Podcasts about production code

George Cukor had always experimented within his relatively broad lane, often finding nuanced ways to explore women's lives, including their sex lives, under the constraints of the Production Code. But after winning the best Director Oscar for Best Picture-winner My Fair Lady in 1964, Cukor's career slowed down considerably, and as the 60s turned into the 70s and both gender roles and the movies went through massive changes, Cukor was still making the same kinds of things he would have made at the peak of the studio system, regarding which he adopted an extremely defensive stance. Then, suddenly, in 1981, with Rich and Famous, Cukor caught up with the sexual revolution – a decade too late. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Dorothy Arzner wasn’t the first female film director in the U.S., but she was really the only one working in the studio system during most of the period that’s known as the Hollywood Golden Age. Her short career was still incredibly prolific. Research: "Dorothy Arzner." Encyclopedia of World Biography Online, Gale, 2022. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631009688/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=19d5d3af. Accessed 11 Mar. 2025. Bryant, Sara. “Dorothy Arzner’s Talkies: Gender, Technologies of Voice, and the Modernist Sensorium.” Modern Fiction Studies , Summer 2013, Vol. 59, No. 2, Women's Fiction, New Modernist Studies, and Feminism (Summer 2013) Via JSTOR. https://www.jstor.org/stable/26287651 Casella, Donna R. “What Women Want: The Complex World of Dorothy Arzner and Her Cinematic Women.” Framework: The Journal of Cinema and Media , SPRING & FALL 2009, Vol. 50, No. 1/2 (SPRING & FALL 2009). https://www.jstor.org/stable/41552560 Chuba, Kirsten. “Francis Coppola Helps Paramount Dedicate Building to Pioneer Director Dorothy Arzner.” Variety. https://variety.com/2018/film/news/dorothy-arzner-paramount-building-francis-coppola-1202715056/ D’Alessandro, Anthony. “Francis Ford Coppola & Paramount Dedicate Studio Building To Trailblazing Female Filmmaker Dorothy Arzner.” Deadline. 3/1/2018. https://deadline.com/2018/03/francis-ford-coppola-paramount-dorothy-arzner-jim-gianopulos-1202307320/ Field, Allyson Nadia. “Dorothy Arzner.” Women Film Pioneers Project. https://wfpp.columbia.edu/pioneer/ccp-dorothy-arzner/ Geller, Theresa L. “Arzner, Dorothy.” Senses of Cinema. 5/2003. https://www.sensesofcinema.com/2003/great-directors/arzner/ Kuperberg, Julia & Clara. “Dorothy Arzner, Pioneer, Queer, Feminist.” Wichita Films. 2022. Lane, Christina. "Directed by Dorothy Arzner." Velvet Light Trap, fall 1996, pp. 68+. Gale OneFile: Business, link.gale.com/apps/doc/A90190315/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=04146780. Accessed 11 Mar. 2025. Levy, Carly. “Dorothy Arzner: The Only Female Director of the Golden Age.” Video Librarian. 4/21/2023. https://videolibrarian.com/articles/essays/dorothy-arzner-a-golden-age-era-female-director/ Lewis, Maria. “Dorothy Arzner: mother of invention.” ACMI. https://www.acmi.net.au/stories-and-ideas/dorothy-arzner-mother-invention/ Lugowski, David M. “Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code.” Cinema Journal , Winter, 1999, Vol. 38, No. 2 (Winter, 1999). Via JSTOR. https://www.jstor.org/stable/1225622 Madsen, Axel. “The Sewing Circle : Hollywood's greatest secret : female stars who loved other women.” London : Robson. 1996. Mayer, So. “Dorothy Arzner: Queen of Hollywood.” BFI. 3/7/2015. https://www.bfi.org.uk/sight-and-sound/features/dorothy-arzner-queen-hollywood Norden, Martin F. “Exploring the work of Dorothy Arzner as a film-making teacher in southern California.” Film Education Journal. 2022. https://doi.org/10.14324/FEJ.05.2.01 Norden, Martin F., editor. “Dorothy Arzner: Interviews.” University Press of Mississippi. 2024. Tangcay, Jazz. “Women Were Better Represented in Hollywood During the Silent Film Era, AFI Study Reports (EXCLUSIVE).” 1/6/2023. https://variety.com/2023/film/news/women-hollywood-silent-film-era-american-film-institute-afi-1235480998/ Tatna, Meher. “Forgotten Hollywood: Dorothy Arzner.” Golden Globes. 2/16/2022. https://goldenglobes.com/articles/forgotten-hollywood-dorothy-arzner-articles-forgotten-hollywood-dorothy-arzner/ Tietjen, Jill S. and Barbara Bridges. “How Women Were Pushed Out of Hollywood—and Fought Their Way Back In.” Excerpt from "Hollywood: Her Story" The Helm. 4/22/2021. https://thehelm.co/hollywood-herstory-book/ See omnystudio.com/listener for privacy information.

After the collapse of the Production Code, filmmakers now had the ability to put anything and everything in their movies, so they did. Today Alex and Jonathan discuss three films which take comedy beyond rational proportions and talk about The Producers (1967), Airplane! (1980), and The Mask (1994). We discuss the history of absurdist comedy, how blockbusters and parody influenced pop culture, and the introduction of CGI into comedy.Skip to:(10:04) – The Producers(29:03) – Airplane!(43:22) – The Mask(1:04:27) – Overall(1:10:18) – Coming AttractionsComing Attractions:Bill and Ted's Excellent Adventure (1989)The Big Lebowski (1998)The Hangover (2009)For more information, visit the blog:https://thefilmlings.com/2025/03/28/the-absurdists/Join us on Discord for ongoing film discussion:https://discord.gg/MAF6jh59cF

With the arrival of sound in Hollywood, a new subgenre of comedy arose, so today Alex and Jonathan discuss the history of the "screwball comedies" while looking at Trouble in Paradise (1932), His Girl Friday (1940), and Some Like it Hot (1959). We talk about how screwballs differed from standard romantic comedies, the emphasis on dialogue that came with the adoption of sound, and the role the Production Code played in shaping how romance was communicated in ways that it couldn't be shown.Skip to: (11:47) – Trouble in Paradise (31:19) – His Girl Friday (43:31) – Some Like it Hot (1:00:22) – Overall (1:12:08) – Coming AttractionsComing Attractions: The Producers (1967) Airplane! (1980) The Mask (1994)For more information, visit the blog:https://thefilmlings.com/2024/02/28/the-screwballs/Join us on Discord for ongoing film discussion:https://discord.gg/MAF6jh59cF

One a basic level, ‘60s cinema is the story of the complete breakdown of censorship rules about what could and could not be shown on American theater screens. Hollywood's Production Code was already falling apart in the ‘50s when competition with television forced movies to offer kinds of entertainment that were not available on the small screen. Films from countries with fewer restrictions on content were being shown more frequently and naturist documentaries were getting around rules about nudity – though you had to go to “art” cinemas or less reputable theaters to see these things. While the studios still had strict guidelines on what was acceptable for release in mainstream theaters, smaller theaters were pushing boundaries on what they were willing to show audiences. As a result, Hollywood, in order to keep up, threw all their old self-censorship rules by the end of the ‘60s.One of the major figures on the grindhouse circuit who continued to push the amount of sex and nudity that could be shown in films throughout the decade – and made enough money doing it for the studios to really take notice – was Russ Meyer. His goofy, satirical, surprisingly well-made exploitation films were cutting-edge smut that gained popularity over the course of the ‘60s because they delivered the sleaze they promised and dis it with skill and style. Eventually he gained a cult reputation among cineastes and reputable film critics that continues to this day, even though many of his films are more shocking by modern standards than they were when they first hit screens. In this episode, Bart and Jenna discuss all things boobs, sexual desperation and boobs. Bart takes on the brunt of the burden, getting through the entire decade and finding there's more to Meyer than pure titillation. Jenna, however, is less than enthused with Meyer's ‘comedic' sensibilities, finding Bart's cherry-picked selections mostly intolerable. But even both agree that at least a little bit of Meyer is essential viewing for anybody who want to understand the what the decade in cinema was all about.The following films are discussed:• Lorna (1964) Directed by Russ Meyer Starring Lorna Maitland, Mark Bradley, James Rucker• Mudhoney (1965) Directed by Russ Meyer Starring Hal Hopper, Antoinette Cristiani, John Furlong• Faster, Pussycat! Kill! Kill! (1965) Directed by Russ Meyer Starring Tura Satana, Haji, Lori Williams• Good Morning and... Goodbye! (1967) Directed by Russ Meyer Starring Alaina Capri, Stuart Lancaster, Haji• Vixen! (1968) Directed by Russ Meyer Starring Erica Gavin, Garth Pillsbury, Harrison Page• Harry, Cherry and Raquel (1969) Directed by Russ Meyer Starring Linda Ashton, Charles Napier, Larissa ElyAlso mentioned:• The Immoral Mr. Teas (1959) Directed by Russ Meyer Starring Bill Teas, Ann Peters, Enrico Banducci• Eve and the Handyman (1961) Directed by Russ Meyer Starring Eve Meyer, Anthony-James Ryan, Frank Bolger• Erotica (1961) Directed by Russ Meyer Starring Denise Daniels, Kathy Lee, Candis McKay• Wild Gals of the Naked West (1962) Directed by Russ Meyer Starring Sammy Gilbert, Anthony-James Ryan, Jackie Moran• Europe in the Raw (1963) Directed by Russ Meyer Starring Veronique Gabriel, Gigi La Touche, Abundavita• Fanny Hill (1964) Directed by Russ Meyer Starring Miriam Hopkins, Letícia Román, Ulli Lommel• Motorpsycho (1965) Directed by Russ Meyer Starring Haji, Alex Rocco, Steve Oliver• Mondo Topless (1966) Directed by Russ Meyer Starring Babette Bardot, Darlene Grey, Pat Barringtonn• Common Law Cabin (1967) Directed by Russ Meyer Starring Jackie Moran, Babette Bardot, Adele Rein• Finders Keepers, Lovers Weepers! (1968) Directed by Russ Meyer Starring Anne Chapman, Paul Lockwood, Gordon Wescourt• Beyond the Valley of the Dolls (1970) Directed by Russ Meyer Starring Dolly Read, Cynthia Myers, Marcia McBroom• Supervixens (1975) Directed by Russ Meyer Starring Charles Pitt, Shari Eubank, Charles Napier• Up! (1976) Directed by Russ Meyer Starring Edward Schaaf, Robert McLane, Elaine Collins

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In this episode, we're taking a journey back to the eerie roots of horror cinema by exploring the thrilling world of Pre-Code horror films of the 1930s. Joining us is Leslie, a dedicated podcast host, photographer, and true horror fanatic, ready to share insights into some of the most iconic films that defined this genre before Hollywood's Production Code put restrictions on content. These pre-code films were daring, experimental, and unafraid to push boundaries, introducing audiences to terrifying monsters, dark themes, and twisted characters that would shape horror for generations. We begin by delving into the legendary classic Dracula (1931), where Bela Lugosi's portrayal of the Transylvanian vampire set the standard for cinematic horror. Leslie sheds light on how Dracula brought an air of sophistication and dread to horror, with its haunting atmosphere and Lugosi's unforgettable performance, making it a cultural icon and solidifying the vampire as one of horror's most enduring creatures. Next, we turn to Bride of Frankenstein (1935), James Whale's masterful sequel to the original Frankenstein, which brought a new level of emotion and complexity to the genre. Leslie discusses the film's exploration of loneliness and creation, its stunning visual style, and Elsa Lanchester's portrayal of the iconic Bride, who became a symbol of both beauty and horror. The Bride's brief yet powerful presence left a lasting impact on horror cinema and expanded the scope of what horror characters could represent. We also take a closer look at Dr. Jekyll and Mr. Hyde (1931), with Fredric March's Academy Award-winning performance showcasing the duality of human nature. This adaptation of Robert Louis Stevenson's story was one of the first to depict the terrifying transformation of a man into a monster, both physically and psychologically. Leslie shares thoughts on how the film's groundbreaking special effects and dark exploration of identity and morality pushed the boundaries of horror and captivated audiences with its chilling take on inner darkness. For honorable mentions, we discuss other unforgettable films from the era, such as King Kong (1933), a film that combined adventure with horror, captivating audiences with its impressive visual effects and tragic monster. The Black Cat (1934), starring horror legends Bela Lugosi and Boris Karloff, offered a disturbing tale of revenge and occult themes. The Invisible Man (1933) showcased Claude Rains' brilliant performance as the unseen terror, while Island of Lost Souls (1932) delved into themes of science gone wrong with its haunting depiction of genetic experimentation. In closing, Leslie reflects on how these films from the 1930s laid the groundwork for the horror genre, challenging societal norms and fearlessly exploring themes of the monstrous and the unknown. The legacy of these pre-code films lives on, inspiring countless filmmakers and horror fans today, as we continue to revisit these dark classics that dared to push the limits of cinema in a way that still resonates nearly a century later.

10 years after MILDRED PIERCE and Crawford hasn't aged a day. Raise a glass for Turkey, and don't forget the importance of beating Ernest.SUPPORT THE SHOW: PATREONFOLLOW THE SHOW: INSTAGRAM // TWITTER // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com  SHOP THE SHOW: TEE PUBLIC 

Warner Brothers had a hit with DOUBLE INDEMNITY (1944) then doubled down with MILDRED PIERCE (1945). SUPPORT THE SHOW: PATREONFOLLOW THE SHOW: INSTAGRAM // TWITTER // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com  SHOP THE SHOW: TEE PUBLIC 

It's no longer Kubrick Month because we're late recording and uploading this and P4, but regardless, we're here to complete our Kubrickian Odysseys!   Dhruv, Amartya, and Hemant have spent the entirety of July (and will now spend the last week of August and the first week of September) revisiting and discussing 10 (of 13) Kubrick-directed films (the Horror and Noir films will be discussed in October and November, respectively!) plus one conceptualized and obsessed over by him but eventually directed by his dear friend, Steven Spielberg.   In Part 3 (of 4), we focus on three of Kubrick's most overtly provocative films whose controversial nature and treatment continue to inspire heated discussions.   The least of it, perhaps, centers around “Lolita” (1962). Which is a shame, really, because Kubrick's formal and tonal command – partly necessitated by the still-strong presence of Hollywood's Production Code – remains masterful in it: he makes the triggering central conceit of hebephilia (strong sexual interest shown by adults in pubescent children who are early in their adolescence) consistently discomforting even when disguising it within the conventions of seemingly charming romantic comedy.   The opposite may be true in the case of “A Clockwork Orange” (1971) – undoubtedly the director's most aggressively controversial and confrontational film both in terms of its content and treatment. Its anger towards the individual's brand of ultraviolence and sexual deviance is outmatched by its contempt towards forced social conditioning that destroys the individual's free will without ever actually reforming him. Kubrick – unsurprisingly – places us somewhere in between these two modes – at times, troublingly embodying the individual's POV and other times distancing us from it, making “A Clockwork Orange” what it is – an irresolvable film of conflict that offers NO solutions.   Which is THE problem with “Eyes Wide Shut.” Well, for Amartya and, to an extent, Dhruv. They both find the film incredibly well made but tiresome in its provocative but incredibly prolonged dissection of a marriage, and especially a man's supposedly certain perception of his wife's “pure” role within it. Hemant tries to counter that – but much like Tom Cruise in the film itself – retreats, perhaps, because his wife (thank you, Aarti!) also concurs with us.   Listen to the full episode to hear talk in detail about all three of these films and end by debating the controversial ranking of our favorite Kubrick films!   TIME CODES   Intro: [00:00 - 17:02] “Lolita” (1962): [17:02 - 57:25] "A Clockwork Orange" (1971) : [57:25 - 01:36:39] "Eyes Wide Shut" (1999) : [01:36:39 - 02:14:51] Outro: [02:14:51 - 02:28:16] AUDIO EXCERPTS 1. Clockwork Orange Please Stop - https://www.youtube.com/watch?v=xhe9kRCySxM 2. Lolita (1962) - Teaser Trailer - https://www.youtube.com/watch?v=b94tzbyDV9U 3. Kailash Kher - Tauba Tauba - https://www.youtube.com/watch?v=ebceE8_aNoA 4. Lolita (1962) - A New Home - https://www.youtube.com/watch?v=lHqGIe8AZ1g 5. A Clockwork Orange 4kUHD - Rival Gang Fight - https://www.youtube.com/watch?v=RHK5d5a5HJI&t=45s 6. First Reformed | Official Trailer HD | A24 - https://www.youtube.com/watch?v=hCF5Y8dQpR4 7. Eyes Wide Shut (Trailer) | Austin Film Society - https://www.youtube.com/watch?v=kDXSmhOQkk4 8. Eyes Wide Shut - Opening [HD] - https://www.youtube.com/watch?v=KNaNk09usi4 Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast You can follow us on Instagram at: Amartya: https://www.instagram.com/amartya25/ Hemant: https://www.instagram.com/hemantganti Dhruv: https://www.instagram.com/terminalcinema/ You can also follow us on Letterboxd at - Dhruv: https://letterboxd.com/aterminalcinema/ Hemant - https://letterboxd.com/ganti117/ Amartya: https://letterboxd.com/amartya/

Melbourne's Medically Supervised Injecting Room (MSIR) in North Richmond opened in 2018. This was the result of a years-long grassroots campaign led by the local community, fed up with constant overdoses in the streets. The MSIR operates on principles of harm reduction which simply work and urgently need to be applied throughout the world. The stigma around drug use, and the criminalising of drug users, must end - and that begins with us. In 1955, Frank Sinatra made a historically significant contribution to the destigmatisation of drug use on film in Otto Preminger's The Man with the Golden Arm. In a depiction that is in many ways still radical today, Sinatra's character of Frankie Machine is a regular person who is trying his best to shake off a heroin addiction but is simply failed by a society that does not have the means to support him. A compelling and empathetic performance by Sinatra, and subject matter which openly defied the Production Code of its era, made this a memorable classic for many and contributed to a better world. This week on SUDDENLY, friend of the show Spike Vincent joins us to watch The Man With the Golden Arm, sharing his thoughts and personal experiences. Meanwhile, Rabia has been reading up on the MSIR and reports back on the experience of touring the facility to see what goes on first-hand. As a thematic wild card, we also watched an Australian DVD of the film called A Night at the Cinema with extra footage intended to replicate the experience of seeing this film in 1955 in a cinema in specifically Castlemaine, Victoria - including "God Save the Queen", a newsreel, cartoon, local ads etc - which leads us to compelling footage of the 1955 Maitland floods. Plus, an update on Bobby Long. Sources for this episode: * The Man with the Golden Arm (1955) (watch in full - public domain) * Jack Pearl - Robin and the 7 Hoods (novelisation) (1964) * Lou Reed interview, "Reed Goes Public on Velvet Underground", The Canberra Times, 4 October 1987  * Nobody Dies Here: Inside Melbourne's Medically Supervised Injecting Room (2023) podcast   * Judy Ryan - You Talk, We Die: The Battle for Victoria's First Safe Injecting Facility (2022)  * Link to book tours of the MSIR (Melbourne Supervised Injecting Room)  * Photo of the "You Talk, We Die" mural in North Richmond  * Stimulant Treatment Program at St Vincents Hospital in Sydney   * A Year to Remember - 1955 (1965) Newsreel including Maitland flood footage * Katie Carr, "The problem with the 'disabled villain' trope", The Nora Project, 7 October 2022. * Detective Pikachu (2019) * Where to obtain Naloxone - official advice from Australian Government * Brian Jeffery, "Gays come out of the closet", The Canberra Times, 13 March 1982 contact: suddenlypod at gmail dot com website: suddenlypod.gay donate: ko-fi.com/suddenlypod

Given today's cancel culture, here's a look at how Hollywood, of all places, was America's first "woke" system. We look at more than 50 classic films such as Gone with the Wind, Casablanca, East of Eden, The Ten Commandments, Convention City, and Lawrence of Arabia through the eyes and blue pencils of the Production Code Administration, the industry's censors. What emerges is not a gaggle of prudes but a staff with deep knowledge and sensitivity despite their mission to cleanse. Here is a time capsule of American mores and Hollywood's excesses over nearly four decades that led to today's letter rating system. Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so. Well, not any more. The Naughty Bits pores through those files to show how the censors did their job. What was the world prevented from seeing in some of the greatest movies ever made, including Stagecoach, Some Like It Hot, Psycho, and His Girl Friday? Here is the sometimes funny, sometimes outrageous, always riveting history of movie censorship on a nitty-gritty level. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this week's episode, Tim returns to the podcast for a discussion on code reviews, touching on the importance of providing constructive feedback, tailoring reviews based on the developer's experience level, and discussing the merits and drawbacks of tools like GitHub.Follow the show and be sure to join the discussion on Discord! Our website is workingcode.dev and we're @WorkingCodePod on Twitter and Instagram. New episodes drop weekly on Wednesday.And, if you're feeling the love, support us on Patreon.With audio editing and engineering by ZCross Media.Full show notes and transcript here.

Given today's cancel culture, here's a look at how Hollywood, of all places, was America's first "woke" system. We look at more than 50 classic films such as Gone with the Wind, Casablanca, East of Eden, The Ten Commandments, Convention City, and Lawrence of Arabia through the eyes and blue pencils of the Production Code Administration, the industry's censors. What emerges is not a gaggle of prudes but a staff with deep knowledge and sensitivity despite their mission to cleanse. Here is a time capsule of American mores and Hollywood's excesses over nearly four decades that led to today's letter rating system. Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so. Well, not any more. The Naughty Bits pores through those files to show how the censors did their job. What was the world prevented from seeing in some of the greatest movies ever made, including Stagecoach, Some Like It Hot, Psycho, and His Girl Friday? Here is the sometimes funny, sometimes outrageous, always riveting history of movie censorship on a nitty-gritty level.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

In this episode I spoke with author Nat Segaloff about his book "The Naughty Bits: What the Censors Wouldn't Let You See in Hollywood's Most Famous Movies".Between 1934 and 1968, no Hollywood studio could make a movie without the permission of and a seal of approval from the Production Code Administration. The Production Code was Hollywood's official censor. Screenplays, books, plays, costumes and even story ideas and songs had to be okayed by the Code before they could be filmed, and the Code monitored every stage of the production process to ensure compliance. The correspondence between the Code and the studios was confidential, and the memos within the Code office itself were even more so.

Welcome to another episode of The Film Library: A Kanopy Podcast! On this episode hosts Alonso Duralde and Daniel Thompson jump into the fascinating world of page-to-screen adaptations with our esteemed guest, Kristen Lopez, author of "But Have You Read the Book?: 52 Literary Gems That Inspired Our Favorite Films." They explore the intricate process of transforming beloved books into films. Discover the political and religious themes often omitted in adaptations, the impact of the Production Code, and the ongoing debate of books versus movies. Kristen shares her insights on how industry changes have influenced adaptations, along with her personal frustrations when core elements of the text are altered. She also highlights some notable adaptations like "Jurassic Park," "A Man Called Otto," and "The Talented Mr. Ripley," along with a selection of films available on Kanopy, including classics like "The Great Gatsby." Whether you're a book lover, a film enthusiast, or both, this episode offers a treasure trove of insights and expert perspectives. Tune in as we navigate the art of adaptation, with plenty of recommendations for your next watch or read.  Episode Highlights 00:00 Introduction to movie adaptations  03:52 Books and movies differ 09:30 Adapting content reveals evolving societal influences and concerns 12:44 Selecting books for a broad audience challenge 15:24 Book's subplot adds wild and meta layers 23:03 Industry changes, frustrations, and adapting children's books 26:37 Excitement for dark, fantasy book adaptations 30:08 Surprising movie adaptations that are often overlooked Get started with Kanopy at www.kanopy.com by entering your library card information or university login when prompted.  Follow Kanopy at https://www.youtube.com/@KanopyOfficial  https://letterboxd.com/kanopy/  https://www.instagram.com/kanopy https://www.tiktok.com/@kanopyofficial  https://twitter.com/kanopy Follow Kristen Lopez at https://www.instagram.com/kristenlopez88/ Follow Alonso Duralde https://bsky.app/profile/aduralde.bsky.social  Follow Daniel Thompson https://x.com/deckthedan  Producer: Brandon Gray Executive Producer: Christian Pierce Graphic Design: Aleksandra Jelic © Kanopy, Inc. All rights reserved. Produced by Bramble Jam Podcast

Otto Preminger's ripped-from-the-headlines courtroom drama Anatomy of a Murder (1959) stars a delightful mix of young and old Hollywood, is a big middle finger to the Production Code, and is an ode to manipulating the US legal system. And if that weren't enough, we've got a soundtrack by Duke Ellington and titles by Saul Bass.

This week we have a whopping big episode for you: Part 2 of our look at Samuel Goldwyn Productions, dealing with the 1940s; and, in our Fear and Moviegoing in Toronto segment, brief discussions of three Powell and Pressburgers, kicking off TIFF's May retrospective. For this episode we watched The Little Foxes (directed by William Wyler), The Pride of the Yankees (directed by Sam Wood), The Best Years of Our Lives (Wyler again), and My Foolish Heart (directed by Mark Robson). From scheming capitalists to heroic baseball stars to casting a critical eye on post-WWII America to a grown-up soap opera that defies the Production Code, we consider the legacy of the innovative independent producer who not only hired intellectuals but let them do their thing.  Time Codes: 0h 00m 30s:      THE LITTLE FOXES (1942) [dir. William Wyler] 0h 26m 57s:      THE PRIDE OF THE YANKEES (1942) [dir. Sam Wood] 0h 39m 40s:      THE BEST YEARS OF OUR LIVES (1946) [dir. William Wyler] 1h 01m 00s:      MY FOOLISH HEART (1949) [dir. Mark Robson] 1h 19m 38s:      Fear and Moviegoing in Toronto: The Red Shoes (1948), The Life and Death of Colonel Blimp  (1943) and I Know Where I'm Going  (1945) – all by Michael Powell and Emeric Pressburger +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

It's our final season, and much has changed: Lubitsch is production head of Paramount, though not for long. The Production Code administration is enforcing the Hays code with an iron fist and, much worse, the National Socialist German Workers' Party is ruling Germany with a significantly heavier iron first. Over the course of the next ten years, we'll experience another world war, the height of classical Hollywood, and the death of our show's namesake. To kick things off, renowned author Scott Eyman joins us to discuss his definitive biography of Ernst Lubitsch, Laughter in Paradise, as well as Lubitsch's life and career circa the mid-late 1930s. We cover Eyman's research process, Lubitsch's attitudes towards life and art, his tenure as production head of Paramount, and his working methods with actors. Edited by Sophia Yoon. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: Author Imogen Sara Smith joins us to discuss DESIRE. For information as to where to find this film, check out our resources page. WORKS CITED: Ernst Lubitsch Made the Hollywood Comedy Sublime by Alex Ross What Makes Lubitsch Lubitsch by Farren Smith Nehme Survival Tactics: German Filmmakers in Hollywood by Joe McElhaney

History repeats first as tragedy --- radio evangelism and the good, hard business sense of Christianity in the 1920s, but next the farce --- the co-opting of religion for political and financial purposes in the 21st Century. And, in both cases, railing at, to quote a fictional preacher, “Harvardism, Yaleism, and Princetonism.” The shadowy and evil elites, of course. Woops, throw in one more “ism,” Darwinism. It's on repeat play now. And it was all seen clearly in 1926 by a guy named Sinclair Lewis. Who penned a novel that inspired a fantastic and illustrative film, 1960's Elmer Gantry, from United Artists. The novel Gantry was so scandalous that it was, as the phrase goes, “banned in Boston.” It was incredibly popular nonetheless, but almost too hot to handle until the thawing of the Production Code for film in the 50s. At long last came Renaissance man Richard Brooks, to move Gantry forward as a project and into American theaters. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the oldest and most recognizable studios in Hollywood, Warner Bros. is considered a juggernaut of the entertainment industry. Since its formation in the early twentieth century, the studio has been a constant presence in cinema history, responsible for the creation of acclaimed films, blockbuster brands, and iconic superstars. In The Warner Brothers (UP of Kentucky, 2023), Chris Yogerst follows the siblings from their family's humble origins in Poland, through their young adulthood in the American Midwest, to the height of fame and fortune in Hollywood. With unwavering resolve, the brothers soldiered on against the backdrop of an America reeling from the aftereffects of domestic and global conflict. The Great Depression would not sink the brothers, who churned out competitive films that engaged audiences and kept their operations afloat―and even expanding. During World War II, they used their platform to push beyond the limits of the Production Code and create important films about real-world issues, openly criticizing radicalism and the evils of the Nazi regime. At every major cultural turning point in their lifetime, the Warners held a front-row seat. These days, the studio is best known as a media conglomerate with a broad range of intellectual property, spanning movies, TV shows, and streaming content. Despite popular interest in the origins of this empire, the core of the Warner Bros. saga cannot be found in its commercial successes. It is the story of four brothers―Harry, Albert, Sam, and Jack―whose vision for Hollywood helped shape the world of entertainment as we know it. Paying close attention to the brothers' identities as cultural and economic outsiders, Yogerst chronicles how the Warners built a global filmmaking powerhouse. Equal parts family history and cinematic journey, The Warner Brothers is an empowering story of the American dream and the legacy four brothers left behind for generations of filmmakers and film lovers to come. Chris Yogerst is the author of Hollywood Hates Hitler! Jew-Baiting, Anti-Nazism, and the Senate Investigation into Warmongering in Motion Pictures and From the Headlines to Hollywood: The Birth and Boom of Warner Bros. He appeared on the New Books Network to discuss the book in 2020. His work has appeared in the Washington Post, Los Angeles Review of Books, Journal of American Culture, Historical Journal of Film, Radio, and Television, and the Hollywood Reporter. He currently serves as an associate professor of communication in the Department of Arts and Humanities at the University of Wisconsin–Milwaukee. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

1934's answer to 500 Days of Summer. Follow the Show @freshmoviepod Follow Chelsea @ChelseathepopeFollow Victoria on Letterboxd: https://letterboxd.com/vicrohar/Email the Show abreathoffreshmovie@gmail.comShow Art by Cecily Brown Theme Music "A Movie I'd Like to See"Arranged & Performed by Katrina EresmanWritten by Al HarleyYouTube Channel Shop the Store: http://tee.pub/lic/bvHvK3HNFhk

We're shimmying back in time to talk about the biggest hit for Mae West, controversial star of stage and screen: 1933's I'm No Angel! Join in as we discuss West's career, art deco fashion, acceptable lies, and burlap underwear. Plus: How was the movie impacted by the new Production Code? Why did costar Cary Grant come to resent West in the years after this movie? Does this movie feature the most permissive judge ever? And, most importantly, just how exciting is a hot lady who puts her head in a lion's mouth? Make sure to rate, review, and subscribe! Next week: The Philadelphia Story (1940) --- Send in a voice message: https://podcasters.spotify.com/pod/show/we-love-the-love/message

Andrew C. Coles tackles what systemic structures means for American film: history of how Hollywood became a systemic structure, Hollywood's progress and systemic dilemma, long term effects, and solutions & ideas for change.Recorded: May 20, 2022Released: July 17, 2023 Film Filosophy 2024www.filmfilosophy.compatreon.com/FilmFilosophyInstagram @film.filosophy

Until the Production Code, early motion pictures were like an unregulated Old West, but one of the films that brought an end to that era was 1933's Baby Face.

Samantha and Kristen relax after TCMFF with a look at a small picture that packed a big punch for Hollywood. The 1953 romantic comedy The Moon is Blue is progressive in its look at gender and sex. It also thumbed its nose at the Motion Picture Production Code. So then why is not currently available on home video?   Kristen's written a book for TCM and Running Press called But Have You Read the Book? all about film adaptations! You can buy it wherever you buy books.   Reviews matter and you can help us out by giving us 5 stars on Apple Podcasts! Also, tell your friends to like and subscribe to our Patreon, Instagram, Twitter, and TikTok channels!   This episode created thanks to our Patrons: Debbi Lynne Ali Moore Christine Mier Danny David Floyd Jacob Haller mcf Beverly Christina Lane Jeffrey Peter Bryant Peter Dawson Sofia Copilled Ann Foster Brittany Brock Cat Cooper Donna Hill Fuckbois of Literature Harry Holland Laura Neill Peter Blitstein Rosa Melanie Amy Hart Nicholas Weerts Kayla Rhodes Andrew Hoppe Lucy Soles

“HERE'S LOOKING AT YOU, KID.”On this episode of Retro Grade Podcast, we talk about one of the “greatest films of all time,” 1942's Casablanca, directed by Michael Curtiz, starring Humphrey Bogart, Ingrid Bergman and Claude Rains. What makes this film so good? Is it still that good 80 years later? Is this movie just for movie nerds, or does this film still resonate with audiences today?Since we both have a background of studying film in college, we are both familiar with Casablanca, both having sought it out after hearing it was one of the “best movies ever made.” Although it was in black and white, 4:3 aspect ratio, and filled to the brim with cheesy 1940's dialogue, of all the films typically regarded as the best, Casablanca remains incredibly relatable and accessible to this day!We talk about the legendary performances of Bogart and Bergman. Bogart, adding an emotional layer to an otherwise tough guy, no-nonsense actor and Bergman making us feel for a character that may have not had the most depth on the script. However, the script itself wasn't too shabby either. There is something very charming about hearing characters speak in Classic Hollywood, where even (mostly) antagonistic characters like Claude Rains' Captain Renault, add a delightful presence that makes you forget he's playing a terrible person.We take you back to the era of self-censored Hollywood, governed by the Production Code. How films were only allowed to portray marriage positively, crime always had to pay, and people of other nations were to be portrayed “fairly.' The latter may not sound like a bad thing, but it doesn't look so good when it also applies to Nazi's. We talk about why a film with a love triangle with Nazi villains was so significant, and how the code was used to determine not only the content of films, but also the films that were even allowed to be made.This is a good one, and we learned a lot of cool stuff about film history. If that sounds boring to you, we promise you, after 72 episodes we made this FUN!Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o

Does tutorial code differ from production code?

This week Bonnie and Dennis discuss Fred Zinneman's 1966 film A Man for All Seasons. It's ranked number 63 on our countdown of the best Best Picture Academy Award winners. For more information on the countdown, see our Description or check out our Trailer. Segments by timestamp: 0:00 - Introduction 3:53 - The Production Code 20:40- The other nominees 30:30 - Discussion of A Man for All Seasons 1:01:00 - What's next and conclusion

CALLING ALL CARS! CALLING ALL CARS! BE ON THE LOOKOUT FOR POINTED PROFANITY, SUGGESTIVE NUDITY, AND RIDICULE OF THE CLERGY!    Before the MPAA ratings board, there was the Production Code and, before that, there was the Hays Code, which was more of a series of nagging demands than an actual code. Film historians tend to refer to the five-year period between the widespread adoption of sound (1929) and the harsh implementation of the Production Code in July of 1934 as the “Pre-Code Era.” Gabe and returning guest Arianny Pilarte take a look at four such films, all of which fall into the crime genre, including two gangster classics – William A. Wellman's The Public Enemy (1931) and Howard Hawks' Scarface (1932) – and two salacious melodramas from a feminine point-of-view – Mervyn LeRoy's Three on a Match (1932) and Stephen Roberts' The Story of Temple Drake (1933).     00:00 – Intro 08:07 – The Public Enemy 36:30 – Scarface 1:10:11 – Three on a Match 1:33:16 – The Story of Temple Drake 1:55:34 – Outro   If you are in a position to make the world a better place, please consider the following fundraisers:   Mid-Minnesota Legal Aid: https://mylegalaid.org/support-our-work/giving   Donations 4 Abortions (state by state abortion funds): https://donations4abortion.com/funds-by-state   Transgender Legal Defense & Education Fund: https://www.transgenderlegal.org/

Our penultimate Jean Arthur Acteurist Oeuvre-view episode features a couple of sexy romantic comedies, George Stevens' The More the Merrier and William A. Seiter's The Lady Takes a Chance (both 1943), that Arthur made at the height of her stardom and glamour, when she was in her early 40s - at which point she retired from movies. (Though not quite yet, or permanently, as we'll see in the final episode.) We discuss the different ways Arthur smolders with co-stars Joe McCrea and John Wayne; George Stevens' way with smutty comedy; the effect of the Production Code on onscreen eroticism; and Arthur's particular brand of comedic sex appeal. How did we end up talking about sex so much in a Jean Arthur episode, after establishing that she's "not that kind" of star? That's one of the mysteries of her persona!  Time Codes: 0h 1m 00s:        THE MORE THE MERRIER (1943) [dir. George Stevens] 0h 53m 33s:      A LADY TAKES A CHANCE (1943) [dir. William A. Seiter] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

"Key excerpts from the Production Code of Conduct have been released regarding the Expected Conduct of Contractors, Subcontractors, and Representatives working with the company and its subsidiaries. Maintain appropriate boundaries in professional relationships with Performers, and not use the power inherent in [their] position to exercise unreasonable or inappropriate authority over Performers, crew members or other Representatives Not engage in physical, psychological or sexual harassment of any Performer, crew member or Representative. Harassment may be a single incident or a persistent pattern of behavior where the purpose is to create a hostile, offensive, or an intimidating environment No Representative, Contractor or Subcontractor shall demand or solicit any personal sexual favors from Performers on or off-set, offer the exchange of work, gifts or influence in casting in return for sexual favors from prospective Performers, or solicit or accept gifts or sexual favors off-set in exchange for casting and/or preferential treatment on set. Regarding its “go-see” policy, a Performer/Representative meeting should be scheduled and at the time of the meeting, a third party shall be present. Any Contractor, Representative or crew member found arranging private “go-sees” will be terminated. It is not permissible or acceptable to use a position of authority to imply, suggest, promise, threaten, coerce, lure, entice or reward Performers with casting or work in return for sexual or other forms of favors. Being in a position of authority, it is critical for everyone to feel safe and supported. It is never, under any circumstances, appropriate to engage in sexual activity while working for Gamma on set. All performers will be required to complete a checklist of acts or scenarios with which they are not comfortable (known as a “no list”) and exchange the same with other Performers in the film and the Contractor prior to the start of any production. The Contractor shall be responsible for discussing the “no lists” with the Performers and all parties must sign off on the checklists. The Contractor shall be responsible for ensuring the points specified on the checklists are respected during filming. Any Representative, Contractor or Subcontractor who witnesses acts of sexual harassment, is advised of any incidents of harassment or any violation of this Code of Conduct will be held accountable to immediately report the incident to Gamma. If a Performer forgot personal property or has to finalize paperwork, for example, the Contractor or Representative will arrange for the property to be returned to a common place or the Performer's agent, or for the paperwork to be completed in a common place. No Performer crew member or Representative should ever be invited to a Contractor's house alone." --- Send in a voice message: https://anchor.fm/antonio-myers4/message Support this podcast: https://anchor.fm/antonio-myers4/support

Lights! Camera! Silence! On this episode of Baconsale, Joel is showing his age. He's brought a selection of silent films to the table in hopes that Zack and Kent have (finally) watched them and are ready to review all ten. Some of these movies are over 100 years old, yet Joel feels they still have something to offer modern audiences. While Zack is concerned about the content of these pre-Production Code motion pictures, so he's going to let parents know what to expect. Will Charlie Chaplin make us chuckle? Does Buster Keaton have us busting a gut? Is Metropolis still mesmerizing? Listen to our fully audio podcast to find out.   Press play because Guillermo del Toro says this is his favorite episode.

In the series finale, Cleo discovers that having script approval in her contract is meaningless once the Production Code is enforced. Under the new rules, Cleo must argue over every page and justify her artistic choices to men who don't care about the integrity of woman's pictures. At the same time, Tully's star rises. A Star Was Born is written and directed by Megan McGurk Art design by Mot Collins Sound editing and special effects by Tomás O Máthúna STARRING Clara Higgins as Cleo Longe Danny Reid as Rick Tully Jeanne Sutton as Babe Dempsey Olympia Kiriakou as Phyllis Blake M. Shawn as Maxine Raymond Peter Bryant as Hank Webber Matt Harris as Carter Hilary Megan McGurk as Edel Geary

  The history of witchcraft and witches in American film and television is truly fascinating and goes back to silent films! Patrick has a conversation with writer and journalist, Heather Greene, who wrote the amazing book, Lights, Camera, Witchcraft. Topics include The Craft (1996), the different incarnations of Sabrina the Teenage Witch, Hocus Pocus (1993), Satanic Panic, Rosemary's Baby (1968), the “Production Code”, the Wicked Witch of the West, boy witches, SCOTUS and the end of Roe v. Wade, and modern day witchcraft! Visit BigSeance.com/218 for more info. Other Listening Options Direct Download Link   In this episode: Episode Teaser :00 Intro :46 Heather Greene is a freelance writer, journalist, and editor. She received a BA in film at Wesleyan University and an MA in film studies from Emory University. She also studied film and theater at Cornell University and the University of Paris. Heather has written for Religion News Service, Turner Classic Movies, The Wild Hunt, Circle Magazine, Patheos.com, and other outlets. She is a member of Circle Sanctuary, Covenant of the Goddess, and the Religion Newswriters Association. 1:28 Book description for Lights, Camera, Witchcraft: A Critical History of Witches in American Film and Television. 2:18 Patrick did homework as he progressed through the book, and went down several rabbit holes! 3:58 Reclaiming the name. “The witch has been with us since recorded history.” 4:55 Three Sovereigns for Sarah (1985), Rose O' Salem Town (1910), The Cavalier's Dream (1898), The Witch (2015), and The Craft (1996)! 6:53 The Craft was a watershed film for teenagers and witchcraft in general! 7:55 For extra fun, watch the films as you progress through the book. 8:25 The different incarnations of Sabrina the Teenage Witch. 9:50 The main categories of witches in the history of film include the accused woman, the wild woman, the fantasy witch, and the “other”. Also discussed here are vamp witches (the wicked queen, Jennifer from 1942's I Married a Witch), the witch next door (Sabrina, Jillian from 1958's Bell, Book and Candle, Samantha, Morticia), the teenage witch (The Craft, Sabrina, Charmed, Twitches, Harry Potter), satanic witches, and the clown witch (1993's Hocus Pocus). 12:03 Women's power and Hollywood's treatment of witches. 16:19 This episode of the Big Seance is brought to you by Jim Harold's Campfire! Tune in for true and fascinating stories as told by ordinary people who've had extraordinary experiences. Find it on Apple Podcasts, Spotify or wherever you listen to The Big Seance. 20:51 Satanic panic, Hocus Pocus (1993), and more on girl power films and TV. 23:08 Until Rosemary's Baby (1968), the film industry's Production Code took a lot of the fun and freedom out of witchcraft storylines. 25:18 In 1972, Raymond Buckland was probably the first to consult Hollywood on witchcraft in films. 29:38 Hollywood's affect on modern witchcraft. 31:26 More on satanic panic and the controversy with Margaret Hamilton (the Wicked Witch of the West from 1939's The Wizard of Oz) on Mr. Rogers' Neighborhood and Sesame Street. 33:32 Boys can't be witches, can they? 37:54 The Covenant (2009) 41:30 “The witch is always going to be the liminal figure that's pushing the boundaries. She's forever going to be an activist, so to speak. She's always going to be someone who's not at the center of society. So she's going to push the boundaries.” 43:14 “How do you make a thousand witches with one SCOTUS decision?” Final thoughts from Heather Greene! 45:58 A special THANK YOU to Patreon supporters at the Super Paranerd and Parlor Guest level! 48:04 Outro 50:20   For more on Heather Greene HeatherGreene.net Lights, Camera, Witchcraft: A Critical History of Witches in American Film and Television (Amazon)   The Big Seance Podcast can be found right here, on Apple Podcasts, Google Podcasts, Pandora, Spotify, TuneIn Radio, Stitcher, Amazon Music, and iHeart Radio. Please subscribe and share with a fellow paranerd! Do you have any comments or feedback? Please contact me at Patrick@BigSeance.com. Consider recording your voice feedback directly from your device on my SpeakPipe page! You can also call the show and leave feedback at (775) 583-5563 (or 7755-TELL-ME). I would love to include your voice feedback in a future show. The candles are already lit, so come on in and join the séance!  

Around Fathers' Day, we are celebrating with a tale of paternal misadventures: Life with Father (1947)!  In this Michael Curtiz classic, we watch the redheaded Day family navigate entertaining out-of-town guests (including Mary Skinner played by a young Elizabeth Taylor!), recruiting household employees (which usually ends in failure), being scammed into a sales scheme, and the biggest issue of all... convincing their husband/father to get baptized so he can potentially join them in the "kingdom of God."  In this episode, we learn about what it means to be baptized and also what our own unbaptized Ben thinks at the end of the episode!  With both silly and tender moments, this movie is sure to touch your heart. Let us know your favorite movie about fatherly devotion!Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!—Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/FacebookTwitter: @oldsoulpodInstagram: @oldsoulmoviepodcast

In this episode, enjoy the backstory of how censorship evolved over the decades with the list of "Don'ts and Be Carefuls," as well as the Production Code that led to the gradual breakdown of the Hollywood Studio System. Along the way, two bold and saucy comedies from 1959 defied convention with bedroom farce and double entendres! Plus, the usual behind-the-scenes fun facts, poll results, listener trivia segment, and shout-outs!

In 1968, the Production Code gave way to the ratings system, and the brief legitimacy of the X-rated movie. Today we'll focus on two massive, X-rated hits released within a year of one another in 1972-1973: Deep Throat, the first hardcore porn movie to become a mainstream blockbuster; and the international art film sensation Last Tango in Paris. Both of these hits were products of a male-centered sexual revolution, and both of their female stars later described making these movies as equivalent to being raped. We'll talk about how both films gave Hollywood permission to intermingle sex and violence in the name of both profits and art, and how both have been reassessed as documents of violence against women. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Jared and Rachel cover the gay slang term Friend of Dorothy and the moral code (censorship) of Hollywood, The Hays Code! ✸ Content Warnings: This episode contains adult themes and language, such as general homophobia. This is a lighter episode! Friends of Dorothy: "So What Does It Mean to Be a 'Friend of Dorothy?'" by Terra Necessary "Here's What They Mean on The Crown When They Say 'Friend of Dorothy'" by Philip Ellis Friend of Dorothy Wikipedia Page The Hays Code: "Remembering Hollywood's Hays Code, 40 Years On" by Bob Mondello "A history of LGBTQ+ representation in film" by Abby Monteil "The Legacy of the Hays Code" by Teaching LGBTQ History "Queer representation in film and television: How were gay characters heavily censored during the Production Code era?" by Hayley Tran "From Sissies to Secrecy: The Evolution of the Hays Code Queer" by Filmicmag Does the Media Have an Obsession With Queer Pain? by Tee Noir ✎ Make sure to send in your coming out stories, stories about when you knew you were queer, or stories of queer figures in your own life to historicallyreallygoodfriends@gmail.com to be read on the podcast! ✦ Feel free to rate, review, and subscribe wherever you listen! ☻ Give us a follow on Instagram @historicallyreally to see photos from today's episode! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app