Podcast appearances and mentions of rebecca keegan

Hollywood is not trying to stop a monopoly by blocking the Paramount Skydance merger with Warner Bros. It's trying to protect one.If a monopoly means near-complete control over what gets made, promoted, and rewarded, then much of Hollywood and the cultural institutions around it operate under the ideological consensus of the Left and the Democratic Party. Why do the Obamas have a long-running production deal at Netflix? Why do the Emmys consistently elevate late-night hosts whose politics align with that consensus? Jimmy Kimmel, John Oliver, Stephen Colbert, Jon Stewart? Do you think they'd ever nominate Greg Gutfeld, whose show often tops them all in ratings? If that isn't an ideological monopoly, I don't know what is. Why did major awards shows stay silent on Charlie Kirk? Why did so many artists cancel Kennedy Center appearances after its Trump-era changes, and why did multiple acts drop out of America 250 events?David Ellison and Paramount Skydance are attempting something brave and unprecedented: an outside challenge to that consensus. Their roughly $110 billion bid for Warner Bros. Discovery would give them control of a major studio, HBO/Max, CNN, and a large portfolio of cable and streaming assets. While there has been some resistance to the biggest mergers in recent history, we've never seen anything like #blockthemerger. Meet the new resistance, same as the old resistance. 12 state attorneys general, including California, have sued to block the deal. The Writers Guild of America has filed its own antitrust lawsuit. SAG-AFTRA has publicly opposed the merger, though it has not joined the litigation. Opposition also includes the Future Film Coalition (which leads the #BlockTheMerger campaign), Democracy Defenders Fund, Committee for the First Amendment, Free Press, the International Documentary Association, and the American Economic Liberties Project, among others. More than 5,600 industry figures have signed an open letter against the deal, including Mark Ruffalo, Jane Fonda, Javier Bardem, Elliot Page, Emma Thompson, Ben Stiller, and Cynthia Nixon.Paramount Skydance has, for now, delayed closing. Can they hold the line under this unprecedented pressure campaign? Hope springs eternal. But you won't read about that point of view in any of the trades. They're a monopoly, too. Most of them are owned by the same entity, Penske Eldridge. Just today, it was announced that the Hollywood Foreign Press, the former owners of the Golden Globes, are suing Jay Penske for $150 million. They are claiming Penske orchestrated their downfall so he could buy the Golden Globes. Jay Penske already owns Deadline, The Hollywood Reporter, Variety, Indiewire, Gold Derby predicting site, Rolling Stone, a virtual monopoly on the awards race from soup to nuts. Gold Derby shapes the nominees, the trades take ads from the studios and the Golden Globes hand out the awards. But wouldn't you know, when Rebecca Keegan wrote a hit piece on me, she did so in the Hollywood Reporter, owned by Penske Eldridge. I was a vocal and prominent critic of Penske's growing monopolistic power on the awards race and one of the few willing to speak out. With one hit piece, the Penske company took out both a competitor for ad money and a pesky nuisance for the brand. That is what you call a monopoly. A Climate of Fear and A Culture of SilenceI found out firsthand how monopolies work in Hollywood when I was canceled in 2024. The day a Hollywood Reporter story labeled me a “MAGA darling,” one studio pulled its ads from my site that day. The last thing they wanted was to be associated with an accused and condemned witch.It was shocking how many of them fell in line in robotic fashion, gripped with fear. The response was swift and uniform. Every writer on my site left to protect their reputations. Friends of fifteen years ended the friendship. My Oscars ticket was revoked. Jane Fonda's Women's Media Center fired me from their annual Oscars report. Screening and party invitations dried up. I was benched on Gold Derby.Worst of all, the lucrative studio ad buys for the Oscars and Emmys vanished. As it all collapsed, I remembered in 2012, an advertising strategist telling me I could be making far more money if I sold the site better. “You have no baggage to speak of,” she'd said.That was true then. I was one of the few independent Oscar sites left, and still am, known around town for being honest to a fault. I stayed independent even as the ad money made life more comfortable for me and my daughter than it had ever been.There was never any question why my career ended in Hollywood: I had been outed as a Trump voter. I was on the wrong side of Hollywood's progressive orthodoxy, and that meant I was finished.How it started…I started Oscarwatch.com as a single mom with a one-year-old baby living in a studio guest house in Van Nuys, California, in 1999. I was an early web pioneer with a 1200-baud modem and a really good idea. I was already catching the attention of publicists and rocking the boat, as all of us amateurs did back then. We were moving fast and breaking things. Traditional media was not ready. The studios weren't either. They were used to having a monopoly on Oscar FYC ads in Variety and the Hollywood Reporter, their bread and butter. Until the blogs came along.By 2006, I was starting to make money because my little site had birthed a big bang of other Oscar sites, and by then even the New York Times had an Oscar blogger, the late great David Carr, who called himself the Carpetbagger.David Carr became a mentor of sorts and encouraged me to sell ads for myself, rather than piggyback off bigger sites. I was working three jobs by then: as a horoscope writer under a pseudonym (Laura Wilde), a janitor working my dad's routes because he was a good guy and knew I needed the money, and a freelance film critic.Right around then, the Academy of Motion Picture Arts and Sciences sued me for trademark infringement, and my site was renamed AwardsDaily.com. Now I was cleared to start making real money.David Carr was horrified that I was working as a janitor while the trades were raking in millions on Oscar ads and encouraged me to start sending out RFPs. But I didn't have to, because before long the studios were sending them to me. My site became so influential that I never really had to pitch to them. They all wanted real estate on my site. Who could ever have imagined that? Certainly not me, someone who got online in 1994 back when no one thought you could make money on the internet.One of the first studios that bought ads was Fox Searchlight, an awards subsidiary of Fox. I called it Big Fox and Little Fox, and both advertised on my site. When I got my first $15,000 just to run ads, I was stunned. That was more money than I had ever seen on a check. I was just kind of faking it, pretending I knew what I was doing, but I really didn't.Of course, it was also about promoting films the studio wanted to place in the Oscar race, and that's still what it's about. It's not exactly pay-to-play, but most of the bloggers making money in the Oscar game are grateful and help keep the advertisers' movies prominent. I did too.I barely noticed in 2019 when Disney bought Fox for $71 billion. The Writers Guild objected to the merger, just as they have to the Paramount Skydance merger with Warner Bros., but there was nowhere near the same amount of public outcry.Trump praised the Disney/Fox merger after having attempted to stop the 2018 merger of AT&T and Time Warner, leading to a trial, but the judge ruled against the Trump administration, and the deal went through. Again, no major public outcry.At some point after 2020, I'd noticed that Disney had stopped advertising on my site. I wrote it off as their shying away from my comments on “gender affirming care” for kids. I'll never know exactly why, but all I do know is that once the merger went through, Fox and Fox Searchlight also stopped advertising. The Paramount/Skydance merger with Warner Bros. is significantly higher and covers more territory than any of the major corporate mergers we've seen as Hollywood reshuffles the deck amid the shift to streaming. Warner Bros. was selling. The only question was whether Netflix or Paramount Skydance would buy it. Both deals would have had the blessing of the Trump administration.But because it's David Ellison and the team that bought CBS, and because Trump is an ally, the Democrats and the Left have turned #BlockTheMerger into another No Kings protest or battle for the “resistance.”After the story about me broke in the Hollywood Reporter, Netflix also stopped advertising. No other studio except Focus Features, an adjunct of Universal, had the courage to run ads on my site. I was now officially blacklisted. Emails to the various studio reps went unanswered.This past year, Paramount bought a modest ad package on my site for the Emmys to celebrate the success of Landman and The Madison. I felt lucky to get it, and it was a sign, at least to me, that Paramount, like Focus Features, was brave enough to take a chance on someone deemed too toxic by the industry.Landman, Taylor Sheridan's Billy Bob Thornton drama, had become one of Paramount+'s biggest hits: its first season averaged 15.8 million viewers in Nielsen's cross-platform ratings and ranked among the top 10 series of the 2024-25 season. Season 2 opened to a Paramount+ record 9.2 million views in its first few days and continued to dominate the streaming charts, at one point leading all multiplatform viewing with more than 14 million. The Madison, starring Michelle Pfeiffer, launched as Sheridan's biggest series debut yet, drawing 8 million views in its first 10 days.But unfortunately, #blockthemerger had bled into the awards ecosystem, which remains a closed loop. Sure enough, when the Emmy nominations arrived, the Paramount shows were completely blanked—even Billy Bob Thornton in Landman and Michelle Pfeiffer in The Madison. Kathy Bates was similarly overlooked for Matlock.If Gold Derby shapes the Emmy nominations, and they do, they have to similarly play ball by blacklisting all Paramount Plus's most popular shows, proving to American audiences that the industry does not care about what they want or what they watch. Sheridan has transformed much of the television landscape, thanks to Paramount Plus. If Paramount buys Warner Bros., they won't be creating a monopoly but breaking one up. The Death RattleI know I should walk away from this industry and give up the site that took me 26 years to build. But I just can't do that. I can't let them win. Now that I've walked in the shoes of the other half of the country, I can clearly see why Hollywood's empire is collapsing. If ratings and box office don't matter, neither do audiences. None of this is about artistic freedom or making better movies or television shows. This is the Left flexing its muscle in an attempt to keep all of Hollywood to itself, to push its ideology on the people, to convert them, to indoctrinate them, to “correct them,” everything but entertaining them. Most of all, though, it is about one man: Donald Trump and their failure to stop him, destroy him, kill him, or exile him and his supporters. This is one of the most exciting times to be living through in American history, but you'd never know it by the movies and TV shows Hollywood pumps out. Their monoculture, their one-sided point of view, has choked the life out of Hollywood. If they could make fun of themselves, if they could humanize their fellow Americans, they might be able to tell stories that resonate with everyone. Maybe, just maybe, they would breathe new life into a decaying organism.But they can't risk it. Like the Democrats who don't trust the people with elections, Hollywood doesn't trust them with the culture.Elon Musk spent $44 billion to take Twitter out of the hands of its previous gatekeepers. Ellison is now trying to pry open a crack in the thick shell of Hollywood's product and return more of it to market forces and all of those people Hollywood left behind. // This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Regissören och perfektionisten bakom Terminator, Titanic och Avatar som lärt Hollywood lönsamheten i uppföljare och gigantiska budgetar. Lyssna på alla avsnitt i Sveriges Radios app. James Cameron (född 1954) har arbetat sig upp från modellbyggare till mannen bakom några av Hollywoods mest inkomstbringande filmer. Med en kärlek till ny teknik och orädd för stora utmaningar har han flyttat fram gränserna för visuella effekter och också bidragit till forskningen av havens outforskade djup. Men med ett ökänt uselt humör och kompromisslösa stil har han också gjort sig känd som lite av ett rövhål. I avsnittet medverkar: Karolina Bergström, frilansjournalist och filmvetare, Martin Jakobsson, professor i marinbiologi och geofysik vid Stockholms universitet och Andrew DeWard, författare och doktor i film och mediestudier vid University of California. Ljud från: Academy of Achievement, GQ, On Purpose,Q with Tom Power, Tri-Star Pictures, 20th Century Fox, Walt Disney Studios Motion Pictures, Charlie Rose, Entertainment tonight, Graham Bensinger, Variety Boken “The Futurist: The Life and Films of James Cameron” av Rebecca Keegan har varit till stor hjälp i researchen. Programledare och producent: Vendela LundbergAvsnittsförfattare och reporter: Carl-Johan UlvenäsTekniker: Fredrik NilssonAvsnittet gjordes vintern 2026 av produktionsbolaget DIST

Kath returns to the main podcast feed with a story about celebrity impersonators running romance scams on older women, and the efforts being made to stop them. Much of the info in this episode comes from Rebecca Keegan's Hollywood Reporter Article, "Not Keanu, Not Costner: Inside the Billion Dollar Celebrity Impersonation Bitcoin Scam", published in July 2025.

Dear Ms. Maher,You don't know me, and there is no reason why you should. I am mostly a nobody. If people know me at all, they know me as a former Oscar blogger whose public support for Trump destroyed my so-called “career.”But really, I am not all that different from you. Or at least, I didn't use to be. I come from your world, more or less. Not that I was ever a tech-savvy, globtrotting millennial in charge of National Public Radio, but it would not have been unusual for me to take a picture of myself in a mask in November of 2020, wearing a Joe Biden hat.In November of 2020, however, I was already afraid of the Democrats retaking power. Things had gotten weird on the Left, Ms. Maher. Really, really weird and no one would talk about it, least of all NPR or PBS. Then again, they couldn't talk about it because they would be destroyed if they did. Everyone knew that, and everyone just went along with it, especially you.I am a creature of the Internet and a former lifelong Liberal who left the party and the movement in 2020 after things had derailed so badly that I could no longer stand to be associated with them. It was the dehumanization of half the country. It was the corruption within the Democratic Party. It was the dangerous future in store for the nation's young people.It took me a while to finally get kicked out of Woketopia for good, banished to the virtual gulag. I made a joke about “White Dudes for Harris,” suggesting finally “white power” was back in style. But one thing about the Woketopians, they have no sense of humor. None. It's been stripped away and replaced with yet more of the suffocating, repellent monoculture that's been shoved down our throats for these long ten years.They all thought I was serious, that I really meant it, that “white power” was back. Thousands saw the tweet. A close friend of mine would text me to see if I really meant it. I wanted to joke that no self-respecting “white supremacist” would be caught dead praising “White Dudes for Harris,” but I was already in too deep.That caught the attention of a reporter named Rebecca Keegan, who was a devoted NPR listener and a true believer in the causes of the Left. She called me a “MAGA darling” in the Hollywood Reporter. A major studio pulled their ads that day, and everything I built over the last 25 years as a “woman-owned” business went up in flames almost overnight.It's quite a story, Ms. Maher, but it's one people like you wouldn't even want to talk about. To you, it isn't “cancel culture,” it's “consequence culture.” Well, you might call the defunding of NPR and PBS the same thing, it's “consequence culture” as a populist movement decides to finally fight back.How it started…You were just ten years old when I got online, Ms. Maher. The year was 1994. Bill Clinton was still the president. Much like it did last year, my life had fallen apart, and I needed a reset. I found the perfect escape on the Wild, Wild Web, where I would live out the rest of the next 30 years of my life. I had a baby in 1998 and, as a single mother, built a website devoted to the Oscars in 1999.I also helped birth an entire industry, and before long, even The New York Times would have an Oscar blogger. I appeared on NPR a few times as an Oscars expert. I would attend film festivals all over the world and hobnob with the rich and famous at fancy parties.I would be invited to cover the Oscars, attending as a guest for almost ten years. I would make money from movie studios that thought my voice was influential enough to advertise on my site. I could buy a new car. I could support my daughter. I could pay my rent.I would use my website to advocate for a more diverse and inclusive Oscars by promoting women and people of color for the awards. I did this even before Barack Obama won in 2008, which coincided with the rise of Twitter, Facebook, and the iPhone. I wouldn't realize it until much later, but all of that coming together at once would allow us to build a necessary “inside” where we could eventually banish the undesirables to the “outside.”We all caught the wave at the same time. We had come out of the 90s era of therapy and psych meds, and now, we were ready to build our Shining Woketopia on the Hill. As society migrated online, it was all under our control. We would ultimately build an empire that represented nearly all of the power in America - cultural, political, educational, and institutional. But only a select few would be invited in.My daughter attended all of the progressive public schools in Los Angeles. We listened to NPR on the way to and from school. I was a PTA mom, a progressive, active Liberal who cared about the climate and racial inequality. I barely noticed around 2014 when my daughter began feeling depressed from what she was learning in school.As a white student, whose best friend was Black and whose president was Black, she was now being told to stand outside the circle and de-center herself from the students of color. She was taught that she was part of the oppressor class and was among the “colonizers.” This disease was inside of her; it was her “whiteness.”I didn't realize then just how deeply indoctrinated our public schools and universities had become. When she graduated from high school, only one of her friends wanted to transition to become a boy. Her mother, a Conservative, refused to give her puberty blockers and amputate her breasts, though she would finish the job when she turned 18 and is now living as a boy.By the time my daughter graduated from college, two of her roommates were on cross-sex hormones, changing their sex as a couple. A boy she had a crush on had now fully transitioned and is living life as a transgender woman. And no one in the media, not at NPR or PBS, ever warned them. They were indoctrinated now, too. COVID paranoia and lockdowns only served to heighten the growing anxiety and fear about saying or doing the wrong thing. Wokeness arrived first as a low-frequency hum, a reaction to the election of the first Black president. As Republicans began to obstruct his agenda, we called them “racists.” The Tea Party was racist; it had to be. The Freedom Caucus was racist; it had to be. Our president was perfect, and the only reason anyone would object to anything had to be racism.The “social justice warriors” who came of age online on sites like Tumblr ballooned into a massive army of zealots. None of us saw this coming, and by the time we did, it was too late. The protests at Evergreen College were the first indication that something had gone very wrong. Holding a professor hostage because he went against the doctrine? It should not surprise you, Ms. Maher, that NPR and PBS did not cover that either, although it would have made a compelling episode of Frontline. Had they come even remotely close to telling the truth throughout this era, maybe things would be different now.That left it up to independent voices to cover the growing scandal at Evergreen, the transgender contagion, and the obsession with race. That is how evolution left NPR and PBS in the dust. Those looking for truth and common sense had to escape the bubble. I'm guessing you never did, Ms. Maher.The army that took to the streets in 2020 was not peacefully protesting; they were demanding diners raise their fists in support of Black Lives Matter. They were demanding everyone put a Black square on Instagram, or else. My niece threatened to cut off all ties if I didn't. I told her she was in a cult.When I saw the video of Sue's 100-year-old mattress store in Kenosha burning as the city was consumed by a false narrative perpetuated by the media, that Jacob Blake was unarmed and there to break up a fight, I tried to post about it on Facebook. I was shouted down and told I cared more about property than I did about people. You agree with that, don't you, Ms. Maher? When Tom Cotton published an op-ed in the New York Times reflecting what the majority of Americans believed, that if the protests could not be controlled, we must “send in the troops.” Then I watched everyone online lose their minds over the truth - once again, the truth, always the TRUTH.By the end of it, James Bennett and Bari Weiss would be out at the New York Times. They would not be the only ones at the Times or other news outlets. Writers and editors would lose their jobs for posting headlines like “Building Matter Too.” Or because some overly fragile staffer felt unsafe and called them out for something, like racism. Hundreds and hundreds of “cancel culture” purges taught everyone the same lesson: say nothing, or you're next. A glance at your tweets around that time, Ms. Maher, suggests that you were fully on board with all of it, too - a true believer in the cause, probably like everyone else who runs a public radio station across America. So when you say they're “collateral damage,” know this: in a monoculture, everything is the same. If it isn't, you lose your job. That you did not listen to Uri Berliner's brave testimony in the Free Press, but rather demonized him for speaking out, should have been enough to force your resignation by the Board of Directors, but I'm guessing they're all on the same page as you. Your resignation letter might look something like this, posted by Representative Brandon Gill:You remember him, right? He grilled you pretty hard, and you maintained a poker face throughout, gaslighting all of us. It's not “fascism” that canceled Stephen Colbert and defunded public broadcasting. It's democracy. Your side was voted out by the guy you spent ten years trying to destroy. That alone should send the message that whatever you were doing backfired. Maybe you'll learn the lesson. Probably not. I can promise you those community radio stations in Trump states don't have any Trump supporters listening to them. And though I do notice some subtle changes in the coverage at NPR after a few casual searches, I'm afraid it's too little, too late. Those local stations are likely to be as woke and indoctrinated as NPR and PBS have become. They have to be because everything has to be in a monoculture like ours. There is no other option but for all of us to leave it behind. We don't want this indoctrination anymore - not in our schools, not in Hollywood, not in science, not in culture, and not in our news. Our American story has always been that we shook off the class system that decided our station in life at birth, that anyone could rise regardless of their status, where they were born, their skin color, or their gender. Obviously, we haven't always lived up to that ideal, but it is still our story.The Woketopians tell a different story. And it's one you believe in, Ms. Maher. Or at least you pretend to because as long as you pay obeisance to the cult, the activists will leave you alone. As I strolled through the Farmer's Market in my very white, very liberal town this morning, I was awash in hedonistic pleasure. The smell of fresh strawberries, bountiful basil, organic olive oil, a whiff of lavender carried by the wind, freshly ground coffee, and someone playing music in the distance. You would fit right in here, Ms. Maher, in a sunhat with a smile on your face, because this is where you belong, inside utopia. But I also know none of these smiling faces I pass know me. For all of their hybrid cars, the lawn signs, the pleas for “kindness,” the careful, gentle language so as not to offend all come with an implicit threat: obey our rules or we will destroy you. Milan Kundera explains what happened to the Left, as we built our Woketopian empire, in the Book of Laughter and Forgetting:To quote one of the greatest films ever made, one Hollywood will never come close to making again, No Country for Old Men. You can't stop what's coming. You can't stop what's coming. It ain't all waiting on you. That's vanity. Nothing will ever be the same when this is all over. The good news is that the empire's collapse will usher in a renaissance —a big bang of brand-new culture that is alive, fearless, and rooted in truth, not dogma. The best thing you can do is what I did: escape the bubble now and realize those who don't agree with you aren't your enemy. They are your fellow Americans. // This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Apologies: an editing snafu led to last week's episode being reedited and uploaded in the initial version of this post.  On this week's episode, Sonny Bunch (The Bulwark), Alyssa Rosenberg (The Washington Post), and Peter Suderman (Reason) ask why Keanu Reeves, of all people, is the most-impersonated celebrity by scammers and how AI is being used to take money from lonely elderly people. (For more, read Rebecca Keegan's great piece in the Hollywood Reporter on this terrifying, saddening subject.) Then they review Superman, an oddly Dubya-coded superhero movie. Make sure to swing by Bulwark+ on Thursday for a bonus episode about Superman's place in the cinematic canon. And if you enjoyed this episode, please share it with a friend!

On this week's episode, Sonny Bunch (The Bulwark), Alyssa Rosenberg (The Washington Post), and Peter Suderman (Reason) ask why Keanu Reeves, of all people, is the most-impersonated celebrity by scammers and how AI is being used to take money from lonely elderly people. (For more, read Rebecca Keegan's great piece in the Hollywood Reporter on this terrifying, saddening subject.) Then they review Superman, an oddly Dubya-coded superhero movie. Make sure to swing by Bulwark+ on Thursday for a bonus episode about Superman's place in the cinematic canon. And if you enjoyed this episode, please share it with a friend!

Founders ✓ Claim Key Takeaways Check Out the Founders Podcast Episode Page & Show NotesRead the full notes @ podcastnotes.orgWhat I learned from reading The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan by Tom Shone.---EightSleep: Get the best sleep of your life and unlock more energy with the Pod 3. Get $150 off at eightsleep.com/founders/---One of the best podcasts I've heard this year: Listen to Invest Like The Best #336 Jeremy Giffon Special Situations in Private Markets ---Join my free email newsletter to get my top 10 highlights from every book---(7:00) The only way I know how to work is to sort of burrow in on one project very obsessively.(7:25) People will say to me, "There are people online who are obsessed with Inception or obsessed with Memento.”They're asking me to comment on that, as if I thought it were weird or something, and I'm like, Well, I was obsessed with it for years. Genuinely obsessed with it. So it doesn't strike me as weird. . . I feel like I have managed to wrap them the up in it way I try to wrap myself up.(8:30) The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron. (Founders #311)(11:00) I don't think of myself as an artist. I'm a craftsman. I don't make a work of art; I make a movie. — George Lucas: A Life by Brian Jay Jones. (15:30) Steven Spielberg: A Biography by Joseph McBride. (Founders #209)(22:45) Nolan is relentlessly resourceful. He wants to spend as as little money as possible so he can maintain as much control over the project as possible.(23:30) He makes his first movie on the weekends while he working a full-time job!(29:30) The efficiency of filmmaking is for me a way of keeping control. The pressure of time, the pressure of money. Even though they feel like restrictions at the time, and you chafe against them, they're helping you make decisions. They really are. If I know that deadline is there, then my creative process ramps up exponentially.(34:00) The result of making a billion dollar blockbuster: Suddenly his position at Warner Brothers went from solid to unassailable.(37:00) Stories can add to your own thinking but you need your own foundation to add them to first.(38:00) I know it's more fun when we're all together and we can do the thing together. That's why we keep it as a family business.(39:00) Rolls-Royce: The Magic of a Name: The First Forty Years of Britain s Most Prestigious Company by Peter Pugh. (Founders #287)(43:30) Every time a new feature or product was proposed, he decreed that the narrative should take the shape of a mock press release. The goal was to get employees to distill a pitch into its purest essence, to start from something the customer might see—the public announcement—and work backward. Bezos didn't believe anyone could make a good decision about a feature or a product without knowing precisely how it would be communicated to the world. — The Everything Store: Jeff Bezos and the Age of Amazon by Brad Stone. (Founders #179)(45:30) Once your children are born, you can never look at yourself through your own eyes anymore; you always look at yourself through their eyes.(49:30) I often have terrible luck with the weather, but my philosophy is to shoot no matter what the weather is, always shooting no matter what weather, just keeping going, keeping going. Letting everybody on the crew and cast know we're really serious about doing that, no matter what the conditions are, so they're not looking out the window first thing and going, Oh, we will or won't shoot today.----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Founders ✓ Claim Key Takeaways Check Out the Founders Podcast Episode Page & Show NotesRead the full notes @ podcastnotes.orgWhat I learned from reading The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan by Tom Shone.---EightSleep: Get the best sleep of your life and unlock more energy with the Pod 3. Get $150 off at eightsleep.com/founders/---One of the best podcasts I've heard this year: Listen to Invest Like The Best #336 Jeremy Giffon Special Situations in Private Markets ---Join my free email newsletter to get my top 10 highlights from every book---(7:00) The only way I know how to work is to sort of burrow in on one project very obsessively.(7:25) People will say to me, "There are people online who are obsessed with Inception or obsessed with Memento.”They're asking me to comment on that, as if I thought it were weird or something, and I'm like, Well, I was obsessed with it for years. Genuinely obsessed with it. So it doesn't strike me as weird. . . I feel like I have managed to wrap them the up in it way I try to wrap myself up.(8:30) The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron. (Founders #311)(11:00) I don't think of myself as an artist. I'm a craftsman. I don't make a work of art; I make a movie. — George Lucas: A Life by Brian Jay Jones. (15:30) Steven Spielberg: A Biography by Joseph McBride. (Founders #209)(22:45) Nolan is relentlessly resourceful. He wants to spend as as little money as possible so he can maintain as much control over the project as possible.(23:30) He makes his first movie on the weekends while he working a full-time job!(29:30) The efficiency of filmmaking is for me a way of keeping control. The pressure of time, the pressure of money. Even though they feel like restrictions at the time, and you chafe against them, they're helping you make decisions. They really are. If I know that deadline is there, then my creative process ramps up exponentially.(34:00) The result of making a billion dollar blockbuster: Suddenly his position at Warner Brothers went from solid to unassailable.(37:00) Stories can add to your own thinking but you need your own foundation to add them to first.(38:00) I know it's more fun when we're all together and we can do the thing together. That's why we keep it as a family business.(39:00) Rolls-Royce: The Magic of a Name: The First Forty Years of Britain s Most Prestigious Company by Peter Pugh. (Founders #287)(43:30) Every time a new feature or product was proposed, he decreed that the narrative should take the shape of a mock press release. The goal was to get employees to distill a pitch into its purest essence, to start from something the customer might see—the public announcement—and work backward. Bezos didn't believe anyone could make a good decision about a feature or a product without knowing precisely how it would be communicated to the world. — The Everything Store: Jeff Bezos and the Age of Amazon by Brad Stone. (Founders #179)(45:30) Once your children are born, you can never look at yourself through your own eyes anymore; you always look at yourself through their eyes.(49:30) I often have terrible luck with the weather, but my philosophy is to shoot no matter what the weather is, always shooting no matter what weather, just keeping going, keeping going. Letting everybody on the crew and cast know we're really serious about doing that, no matter what the conditions are, so they're not looking out the window first thing and going, Oh, we will or won't shoot today.----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

What I learned from reading Cinema Speculation by Quentin Tarantino. ----Get access to the World's Most Valuable Notebook for Founders at Founders NotesSome questions other subscribers asked SAGE: I need some unique ideas on how to find new customers. What advice do you have for me?What are some strategies that Cornelius Vanderbilt used against his competitors?How did Edwin Land find new employees to hire? Any unusual sources to find talent?What are the most important leadership lessons from history's greatest entrepreneurs?Can you give me more ideas about how to avoid competition from Peter Thiel?Have any of history's greatest founders regretted selling their company?What is the best way to fire a bad employee?How did Andrew Carnegie know what to focus on?Why was Jay Gould so smart?What was the biggest unlock for Henry Ford?Can you give me a summary of Warren Buffetts best ideas?If Charlie Munger had a top 10 rules for life what do you think those rules would be?What did Charlie Munger say about building durable companies that last?Tell me about Cornelius Vanderbilt. How did he make his money?Every subscriber to Founders Notes has access to SAGE right now. Get access here. ----Follow Founders Podcast on YouTube ----(9:00) Tarantino is possibly the most joyously infectious movie lover alive.(14:00) On the ride home, even if I didn't have questions, my parents would talk about the movie we had just seen. These are some of my fondest memories.(14:00) He has a comprehensive database of the history of movies in his head.(17:00) The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron (Founders #311)(25:00) Robert Rodriguez interviews Quentin Tarantino in the Director's Chair (26:00) Like most men who never knew their father, Bill collected father figures. (Kill Bill 2)(27:00) When people ask me if I went to film school, I tell them, No, I went to films.(29:00) Invest Like the Best #348 Patrick and John Collision (31:00) Tarantino made his own Founders Notes [Comparinig himself and another director] Nor did he keep scrapbooks, make notes, and keep files on index cards of all the movies he saw growing up like I did.(32:00) Napoleon and Modern War by Napoleon and Col. Lanza. (Founders #337)(41:00) On Spielberg and greatness: Steven Spielberg's Jaws is one of the greatest movies ever made, because one of the most talented filmmakers who ever lived, when he was young, got his hands on the right material, knew what he had, and killed himself to deliver the best version of that movie he could.(46:00) I've always approached my cinema with a fearlessness of the eventual outcome. A fearlessness that comes to me naturally.(51:00) The Big Score: Robert Friedland and The Voisey's Bay Hustle by Jacquie McNish (Founders #131)(51:00)Tarantino's top 8 movies have cost around $400 million to make and made about $1.9 billion in box office salesPulp Fiction$8 million$213 millionJackie Brown$12 million$74 millionKill Bill 1$30 million$180 millionKill Bill 2$30 million$152 millionInglorious Basterds$70 million$321 millionDjango Unchained$100 million$426 millionThe Hateful 8$60 million$156 millionOnce Upon A Time In Hollywood$90 million$377 million(58:00) What made Kevin Thomas so unique in the world of seventies and eighties film criticism, he seemed like one of the only few practitioners who truly enjoyed their job, and consequently, their life. I loved reading him growing up and practically considered him a friend.----Get access to the World's Most Valuable Notebook for Founders at Founders Notes----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Almost exactly a year ago, Colossus entered into a partnership with David Senra and the Founders podcast to join the Colossus network. The show has since exploded with more devoted fans than any podcast that I've encountered. With that in mind, we are excited to share an example episode from his show here today on the director, James Cameron. It's my favorite recent episode of David's. Please enjoy this episode, and if you haven't already, subscribe to Founders. This is what he learned from reading The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron. Join Colossus live in NYC with Patrick O'Shaughnessy and David Senra on Oct. 19. For the full show notes, transcript, and links to mentioned content, check out the episode page here. ----- This episode is brought to you by Tegus. Tegus is the modern research platform for leading investors, and provider of Canalyst. Tired of calculating fully-diluted shares outstanding? Access every publicly-reported datapoint and industry-specific KPI through their database of over 4,000 drivable global models hand-built by a team of sector-focused analysts, 35+ industry comp sheets, and Excel add-ins that let you use their industry-leading data in your own spreadsheets. Tegus' models automatically update each quarter, including hard to calculate KPIs like stock-based compensation and organic growth rates, empowering investors to bypass the friction of sourcing, building and updating models. Make efficiency your competitive advantage and take back your time today. As a listener, you can trial Canalyst by Tegus for free by visiting tegus.co/patrick. ----- Invest Like the Best is a property of Colossus, LLC. For more episodes of Invest Like the Best, visit joincolossus.com/episodes.  Stay up to date on all our podcasts by signing up to Colossus Weekly, our quick dive every Sunday highlighting the top business and investing concepts from our podcasts and the best of what we read that week. Sign up here. Follow us on Twitter: @patrick_oshag | @JoinColossus Show Notes (00:04:00) - I watched Titanic at the Titanic. And he actually replied: Yeah, but I madeTitanic at the Titanic. (00:07:10) - I like difficult. I'm attracted by difficult. Difficult is a fucking magnet for me. I go straight to difficult. And I think it probably goes back to this idea that there are lots of smart, really gifted, really talented filmmakers out there that just can't do the difficult stuff. So that gives me a tactical edge to do something nobody else has ever seen, because the really gifted people don't fucking want to do it. (00:07:20) - At 68 years old, Cameron wakes up at 4:45 AM and often kick boxes in the morning. (00:07:45) - Self-doubt is not something Cameron has a lot of experience with. His confidence preceded his achievements. (00:09:00) - I basically gave myself a college education in visual effects and cinematography while I was driving a truck. (00:16:00) - Every idea is a work in progress. (00:17:30) - He's been on a planet of his own making ever since. (00:18:00) - The Return of James Cameron, Box Office King by Zach Baron (00:22:00) - His outlook is that we can take fate in our own hands. (00:34:00) - Cameron had only been at Corman's for a matter of days, but he was already taking charge. He seems constitutionally incapable of doing otherwise. (What a line!) (00:35:30) - Your mediocrity is my opportunity. (00:37:40) - Cameron finds writing torture. He does it anyway. (00:43:00) - Cameron is willing to let ideas marinate for decades. (00:55:30) - I'd just made T2 for Carolco and I admired how they rolled, being their own bosses, mavericks, entrepreneurs. (00:57:30) - Mute the world. Build your own world. (01:04:50) - Opportunity is a strange beast. It commonly appears after a loss. Buy a book: All the books featured on Founders Podcast.

Matt is joined by The Hollywood Reporter's senior film editor, Rebecca Keegan, to discuss how the success of Greta Gerwig's ‘Barbie' will influence female filmmakers and the industry at large. Matt finishes the show by giving a prediction about the upcoming negotiations between the WGA and the AMPTP. For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' click here. Email us your thoughts! thetown@spotify.com Host: Matt Belloni Guest: Rebecca Keegan Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

What I learned from reading The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan by Tom Shone.---EightSleep: Get the best sleep of your life and unlock more energy with the Pod 3. Get $150 off at eightsleep.com/founders/---Join Founders AMAMembers of Founders AMA can:-Email me your questions directly (you get a private email address in the confirmation email) -Promote your company to other members by including a link to your website with you question -Unlock 30 Ask Me Anything (AMA) episodes immediately-Listen to new Ask Me Anything (AMA) episodes every week ---One of the best podcasts I've heard this year: Listen to Invest Like The Best #336 Jeremy Giffon Special Situations in Private Markets ---Join my free email newsletter to get my top 10 highlights from every book---(7:00) The only way I know how to work is to sort of burrow in on one project very obsessively.(7:25) People will say to me, "There are people online who are obsessed with Inception or obsessed with Memento.”They're asking me to comment on that, as if I thought it were weird or something, and I'm like, Well, I was obsessed with it for years. Genuinely obsessed with it. So it doesn't strike me as weird. . . I feel like I have managed to wrap them the up in it way I try to wrap myself up.(8:30) The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron. (Founders #311)(11:00) I don't think of myself as an artist. I'm a craftsman. I don't make a work of art; I make a movie. — George Lucas: A Life by Brian Jay Jones. (15:30) Steven Spielberg: A Biography by Joseph McBride. (Founders #209)(22:45) Nolan is relentlessly resourceful. He wants to spend as as little money as possible so he can maintain as much control over the project as possible.(23:30) He makes his first movie on the weekends while he working a full-time job!(29:30) The efficiency of filmmaking is for me a way of keeping control. The pressure of time, the pressure of money. Even though they feel like restrictions at the time, and you chafe against them, they're helping you make decisions. They really are. If I know that deadline is there, then my creative process ramps up exponentially.(34:00) The result of making a billion dollar blockbuster: Suddenly his position at Warner Brothers went from solid to unassailable.(37:00) Stories can add to your own thinking but you need your own foundation to add them to first.(38:00) I know it's more fun when we're all together and we can do the thing together. That's why we keep it as a family business.(39:00) Rolls-Royce: The Magic of a Name: The First Forty Years of Britain s Most Prestigious Company by Peter Pugh. (Founders #287)(43:30) Every time a new feature or product was proposed, he decreed that the narrative should take the shape of a mock press release. The goal was to get employees to distill a pitch into its purest essence, to start from something the customer might see—the public announcement—and work backward. Bezos didn't believe anyone could make a good decision about a feature or a product without knowing precisely how it would be communicated to the world. — The Everything Store: Jeff Bezos and the Age of Amazon by Brad Stone. (Founders #179)(45:30) Once your children are born, you can never look at yourself through your own eyes anymore; you always look at yourself through their eyes.(49:30) I often have terrible luck with the weather, but my philosophy is to shoot no matter what the weather is, always shooting no matter what weather, just keeping going, keeping going. Letting everybody on the crew and cast know we're really serious about doing that, no matter what the conditions are, so they're not looking out the window first thing and going, Oh, we will or won't shoot today.----Join Founders AMAMembers of Founders AMA can:-Email me your questions directly (you get a private email address in the confirmation email) -Promote your company to other members by including a link to your website with you question -Unlock 30 Ask Me Anything (AMA) episodes immediately-Listen to new Ask Me Anything (AMA) episodes every week ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

What I learned from reading The Futurist: The Life and Films of James Cameron by Rebecca Keegan and The Return of James Cameron, Box Office King by Zach Baron.---EightSleep: Get the best sleep of your life and unlock more energy with the Pod 3. Go to eightsleep.com/founders/---Join Founders AMAMembers of Founders AMA can:-Email me your questions directly (you get a private email address in the confirmation email) -Promote your company to other members by including a link to your website with you question -Unlock 27 Ask Me Anything (AMA) episodes immediately-Listen to new Ask Me Anything (AMA) episodes every week ---Listen to Invest Like The Best #336 Jeremy Giffon Special Situations in Private Markets ---Join my free email newsletter to get my top 10 highlights from every book---(4:00) I watched Titanic at the Titanic. And he actually replied: Yeah, but I madeTitanic at the Titanic.(7:10) I like difficult. I'm attracted by difficult. Difficult is a fucking magnet for me. I go straight to difficult. And I think it probably goes back to this idea that there are lots of smart, really gifted, really talented filmmakers out there that just can't do the difficult stuff. So that gives me a tactical edge to do something nobody else has ever seen, because the really gifted people don't fucking want to do it.(7:20) At 68 years old, Cameron wakes up at 4:45 AM and often kick boxes in the morning.(7:45) Self doubt is not something Cameron has a lot of experience with. His confidence preceded his achievements.(9:00) I was going through this stuff, chapter and verse, and making my own notes and all that. I basically gave myself a college education in visual effects and cinematography while I was driving a truck.(16:00) Every idea is a work in progress.(17:30) He's been on a planet of his own making ever since.(18:00) The Return of James Cameron, Box Office King by Zach Baron(22:00) Cameron's career has been built on questioning accepted wisdom and believing in the power of the individual.  His outlook is that we can take fate in our own hands.(27:00) All creative individuals build on the works of their predecessors. No one creates an a vacuum. — Walt Disney and Picasso (Founders #310)(31:00) Cameron would go to the library at the University of Southern California, photocopying graduate student theses on esoteric filmmaking subjects.He filled two fat binders with technical papers.For the cost of a couple hundred dollars in photocopying, he essentially put himself through a graduate course in visual effects at the top film school in the country without ever meeting a single professor.(34:00) Cameron had only been at Corman's for a matter of days, but he was already taking charge. He seems constitutionally incapable of doing otherwise. (What a line!)He had a very commanding presence.(35:30) Your mediocrity is my opportunity.(37:40) Cameron finds writing torture. He does it anyway.(43:00) Cameron is willing to let ideas marinate for decades.(43:45) "I like doing things I know others can't.” That's part of what attracts him to shooting movies in water.  "Nobody likes shooting in water. It's physically taxing, frustrating, and dangerous. But when you have a small team of people as crazy as you are, that are good at it, there is deep satisfaction in both the process of doing it and the resulting footage."(49:15)  I was stunned by Jim's allegiance to the project and the extent of his physical abilities. Jim was there for every minute of it. It was beyond belief, his commitment to what we were doing.(55:30) I'd just made T2 for Carolco and I admired how they rolled, being their own bosses, mavericks, entrepreneurs. I'd been fed up with the studio system. So I figured I could set up a structure which would allow me to call the shots myself.(57:30) Mute the world. Build your own world.(1:04:50) Opportunity is a strange beast. It commonly appears after a loss.----Join Founders AMAMembers of Founders AMA can:-Email me your questions directly (you get a private email address in the confirmation email) -Promote your company to other members by including a link to your website with you question -Unlock 28 Ask Me Anything (AMA) episodes immediately-Listen to new Ask Me Anything (AMA) episodes every week ----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers.” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Matt is joined by The Hollywood Reporter's Rebecca Keegan to discuss Pixar's recent cold streak, who's to blame, and if it can be rectified. They talk about whether their pandemic misfires has caused permanent damage, why their movies cost so much more than every other animation studio, and how leadership and the creative process has changed over the years. Matt finishes the show with two predictions about the opening weekends for ‘The Flash' and Pixar's ‘Elemental'. For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' click here. Email us your thoughts! thetown@spotify.com Host: Matt Belloni Guest: Rebecca Keegan Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

John and Craig twirl their mustaches and discuss what motivates our villains. Why does past trauma lead some characters to become villains, while others become heroes? What separates good and evil, and what makes a villain great? We also celebrate Warren Beatty's Dick Tracy TV special, and follow up on office phones, #PayUpHollywood, and American military influence in film. In our bonus segment for premium members, we discuss Craig's new tattoo of Ellie's switchblade, and our first tattoo experiences. Links: Amtel Systems The U.S. military's Hollywood connection by Rebecca Keegan for Los Angeles Times How E-girl influencers are trying to get Gen Z into the military by Günseli Yalcinkaya for DAZED Warren Beatty Appears in Bizarre Dick Tracy TCM Special in Apparent Film-Rights Ploy by Dan Clarendon The 1000 Deaths of Wile E. Coyote by T.B.D. Why do good people do bad things? by Daniel Effron Why some people are willing to challenge behavior they see as wrong despite personal risk by Catherine A. Sanderson WGAw Late Pay Desk The Puzzling Gap Between How Old You Are and How Old You Think You Are by Jennifer Senior for The Atlantic Tattoo artist Yeono Craig's Tattoo Get a Scriptnotes T-shirt! Check out the Inneresting Newsletter Gift a Scriptnotes Subscription or treat yourself to a premium subscription! Craig Mazin on Instagram John August on Twitter John on Instagram John on Mastodon Outro by Dilo Gold (send us yours!) Scriptnotes is produced by Drew Marquardt with help from Chris Csont and edited by Matthew Chilelli. Email us at ask@johnaugust.com You can download the episode here.

After five years, what happened to the #MeToo movement and Time's Up? The Hollywood advocacy group made a splash at the Golden Globes in 2018, but what's happened since? And did it really change anything? Sam chats with The Hollywood Reporter's Rebecca Keegan about the group's initial momentum from A-list actors and a barn burner of a speech from Oprah... and its eventual (inevitable?) implosion. We also ask if writer R. Eric Thomas is into Chris Pratt voicing Mario. And we hear about the culture that's haunting us: If Seth Green's neck could suddenly explode in an episode of Grey's Anatomy, what's to stop our necks from exploding at any second, too? Send us your culturegeist. What specific thing in the culture has haunted you for days, weeks, or even years? Email us a short voice memo at intoit@vulture.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Favourite discussion with director Yorgos Lanthimos, actors Emma Stone, Rachel Weisz, and Nicholas Hoult, and producers Ed Guiney and Ceci Dempsey on November 17, 2018 at the Samuel Goldwyn Theater. Moderated by Rebecca Keegan.

Matt is joined by The Hollywood Reporter's Rebecca Keegan to discuss the indie hit ‘Everything Everywhere All at Once' and why it resonated with audiences. Later, they talk about A24's unique cachet in Hollywood, its innovation in marketing and brand awareness, and whether it will eventually be acquired. Host: Matt Belloni Guest: Rebecca Keegan Producer: Craig Horlbeck Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Frozen discussion with director Chris Buck, writer/director Jennifer Lee and producer Peter Del Vecho on November 23, 2013 at the Samuel Goldwyn Theater. Moderated by Rebecca Keegan.

Whoa times about twenty, because this is a beast of an episode that grew its own legs. Here is my rundown of the life, career, and activism (yes, activism) of James Cameron, director of 1997's Titanic. To properly understand the film and its resonance in popular culture, I think its essential to understand the man who took us back to the ship. The clip of Cameron speaking about his childhood is from a Ted Talk, and the link is here: https://www.ted.com/talks/james_cameron_before_avatar_a_curious_boyVisit my Bookshop Affiliate Page to explore/purchase some of my sources for this episode: https://bookshop.org/shop/unsinkablepodNotably, I recommend:Rebecca Keegan's The Futurist: The Life and Films of James CameronPaula Parisi, Titanic and the Making of James CameronMatthew Wilhelm Kapell and Stephen McVeigh, editors, The Films of James Cameron: Critical Essays  As well as these interviews:"The Spirit of Avatar: A Conversation with James Cameron" from The Marianne Williamson Podcast (March 18, 2021)"The Spirit of Exploration, with James Cameron" from StarTalk with Neil deGrasse Tyson (August 24, 2018)"James Cameron and Suzy Amis Cameron Uncut" from Tribe of Mentors (Tim Ferriss) Podcast (November 12, 2018)Please contact me!unsinkablepod@gmail.comon Insta: UnsinkablePodon Twitter: UnsinkablePodSupport the pod on Patreon:https://www.patreon.com/unsinkablepod

Knives Out discussion with writer/director Rian Johnson, actors Daniel Craig, Don Johnson, and Jamie Lee Curtis, and producer Ram Bergman on November 17, 2019 at the Samuel Goldwyn Theater. Moderated by Rebecca Keegan.

Hollywood is going through some massive changes. The Golden Globes, usually the start of awards show season, was a non-event when it took place earlier this week because of problems that face the organization that puts it on, the Hollywood Foreign Press Association. Plus, theatres continue to struggle to lure back moviegoers except with big tentpole films. The Hollywood Reporter's Senior Film Editor Rebecca Keegan joins us to discuss what's going wrong and what the future of the film industry looks like. And in headlines: The White House promised 10 million free COVID tests to schools nationwide every month, more than 8,000 grocery store workers at Colorado King Soopers grocery stores went on strike, and inflation climbed to the highest it's been in 40 years. Show Notes: Follow us on Instagram – https://www.instagram.com/whataday/ For a transcript of this episode, please visit crooked.com/whataday Learn more about your ad choices. Visit podcastchoices.com/adchoices

Here I put my cards on the table: Unsurprisingly, I'm a huge James Cameron fan and absolutely enamored of his deep sea exploration. In this episode I summarize, historicize, and review his 2003 documentary Ghosts of the Abyss, which took him and a team back down to Titanic in submarines fitted with 3-D cameras he'd designed alongside his brother. There's also a lot of Bill Paxton love here--he's the host of the film, in a way, and guides us through the wreck. Full disclosure I cry every time I watch this. I might have cried while recording this episode. I recommend reading Rebecca Keegan's book on Cameron--The Futurist: The Life and Films of James Cameron (2009).Contact me: unsinkablepod@gmail.comOn Instagram and Twitter: UnsinkablePodSupport the show on Patreon: https://www.patreon.com/unsinkablepodWebsite: https://www.unsinkablepod.comTheme song composed by John BeadlesPod cover art by Judith Cisneros

A panel of THR experts — Matt Belloni, Rebecca Ford, Stephen Galloway, Carolyn Giardina and Rebecca Keegan — join Scott to discuss the results and telecast.Credits: Hosted by Scott Feinberg and recorded and produced by Matthew Whitehurst and Joshua Farnham.

A panel of THR experts — Matt Belloni, Stephen Galloway, Carolyn Giardina, Rebecca Keegan and Piya Sinha-Roy — join Scott to discuss all things Oscar ahead of Sunday night's big show.Credits: Hosted by Scott Feinberg and recorded and produced by Matthew Whitehurst and Joshua Farnham.

"Marriage Story" is already being considered a contender for the Oscar's Best Picture category, but what did Adnan think of the film? He saw Noah Baumbach's latest movie at the New York Film Festival and gives his thoughts on today's episode! Adnan is also joined by Rebecca Keegan of The Hollywood Reporter to talk about "The Irishman," Francis Ford Coppola, and whether Superhero Movies are considered "cinema." Plus, Adnan and Joe give their picks for the best Dreamworks animated films of all time!

Scott Feinberg, THR's awards columnist, is joined by THR's tech editor Carolyn Giardina, executive editor (features) Stephen Galloway, senior editor (film) Rebecca Keegan and film editor Gregg Kilday for a discussion about the show's controversies, contenders and consequences. Credits: Hosted by Scott Feinberg, recorded by Joshua Farnham and produced by Matthew Whitehurst.

Jim Gaffigan (Light From Light, Them That Follow), Jillian Bell (Brittany Runs A Marathon), David Oyelowo (Relive), Zawe Ashton (Velvet Buzzsaw), Rhianne Barreto (Share), and Griffin Gluck (Big Time Adolescence) sit down with Rebecca Keegan of The Hollywood Reporter for a frank, in-depth conversation about their work, inspirations and latest projects at Sundance. This episode was recorded on January 26, 2019, in front of a live audience at the SundanceTV HQ on Main Street in Park City, UT during the 2019 Sundance Film Festival.

Jenna's back in New York after spending last week at the Tin House Summer Workshop in Portland, Oregon. An explosive moment at the workshop prompted us to consider what it means for an institution — from a writing workshop to a TV network to a social media platform — to really commit itself to inclusion, and whether inclusion is even enough.Discussed this week:Tin House Summer Workshop"The Danger of a Single Story" (Chimamanda Ngozi Adichie, TED, 2009)"Oscars 2016: Here's why the nominees are so white — again" (Rebecca Keegan and Steven Zeitchik, The Los Angeles Times, 2016)"Hannah Gadsby: Nanette" (Netflix, 2018)"A Canadian Museum Promotes Indigenous Art. But Don’t Call It ‘Indian.’" (Ted Loos, The New York Times Magazine, 2018)Correction: In this episode, the story read by Wells Tower that was the subject of controversy at the Tin House Summer Workshop was misidentified as having appeared in "Everything Ravaged, Everything Burned," a collection of short stories. The piece in question was a nonfiction article, "Own Goal," published in Harper's Magazine in 2010.

HALF THE PICTURE celebrates the groundbreaking work of female film directors and investigates the systemic discrimination that has, for decades, denied opportunities to far too many talented women in Hollywood. The film consists of interviews with high profile women directors including Ava DuVernay, Jill Soloway, Lena Dunham, Catherine Hardwicke and Miranda July, among many others, who discuss their early careers, how they transitioned to studio films or television, how they balance having a demanding directing career with family, as well as challenges and joys along the way. HALF THE PICTURE also includes interviews with experts about gender inequality in Hollywood including the ACLU’s Melissa Goodman, Sundance Institute’s Caroline Libresco, Vanity Fair’s Rebecca Keegan, USC’s Dr. Stacy Smith and San Diego State University’s Dr. Martha Lauzen, who establish the magnitude of this employment discrimination issue as women are shut out, across the board, of an industry that systemically denies their expression and point of view. HALF THE PICTURE Director / Producer Amy Adrion joins us to talk about a unique time in the film industry where systemic change seems possible and whether, unlike previous efforts to address gender inequality in Hollywood, will this time be different? For news and updates go to: halfthepicture.com Social Media: facebook.com/halfthepicture instagram.com/halfthepicture twitter.com/amyadrion

Rebecca Keegan joins to discuss the dustup between the prestigious festival and tech giant, and preview New York's upcoming Tribeca Film Festival.

Rebecca Keegan joins to discuss the dustup between the prestigious festival and tech giant, and preview New York’s upcoming Tribeca Film Festival. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rebecca Keegan reports back on the Academy's Governor's Awards, The Darkest Hour director Joe Wright stops by for an interview, and the terribleness of Justice League is discussed at length. 

Rebecca Keegan reports back on the Academy’s Governor’s Awards, The Darkest Hour director Joe Wright stops by for an interview, and the terribleness of Justice League is discussed at length.  Learn more about your ad choices. Visit megaphone.fm/adchoices

A dispatch from Rebecca Keegan on the Academy's big meeting, a look at the Feud episodes all about the Oscars, and a moment to wonder if whitewashing has finally become bad business for Hollywood. 

A dispatch from Rebecca Keegan on the Academy’s big meeting, a look at the Feud episodes all about the Oscars, and a moment to wonder if whitewashing has finally become bad business for Hollywood.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In the wake of the unexpected conclusion to the presidential election, we debate how Hollywood will react. Plus, updates on the state of the Harry Potter franchise and Manchester by the Sea, and a dispatch from Rebecca Keegan about the Governor's Awards 

In the wake of the unexpected conclusion to the presidential election, we debate how Hollywood will react. Plus, updates on the state of the Harry Potter franchise and Manchester by the Sea, and a dispatch from Rebecca Keegan about the Governor’s Awards  Learn more about your ad choices. Visit megaphone.fm/adchoices

As AMPAS addresses its diversity problem by inducting a huge new class of voters, Mike Hogan and Richard Lawson get the inside scoop from L.A. Times reporter Rebecca Keegan - and indulge in a bit of reckless speculation regarding the 2009 race for best actress.

As AMPAS addresses its diversity problem by inducting a huge new class of voters, Mike Hogan and Richard Lawson get the inside scoop from L.A. Times reporter Rebecca Keegan - and indulge in a bit of reckless speculation regarding the 2009 race for best actress. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sony studio has decided to no longer pay for 3-D glasses. Will other studios may follow suit? Kim the LA Times' Rebecca Keegan take on the latest dust-up in the movie world.

Kim Masters and the Los Angeles Times' Rebecca Keegan break down the latest comings and goings of TV anchors....

James Cameron's Avatar isn't just a hugely expensive sci-fi adventure – it's a titanic bid to transform movies. We get inside the mind of one of Hollywood's biggest players with Rebecca Keegan, author of the new book The Futurist: The Life and Films of James Cameron.