the hour of great songs, Steve picked a set of "boyfriend" songs and a set of "girlfriend" songs.  These artists are featured in this episode: The Charlatans, Popfilter, Girl In Red, The Ramones, Garbage, Talking Heads, Teen Machine, The Boomtown Rats, Travis, Billy Idol, Slothrust, Pulp, Local Natives, Kaiser Chiefs and MKH (Michael Hutchence and Danny Saber). On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Twitter: @SUBedford1051  ***    Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

One of the most common questions both new and seasoned podcasters ask is, “What kind of equipment do I need?” As podcasters, delivering high quality content is the top priority, and achieving this is heavily dependent on the equipment we use. In today's episode, Kristin walks listeners through step 4 of the "Starting a Podcast '' series, where she dives into the nitty-gritty of the audio components. You've already tackled the mindset work; now it's time to focus on the technical aspects of delivering a great podcast. Few key points from today's episode: When it comes to podcasting, the quality of your audio can make or break your show.  Dynamic microphones are popular among podcasters because they are durable and less sensitive to background noise.  While wireless headphones are convenient, wired headphones are a crucial choice for podcasting.  Having the right accessories can enhance your recording experience. Remember, your audio matters. Investing in good equipment isn't just about spending money—it's about ensuring that your voice is heard clearly and professionally.    Quotes from Today's Episode: “Quality matters, your audio matters” Mic recommendations: *Shure SM58 Cardioid Dynamic Vocal Microphone with 25' XLR Cable, Pneumatic Shock Mount, Spherical Mesh Grille with Built-in Pop Filter, A25D Mic Clip, Storage Bag, 3-pin XLR Connector (SM58-CN) *Doesn't come with a mic stand so need to purchase separately Samson Technologies Q2U USB/XLR Dynamic Microphone Recording and Podcasting Pack (Includes Mic Clip, Desktop Stand, Windscreen and Cables), silver Comes with mic stand  Headphones: Audio-Technica ATH-M20X Professional Studio Monitor Headphones, Black     Are you looking for guidance or want to launch a podcast?  Contact Kristin for Podcast Coaching Looking for a community of podcasters?  Join us in Podcast Membership  Join our FB Community: https://www.facebook.com/groups/podcastcoachingforkingdomentrepreneurs  

Video: https://youtu.be/K-huKM8r8KA Topics discussed: The United States TikTok ban and what I suggest content creators do, comparing the Lewitt Ray to the Lewitt LCT440, testing if face masks make good pop filters, discussing if redundant items are luxury items, explaining why audio gear is high value, and then insane ramblings and tangents.   Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Lewitt Ray: https://geni.us/lray Universal Audio x8:  https://sweetwater.sjv.io/uax8   As an affiliate I earn from qualifying purchases.    Ask Questions: https://www.askbandrew.com Merch: https://www.podcastage.com/store Discord: http://www.podcastage.com/discord   00:00 - Intro 00:20 - The U.S. Tik Tok Ban Verge Article: https://www.theverge.com/2024/4/24/24139036/biden-signs-tiktok-ban-bill-divest-foreign-aid-package BSP-222 Discussing Tik Tok Ban: https://youtu.be/aAOt9fABjaM?si=vn5KxQLe_V3EisZ2 08:00 - WYHTS: Lewitt Ray vs. Lewitt LCT440 10:24 - WYHTS: Do Face Masks Make Good Pop Filters? 12:51 - WYHTS: Redundant Items are Luxury Items 21:26 - WYHTS: Audio Gear is High Value 28:00 - Value for Value 30:13 - Conclusion

Começa agora o POD NOTÍCIAS, a sua dose semanal de informação sobre o mercado de podcasts no Brasil e no mundo! Falando de Serra Negra eu sou Leo Lopes, hoje é segunda-feira, dia 15 de abril de 2024 e esta é a nossa décima primeira edição! Sabia que você pode anunciar com a gente aqui no Pod Notícias? Se você tem uma marca, produto ou serviço e quer atingir um público qualificado que se interessa pelo podcast aqui no Brasil, o nosso público é o seu público. Manda um e-mail pra gente no contato@podnoticias.com.br, que a gente vai ter o maior prazer em conversar com você. Além disso, se você quiser colaborar com a gente, mandar texto, mandar pauta, também é muito bem-vindo, e pode fazer isso também pelo mesmo e-mail. 1 - Abrindo as notícias desta edição, você já pensou no quanto os podcasts são uma mídia acessível pra pessoas que tem alguma deficiência? O áudio funciona pra quem não tem visão, a transcrição do áudio funciona pra quem não tem audição, e tanto o podcaster quanto as plataformas estão buscando cada vez mais formas de deixarem os podcasts cada vez mais inclusivos. Quantas mídias a gente vê fazendo isso? Não muitas, concorda? Então esse ano a gente vai seguir o exemplo da empresa nigeriana de tecnologia Wokpa, que iniciou essa conversa, e reconhecer os podcasts como ferramentas de inclusão. Com os podcasts, as pessoas com deficiência podem compartilhar as suas histórias, se conectar com outras comunidades, quebrar estereótipos e buscar as mudanças sociais que a gente precisa. Fora que é uma mídia de fácil consumo, o que é ideal pra pessoas com qualquer tipo de limitação. Quer fazer a sua parte pra uma podosfera ainda mais inclusiva? Não é nada difícil. Você só precisa transformar a acessibilidade em uma das prioridades do seu programa, sempre conversar com vozes diversas e ser um aliado das mudanças que promovam a inclusão. Assim a gente cria uma podosfera cada vez melhor e mais rica. Link 2 - Na semana passada, o site Substack publicou no seu blog o texto "Como os podcasters estão monetizando com o Substack", falando um pouco sobre o que a nossa comunidade têm feito pra ganhar alguns trocados na plataforma - que é, na verdade um site focado em newsletters. De acordo com a coluna, os podcasters geram um modelo de negócios baseado no relacionamento direto com a audiência. Essa relação cria nos ouvintes um senso maior de engajamento e apoio ao criador de conteúdo, que monetiza no Substack criando produtos complementares, episódios exclusivos pra assinantes e programas de áudio e vídeo que são enviados direto pros e-mails dos ouvintes. E isso tudo funciona direitinho porque a plataforma já tem o serviço de assinaturas, mesmo quando é só pras newsletters de texto. As formas de pagamento são flexíveis, o que facilita ainda mais pro ouvinte de podcast que quer contribuir com seus criadores de conteúdo preferidos. Então se você tá naquela fase de tentar bolar um plano de assinaturas pro seu programa, ou uma forma acessível de monetização que não dependa só de publicidade, vale dar uma olhadinha nos serviços do Substack, e ver se o que eles oferecem serve pro seu projeto. Link 3 - E estudos recentes sobre o mercado de players de podcast, indicam um crescimento robusto que vai acontecer até 2032. Essa informação vem de uma pesquisa sobre aplicativos do Market Reports World, que é um relatório de mercado mesmo, daqueles que são criados pra empresas e indústrias, com todo tipo de informação e variável. Esses relatórios não são nada baratos, esse por exemplo sai pela bagatela de quase 4 mil dólares se você não for um assinante do Market Reports, mas é claro que a gente do Pod Notícias reuniu as informações mais importantes pra nós, produtores de podcast. Uma tendência chave pros próximos anos, é o interesse dos consumidores em empresas mais alinhadas com a consciência ambiental e sustentabilidade. Além disso, a gente vai continuar vendo cada vez mais integração de tecnologia nos players de áudio e também nos produtos, utilizando tecnologias como inteligência artificial, machine-learning e blockchain. E o que garante essa projeção sobre o crescimento do mercado de players até 2032, é a Taxa de Crescimento Anual Composta, cujo número dobrou na última década. Vale lembrar que o relatório considera os impactos da pandemia de Covid-19 e a guerra da Rússia com a Ucrânia e as projeções continuam tendo números muito altos. Então, agora, é esperar pra ver. Link AINDA EM NOTÍCIAS DA SEMANA: 4 - Na última sexta-feira, dia 12, aconteceu o evento online de comemoração do aniversário do Headliner, o site que transforma podcasts em vídeos e audiogramas - que a gente utiliza bastante também aqui na Rádiofobia Podcast Network. Já são 6 anos de operação do Headliner, e nesse período, mais de 1 milhão e 300 mil podcasters em 193 países usaram seus serviços para criar 72 milhões e 900 mil minutos de podcasts exportados. Se você passasse sua vida inteira ouvindo os conteúdos que foram transformados em audiogramas no Headliner, não conseguiria ouvir todos, porque, no total, são mais de 138 ANOS de conteúdo. São mais de 17 milhões de vídeos criados e mais de 25 milhões de minutos transcritos. É muita coisa mesmo. Além de criar audiogramas, o Headliner também oferece vários recursos para edição, transcrição, promoção e conexão de podcasts em diferentes plataformas. É uma ferramenta bem bacana, que a gente mesmo usa aqui no Pod Notícias uma automação que manda direto pro YouTube, por exemplo, e facilita bastante a nossa vida. E é muito legal saber esses números exatos do quanto a empresa já auxiliou podcasters no mundo todo. Link 5 - Você conhece o Podscan? O Podscan.fm é um serviço que alerta os usuários quando seu nome, marca ou palavras-chave são mencionados em podcasts - em questão de minutos - e que possui um banco de dados completo com episódios transcritos e pesquisáveis. O Arvid Kahl, CEO do Podscan, anunciou na última semana que eles receberam um grande investimento da empresa Calm Company Fund, depois de já ter negado várias ofertas de outras empresas. Com o financiamento, o plano agora é acelerar o crescimento do scanner, implementando GPUs em nuvem para aumentar a capacidade de processamento. Além disso, o Arvid Kahl também apresentou a nova identidade visual do Podscan, que marca uma nova fase da empresa, mais direta e profissional. Ele enfatizou bastante sobre como tem sido positiva a experiência de transformar a sua empresa em uma construção pública e encorajou outros empreendedores a também adotarem essa prática nos seus negócios. Link 6 - E foram divulgados os vencedores dos Prêmios Ondas Globais de Podcast 2024. Os prêmios vão ser entregues em uma cerimônia agendada pro dia 19 de junho no Circo Price Theater em Madrid. Essa é a terceira edição do evento, que premiou 18 vencedores em 16 categorias, além de ter feito 3 menções honrosas. O maior patrocinador da premiação é a Podimo. A seleção dos vencedores foi feita entre os 70 finalistas anunciados em abril pelo júri, que avaliou 1.252 indicações de 19 países. Além das categorias regulares, os prêmios de Podcast Revelação e Contribuição Vitalícia para a Indústria de Podcasts na Espanha e na América Latina foram decididos por voto direto do painel de juízes. A lista completa de vencedores está disponível na nossa página no LinkedIn do Pod Notícias. Link E MAIS: 7 - O Podtrac divulgou os rankings das principais editoras e redes de podcasts nos Estados Unidos e no mundo, referentes ao mês de março de 2024. Os grandes destaques foram as entradas das redes iHeart Audience Network e da Acast no ranking americano. Essas empresas já são conhecidas por produção de áudio, mas as redes, especificamente, produzem e vendem peças de publicidade. Além disso, a Acast foi destacada como a editora número 1 global, com 405 milhões de downloads em março, e ficou em terceiro lugar entre as editoras nos Estados Unidos. Essa é a primeira vez que a Acast fica em primeiro lugar mundial. Se a empresa antes não era vista como tão competitiva no mercado, agora vai ser, com certeza. Link 8 - E mais um podcast vai ser adaptado para uma série de televisão: o programa da vez é o americano Bone Valley, de investigação criminal, baseado no trabalho de Gilbert King e Kelsey Decker. O programa é bem conhecido na comunidade podcaster e já ganhou vários prêmios, entre eles dois Ambie Awards, e o "Escolha dos Ouvintes" no Signal Awards. Além disso, as pautas do podcast influenciaram positivamente em casos criminais reais - igual aconteceu com o Projeto Humanos aqui no Brasil, o Caso Evandro, por exemplo. A adaptação pra televisão vai ficar sob o comando da roteirista Dana Stevens, veterana de Hollywood, e a produção geral vai ser feita por Cathy Schulman, que é vencedora de um Oscar de produção de TV. Gilbert e Kelsey já confirmaram que, enquanto a série é produzida, eles também estarão trabalhando na segunda temporada do Bone Valley em podcast. A primeira temporada está disponível na íntegra em todas as principais plataformas de podcast. Link 9 - E nas dicas de produção dessa semana, quem deu as instruções sobre como promover o seu podcast nas redes sociais, foi o Spotify for Podcasters. No seu perfil do X/Twitter, a empresa compartilhou dicas sobre como usar o Instagram, que é a melhor rede para se postar conteúdo em imagens, o X, a melhor rede para conteúdo escrito, o TikTok, melhor rede para conteúdo rápido, e o Facebook, a melhor rede para construir uma comunidade. Você quer saber como usar as redes sociais a favor do seu podcast? Então não deixa de conferir a matéria na íntegra, lá no LinkedIn do Pod Notícias, onde a gente já traduziu, adaptou, e deixou a informação prontinha pra te ajudar com essa parte. Link HOJE NO GIRO SOBRE PESSOAS QUE FAZEM A MÍDIA: 10 - O Luan Alencar, editor de podcasts que já trabalhou com a Globo, CNN, B9 e Folha de São Paulo, anunciou na última semana que vai dar uma oficina de produção de podcasts - com foco principal em edição, que é a maior expertise dele. As aulas vão acontecer online, via Zoom, a partir do dia 27 de abril. Depois das primeiras aulas, os participantes vão criar um podcast experimental para aplicar o que aprenderam, e na última aula, o Luan vai dar todo o feedback e sugestões de melhoria para cada podcast. Além disso, durante o curso, os participantes vão ter acesso a um grupo no Whatsapp onde vão poder tirar todas as dúvidas que tiverem. Se você tem interesse em participar da oficina, todas as informações principais e o formulário de inscrição estão disponíveis na página do LinkedIn do Pod Notícias, e nos perfis do Luan nas redes sociais. Link 11 - E na semana passada nós não tivemos enquete e nem Caixinha de Perguntas no Instagram, mas essa semana ela está de volta! E é em total espírito de colaboração e camaradagem, que a equipe do Pod Notícias quer saber: Qual conselho você daria para alguém que está começando agora a produzir seu próprio podcast? O nosso Instagram é o @pod.noticias e o link vai estar na descrição desse episódio, então segue a gente por lá e não deixa de participar das nossas interações, porque a gente gosta muito mesmo de ler as respostas dos nossos ouvintes e amigos. Como sempre, a caixinha de perguntas vai ficar no ar por 24h nos nossos stories, então deixe a sua contribuição o quanto antes. Instagram do Pod Notícias SOBRE LANÇAMENTOS: 12 - O grupo americano de comediantes The Lonely Island anunciou o lançamento do seu novo podcast com Seth Meyers, e fez uma promoção um tanto quanto... Incomum, no mínimo. Durante alguns programas de entrevista, o Andy Samberg disse que, abre aspas: "Nós não somos bons e eu não gosto do programa". O Jorma Taccone, um dos seus parceiros de bancada, concordou, quando disse que "o podcast era só uma desculpa pra ele ter a oportunidade de ver os amigos" (até aí, eu tô fazendo isso há 15 anos...). O último integrante do programa, Akiva Schaffer, foi ainda mais crítico e disse que não só ele não gostou do programa, mas ele também ficou tão incomodado de ouvir a própria voz, que vai ser uma pessoa mais quieta a partir de agora. Pra qualquer outro podcast essa "anti-promoção" poderia ser desastrosa, mas pra eles, parece que funcionou - quem já conhecia a comédia auto-depreciativa do grupo, ficou ainda mais curioso pra ouvir o programa, que já está disponível nas principais plataformas - em inglês, é claro. Link 13 - Hoje também temos lançamento de equipamento, com a Shure anunciando o novo microfone MV7+ Podcast Microphone, uma versão aprimorada do já excelente modelo de microfone para podcasts. O MV7+ apresenta melhorias de design , iluminação embutida e novos recursos de software DSP, e ele pode ser conectado direto no computador ou em uma interface de áudio. As gravações de altíssima qualidade são garantidas por recursos como Tecnologia de Isolamento de Voz, Modo de Nível Automático Aprimorado e Pop-Filter digital. O microfone também oferece três tipos de reverb e um painel LED personalizável. O Shure MV7+ já está disponível para venda no valor de 279 dólares. Link RECOMENDAÇÃO NACIONAL: 14 - E hoje na nossa recomendação nacional da semana, a indicação vai especialmente pros apaixonados por inovação, carreira e tecnologia: é o podcast Cabeça de Lab, produzido pelo Luizalabs, que é o laboratório de inovação e tecnologia do Magalu, e editado pela Rádiofobia Podcast e Multimídia. O programa é semanal e coloca membros da equipe do Luizalabs, como o Yohan Rodrigues e a Julia Peixoto, frente a frente com convidados que são destaque no setor. As conversas sempre são super descontraídas e informativas - é um podcast cabeça, como o nome já sugere, mas que é muito confortável de ouvir. Os episódios nunca são redundantes, sempre dá pra aprender coisa nova, descobrir insights novos sobre carreira e negócios, e vale muito a pena conferir. O Cabeça de Lab está disponível em todas as principais plataformas, e é publicado todas as quintas-feiras. Não deixa de conhecer e de assinar no seu agregador de podcast preferido. Link E assim a gente fecha esta décima primeira edição do Pod Notícias. Acesse podnoticias.com.br para ter acesso à transcrição e os links das fontes de todas as notícias deste episódio! Nosso podcast - e eu, que preciso descansar um pouco - vai fazer uma breve pausa de duas semanas a partir de hoje e vai estar de volta com sua edição número 12 no dia 06 de maio. Mas as notícias vão continuar a ser publicadas diariamente, porque o mundo do podcast segue ativo e crescendo no mundo todo! Acompanhe o Pod Notícias diariamente:- Page do Linkedin- Instagram- Canal público do Telegram Ouça o Pod Notícias nos principais agregadores:- Spotify- Apple Podcasts- Deezer- Amazon Music- PocketCasts O Pod Notícias é uma produção original da Rádiofobia Podcast e Multimídia e publicado pela Rádiofobia Podcast Network, e conta com as colaborações de:- Camila Nogueira - arte- Eduardo Sierra - edição- Lana Távora - pesquisa, pauta e redação final- Leo Lopes - direção geral e apresentação- Thiago Miro - pesquisa Publicidade:Entre em contato e saiba como anunciar sua marca, produto ou serviço no Pod Notícias.See omnystudio.com/listener for privacy information.

In this episode of Oh My Pod, host Justin J. Moore shares expert tips on improving your podcast audio quality without breaking the bank. From microphone technique to setting up your recording space, Justin provides practical advice for creating professional and engaging sound. Learn why dynamic microphones are a better choice, how to avoid plosives and the simple household items that can enhance your recording environment. Whether you're a seasoned podcaster or just getting started, this episode offers valuable insights to help captivate and impress your listeners. Topics Discussed:Microphone types: condenser vs. dynamic Importance of microphone technique for podcast audio qualityStrategies for minimizing plosives and background noiseSetting up the room for optimal podcast audioFree resources for improving podcast audio qualityTimestamps:06:02 Mic proximity affects voice depth and richness.08:12 Reducing plosives for clearer recording.10:58 Highlighting the importance of mitigating background noise during recording.15:11 Improving sound quality with affordable wall foam. Episode Resources:CoachCast Academy | WebsitePodigy Podcasts | WebsitePodigy Podcasts | InstagramPodigy Podcasts | FacebookOh My Pod | YouTube

Movie of the Year2023 TV Comedy of the Year Our 2023 TV Comedy of the Year show will pick the best TV comedy of the year 2023!Comedy has always been so important to us here at Pop Filter. But we always felt a little sheepish about that because comedy has often been thought of as a garbage genre for trash people. This might be finally turning around though with what a great year for TV comedy 2023 has been. But only one can be our TV comedy of the year, and this show is where we make that choice.Can Barry thrash The Bear? Where will Beef be served up? It's our duty to be the jury for this and maybe that will give the edge to Jury Duty.This contest could go to any of these fine shows. All we can say for sure is the winner is...America.Visit our websiteUse our Amazon page!Like us!Follow us!Abortion is healthcareWhile Americans overwhelmingly support the right of an individual to make their own decisions about abortion, unfortunately, that right is no longer protected everywhere in the U.S.The Supreme Court overturned Roe versus Wade on June 24th.Abortion is a basic healthcare need for the millions of people who can become pregnant. Everyone should have the freedom to decide what's best for themselves and their families, including when it comes to ending a pregnancy. This decision has dire consequences for individual health and safety, and could have harsh repercussions for other landmark decisions.Restricting access to comprehensive reproductive care, including abortion, threatens the health and independence of all Americans. Even if you live in a state where abortion rights are upheld, access to safe medical procedures shouldn't be determined by location, and it shouldn't be the privilege of a small few.You can help by donating to local abortion funds. To find out where to donate for each state, visit donations4abortion.com.If you or someone you know needs help, or if you want to get more involved, here are 5 resources:1. Shout Your Abortion is a campaign to normalize abortion.2. Don't Ban Equality is a campaign for companies to take a stand against abortion restrictions.3. Abortion.cafe has information about where to find clinics.4. PlanCPills.org provides early at-home abortion pills that you can keep in your medicine cabinet. And five.5. Choice.crd.co has a collection of these resources and more.You can also find links to all of these resources and more info at podvoices.help

On an all-new, all-different episode of The Superhero Show Show, host Cassie, along with Mike, Ryan, and Katelynn, and joined by former host Taylor, former panelist Greg, and friend-of-the-show Mack, as they celebrate 500 episodes of the longest running podcast in PopFilter history!Answering every e-mail they possibly can in the time allotted, they go through every topic possible, from the deeply dark and personal, to the deeply dark and person, but about superhero television.So grab a drink, put on your gown, and party the night away the only way these clowns know how to...with e-mail reading!