Podcast appearances and mentions of Richard Brody

The eleventh episode of our season on the awesome movie year of 2014 features the Academy Awards Best Picture winner, Alejandro González Iñárritu's Birdman. Directed and co-written by Alejandro González Iñárritu and starring Michael Keaton, Edward Norton, Emma Stone, Naomi Watts, Zach Galifianakis and Andrea Riseborough, Birdman was nominated for nine Oscars and won four, including Best Picture.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2014/10/17/movies/birdman-stars-michael-keaton-and-emma-stone.html), Peter Debruge in Variety (https://variety.com/2014/film/reviews/venice-film-review-birdman-or-the-unexpected-virtue-of-ignorance-1201287921/), and Richard Brody in The New Yorker (https://www.newyorker.com/culture/richard-brody/birdman-never-achieves-flight).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at

In this final episode of the Whiteness as Shape-Shifter series, Maureen turns the finger inward. From the loudness of fascism to the subtle betrayals of liberalism, this series has traced how whiteness hides and adapts. Here, the focus is on the most difficult terrain: the reflexes that live inside the body, the mind, and the spirit.Drawing wisdom from Audre Lorde, bell hooks, Paulo Freire,  Richard Brody's reading of Sinners, and Octavia E. Butler's Wild Seed, Maureen asks: what has to die inside me for me to evolve, to transform, to transmute?The episode is inspired by Annie's devastating choice in Sinners as a metaphor for radical boundaries, while weaving in ancestral and feminist lineages where shapeshifting is not sinister, but sacred. Diedra Barber reminds us that patriarchy and white supremacy stole this gift of the goddess—and that reclaiming it is a return to power-with, not power-over.This conversation is not about shame, but about practicing transparency, vulnerability, and love as acts of liberation.This week's reflection:What does my body do when I'm protecting whiteness?What part of me feels like it will die if I don't?And what might be born in me if I let that part go?When discomfort rises—in parenting, teaching, art-making, activism, or healing—how do my somatic cues shape my choices?This episode is a closing invitation to pause, notice, and reclaim the sacred power to shapeshift—not to disappear, but to appear more fully in alignment with love, accountability, and collective liberation.Support the showThis episode was created with deep love, and deep thanks to the frameworks and tools within Cultivating Intersectional Leadership, a course I co-created with Diedra Barber. CIL isn't just a training. It's a transformative journey—one that supports individuals and organizations in making the systemic, strategic, and spiritual shifts needed to build something different. Something rooted in justice. Something aligned with who we say we want to be. You're invited to learn more or inquire about participation at:

In the early days of the Hollywood studio system, producers exerted far greater creative control than any individual director. Then, in the mid-twentieth century, a group of young French critics issued a cri du coeur that gave rise to the figure of the auteur: visionary filmmakers ranging from Jean-Luc Godard to Martin Scorsese and Wes Anderson. In the final installment of this year's Critics at Large interview series, Vinson Cunningham talks with fellow staff writer Richard Brody about the origins of auteur theory, and about the lengths to which directors have gone for artistic freedom in the decades since. They take Spike Lee's body of work as a case study, considering his new movie “Highest 2 Lowest” and how his filmmaking sensibility reflects his singular view of the world. “Style is a funny thing in movies,” Brody says. “If it's any good, it's not inseparable from substance. It is substance.”Read, watch, and listen with the critics:“The 400 Blows” (1959)“Breathless” (1960)“Notes on the Auteur Theory in 1962,” by Andrew Sarris (Film Culture)“Circles and Squares,” by Pauline Kael (Film Quarterly)“Martin Scorsese on Making ‘Killers of the Flower Moon,' ” by Richard Brody (The New Yorker)“The Wolf of Wall Street” (2013)“Spike Lee Comes Home,” by Richard Brody (The New Yorker)“Da Sweet Blood of Jesus” (2014)“Red Hook Summer” (2012)“A Great Film Reveals Itself in Five Minutes,” by Richard Brody (The New Yorker)“Highest 2 Lowest” (2025)“ ‘Highest 2 Lowest' Marks a Conservative Pivot for Spike Lee,” by Richard Brody (The New Yorker)“Do the Right Thing” (1989)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

With seven decades in film and television, Clint Eastwood is undeniably a Hollywood institution. Emerging first as a star in Westerns, then as the embattled cop in the Dirty Harry films, the ninety-five-year-old filmmaker has directed forty features and appeared in more than sixty. The film critic Richard Brody just reviewed a new biography of Eastwood. “What fascinated me above all are the origins of Clint Eastwood-ness—the way he had an aura that preceded him before his career in movies.”  Brody joins David Remnick to pick three of the films that set Eastwood apart as an artist: “Play Misty for Me,” his 1971 directorial début; “Bird,” his bio-pic about Charlie Parker; and “Sully,” starring Tom Hanks as the heroic pilot Chesley Sullenberger.

The seventh episode of our season on the awesome movie year of 2014 features our foreign film pick, Ruben Östlund's Force Majeure. Written and directed by Ruben Östlund and starring Johannes Bah Kuhnke, Lisa Loven Kongsli, Clara Wettergren, Vincent Wettergren, Kristofer Hivju and Fanni Metelius, Force Majeure premiered at the 2014 Cannes Film Festival.The contemporary reviews quoted in this episode come from Ann Hornaday in The Washington Post (https://www.washingtonpost.com/goingoutguide/movies/force-majeure-movie-review/2014/11/05/35a08e9a-651f-11e4-836c-83bc4f26eb67_story.html), Peter Bradshaw in The Guardian (https://www.theguardian.com/film/2015/apr/09/force-majeure-review-ruben-ostlund-avalanche-movie), and Richard Brody in The New Yorker (https://www.newyorker.com/goings-on-about-town/movies/force-majeure-2).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at

On this week's episode, Sonny Bunch (The Bulwark), Alyssa Rosenberg (The Washington Post), and Peter Suderman (Reason) discussed the New York Times's decision to move away from traditional reviews for certain cultural products. (You can read the Richard Brody piece discussed here.) Then they reviewed The Fantastic Four: First Steps, a perfectly fine movie that strenuously avoids really digging into any of the ideas the film hints at. Make sure to swing by Bulwark+ on Thursday for a bonus episode on one of the worst movie lists ever made. And if you enjoyed this episode, please share it with a friend!

We're traveling back to the 1930s Mississippi Delta with Sinners! Join us as we learn about fake plantation money, "Rocky Road to Dublin", Chinese-American communities in Mississippi, hoodoo, and more! Sources: John Jung, "Chinese for the South: Mississippi Delta Chinese Migration Chains," in Zhang, Wenxian, et al. Far East, Down South: Asians in the American South. Tuscaloosa: The University of Alabama Press, 2016. https://muse.jhu.edu/book/49183. "Shaolu Yu, ""Placing Racial Triangulation, Triangulating Place and Race: Chinese Grocery Stores in the Mississippi Delta during the Jim Crow Era,"" Annals of the American Association of Geographers, 112(1) 2022, pp. 97–122" Karin Lurvink, "Strapped for Cash: Non-cash Payments on Louisiana Cotton Plantations, 1865-1908," TIJDSCHRIFT VOOR SOCIALE EN ECONOMISCHE GESCHIEDENIS 11, 3 (2014) Sonny Albarado, "The violent and racist fight against laborers' basic rights in the South," Arkansas Advocate, 2023 Katrina Hazzard-Donald, Mojo Workin': The Old African-American Hoodoo System (University of Illinois Press, 2013).  Cierra Black, "Sinners Hoodoo Consultant Talks Working with Ryan Coogler & Protecting Black Spirituality On-Screen: 'Blues Is the Music of Hoodoo'" Teen Vogue 3 May 2025.  Marcelitte Failla, ""You Deserve, Baby!": Spiritual Co-creation, Black Witches, and Feminism," The Witch Studies Reader 75-89 (Duke University Press, 2025). https://www.jstor.org/stable/jj.25003747.9  Kinitra D. Brooks, "Haints, Hollers, and Hoodoo," Southern Cultures 29:4 (2023): 2-7. Zora Hurston, "Hoodoo in America," The Journal of American Folklore 44:174 (1931): 317-417. https://www.jstor.org/stable/535394  "The Rocky Road to Dublin" in Will Carleton, Will Carleton's "Dandy Pat Songster (1866). https://www.google.com/books/edition/Will_Carleton_s_Dandy_Pat_Songster/ULo-AQAAMAAJ?hl=en&gbpv=1&dq=%22Rocky%20Road%20to%20Dublin%22&pg=PA59&printsec=frontcover  The Citizen (1842), https://www.google.com/books/edition/The_Citizen/VYdPAQAAMAAJ?hl=en&gbpv=1&dq=%22Rocky%20Road%20to%20Dublin%22&pg=PA262&printsec=frontcover  https://www.google.com/books/edition/Diprose_s_Standard_Song_Book_and_Reciter/jzJYAAAAcAAJ?hl=en&gbpv=1&dq=Rocky%20Road%20to%20Dublin&pg=PA24&printsec=frontcover "The Rocky Road to Dublin," in The New Singer's Journal (1871) https://www.google.com/books/edition/Henry_De_Marsan_s_New_Comic_and_Sentimen/3Lk_AQAAMAAJ?hl=en&gbpv=1&dq=%22Rocky%20Road%20to%20Dublin%22&pg=PA175&printsec=frontcover  The rocky road to Dublin. Image. https://www.loc.gov/item/amss-as111860/  "Along the Rocky Road to Dublin" (1915) https://egrove.olemiss.edu/sharris_c/92/  D Taylor, "'Champagne Charlie is my name': The swell, the Irish and the cockney," in From Mummers to Madness (2021).  Michael Pierse, ""A Pole of Differentiation": Pasts and Futures in Irish Working-Class Writing," Working-Class Literature(s): Historical and International Perspectives (2020).  "The Schools' Collection" folklore collected by students in Ireland from 1937-1939 https://www.duchas.ie/en/cbes/stories?SearchText=blackthorn&SearchLanguage=ga&Page=1&PerPage=20 https://www.myirishjeweler.com/blog/irish-folklore-the-blackthorn-and-fairies-fighting-and-harry-potter/?srsltid=AfmBOoqlYcrE-xW106rf2XlffXUu-8oyNtkuISgfqsRmUOsNFEh0g9RU  RT: https://www.rottentomatoes.com/m/sinners_2025  Richard Brody, ""Sinners" is a Virtuosic Fusion of Historical Realism and Horror," April 17, 2025 The New Yorker https://www.newyorker.com/magazine/2025/04/28/sinners-movie-review  Wiki: https://en.wikipedia.org/wiki/Sinners_(2025_film) https://en.wikipedia.org/wiki/First-dollar_gross 

EPISODE 92 -  “BORN TO BE BAD - Old Hollywood's Favorite Brats" - 6/16/25 This week, we're getting into the pint-sized punks, the tantrum-throwers, the eye-rollers, and the sharp-tongued little legends who strutted across the silver screen like they owned the studio. That's right—we're talking about our favorite bratty kids in classic movies. You know the type: too smart for their age, too bold for their britches, and way too good at stealing scenes from their adult co-stars. Whether they were lighting up the screen with sass or shutting it down with a glare, these kids were iconic—and let's be honest, a little terrifying. So buckle up, because we're about to revisit the child stars who threw shade before it was cool, and tantrums that deserved an Oscar. Let the chaos begin. SHOW NOTES:  Sources: “There's Always Tomorrow,” August 13, 2021, by Richard Brody, The New Yorker;  “Jane Withers, Child Star Who Later Won Fame in Commercials, Does at 95,” August 8, 2021, The New York Times; “Denise Nickerson, Violet in ‘Willy Wonka & the Chocolate Factory, Has Died,” July 11, 2019, Times Union; “Violence to Lord of Flies,” December 19, 2012, RogerEbert.com;  “A Long Way From Brooklyn,” April 23, 2010,  by Dave Kehr, New York Times; “Bonita Granville Wrather, 65, an Actress and Executive (Obit),” October 8, 1988, The New York Times; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Theodore Bouloukos returns to the podcast after nearly 7 years (first time was episode 14). The “secret weapon of independent cinema,” as The New Yorker's Richard Brody called him, brings us up to date on his adventures in acting. He talks about why he never dwells on a project's prospects after his work is done, explains the kind of characters that attract him, reminisces about a couple exceptional recent shoots (including the wonderful ode to the game of Baseball that is the film “Eephus”), makes a case for going “full on” for every role, and much more. “Eephus” is currently on demand and highly recommended. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

David Remnick is joined by Alexandra Schwartz, the co-host of the podcast Critics at Large, and The New Yorker's august film critic Richard Brody. They talk about the past year in film and predict the victors of the Academy Awards. Brody dismisses “The Brutalist”—a film that merely uses the Holocaust “as metaphor”—and tells Remnick that “Wicked” might win Best Picture. “I think there's a huge desire for cinematic comfort food that makes a billion dollars.” Continuing the Radio Hour's annual tradition, Brody discusses nominees and selects the winners of the coveted award that we call The Brody.

Sarah is joined by Garrett Bucks, founder of The Barnraisers Project and author of the The White Pages and The Right Kind of White, to talk about the movies of 2024 and what they say about gender, parenting, sex, and more. Find out which of the 24 and 39 movies Garrett and Sarah watched (respectively) are their best and worst. Also — why Dune is a boymom movie, why Garrett had to fast-forward The Substance, and why Challengers is this year's Mamma Mia. * Garrett's Letterboxd* Together (the Swedish one)* Richard Brody's review of The Brutalist* Richard Brody's review of Emilia Pérez* Lindy West's S**t Actually* Babygirl director on Death, Sex, and Money This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit motherofitall.substack.com/subscribe

On this episode, host Dr Pasquale Iannone is joined by John Bleasdale. John is a writer and film critic whose work has appeared in Sight & Sound, The Guardian, Variety, The Economist and many other outlets. He's also a prolific podcaster, with series such as Writers on Film, Cinema Italia and The James Bond Book Club.John talks to Pasquale about his latest book The Magic Hours (2024), a fascinating biography of the acclaimed American filmmaker Terrence Malick which was recently described by New Yorker critic Richard Brody as ‘a rapturously detailed, sensitively observed, critically insightful account.' John and Pasquale talk about what makes for a great filmmaker biography and then discuss Malick's background, his brief but eventful stints in academia and journalism and his beginnings as a screenwriter. Also covered are his first two features as director - 1970s American classics Badlands (1973) and Days of Heaven (1978) as well as the much talked about gap of two decades between Days of Heaven and his third feature, The Thin Red Line (1998). Just what was Malick up to during this time? How much truth is there in this image of Malick as the reclusive auteur?The conversation also takes in key aspects of the Malick methodology and film style, including his work with actors, his editing approach and his use of voiceover.The Magic Hours: The Films and Hidden Life of Terrence Malick is out now via the University Press of Kentucky.

Listen to the full episode here: https://www.patreon.com/coldpod Brandon Kaufman is a Toronto based filmmaker, writer and critic who's work has appeared in The Guardian, Screen Slate and The Toronto Star. Brandon sat down with us to discuss the 'Find My Friends' app, spontaneity, his monthly film series 'Party Favour', double features, 'The Brutalist', curation, TIFF, 'The Van Gogh Experience', Mubi tote bags, A24 stans, production company merch, backpacks, garbage bags, Online Ceramics, filmmakers as idols, striving for satisfaction, financial necessities in film, Quentin Tarantino, being a critic and an artist, art as a product of criticism, 'The Substance', anti-intellectualism, legacy media, 'The Pitchfork Sunday Review', Richard Brody, 'Ringcels', two party systems, reactionary art, vulgar auteurism, Paul W. S. Anderson, security in fandom, M Night Shyamalan, film twitter, tricking yourself into liking things, people who say "Its not that deep", the Toronto art scene, DIY galleries, working with limited resources and more! Brandon Kaufman Josh McIntyre Austin Hutchings ---- COLD POD

pWotD Episode 2662: Gena Rowlands Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 399,666 views on Thursday, 15 August 2024 our article of the day is Gena Rowlands.Virginia Cathryn "Gena" Rowlands (; June 19, 1930 – August 14, 2024) was an American actress, whose career in film, stage, and television spanned nearly seven decades. A four-time Emmy and two-time Golden Globe winner, she is known for her collaborations with her actor-director husband John Cassavetes in ten films, including A Woman Under the Influence (1974) and Gloria (1980), both of which earned her nominations for the Academy Award for Best Actress. She also won the Silver Bear for Best Actress for Opening Night (1977). She is also known for her performances in Woody Allen's Another Woman (1988), and her son Nick Cassavetes's film, The Notebook (2004). In 2021, Richard Brody of The New Yorker said, "The most important and original movie actor of the past half century-plus is Gena Rowlands." In November 2015, Rowlands received an Honorary Academy Award in recognition of her unique screen performances.This recording reflects the Wikipedia text as of 01:45 UTC on Friday, 16 August 2024.For the full current version of the article, see Gena Rowlands on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Emma.

Merriam-Webster's Word of the Day for August 11, 2024 is: vitiate • VISH-ee-ayt • verb To vitiate something is to ruin it or render it ineffective. // A single inaccuracy in the spreadsheet that supported the data vitiated the entire proposal. See the entry > Examples: "… Lily Gladstone does more with thought, in 'Killers of the Flower Moon,' than most actors ever achieve with flagrant and spectacular action; her presence fills the screen with what used to be understood as star power (before the mainly technical prowess of conservatory-trained actors became a mark of Hollywood dignity). The role she plays is one of tragic complexity; blatant theatrics would have vitiated its grandeur." — Richard Brody, The New Yorker, 23 Jan. 2024 Did you know? If you're itching to find fault with the word vitiate, you don't have to look far—the word comes ultimately from the Latin noun vitium, which refers to a fault, vice, shortcoming, or impediment to success or perfection. Accordingly, vitiate—like its fellow vitium-descended v-words vituperate ("to use harsh, condemning language"), vicious, and vice—has a negative bent. To vitiate something is, essentially, to mar or damage it in some way, whether by ruining or spoiling it ("a joke vitiated by poor timing"), corrupting it morally ("a mind vitiated by prejudice"), or rendering it null or ineffective ("fraud that vitiates a contract"). Despite its versatility, vitiate is most effective when used in formal speech and writing; that is to say, those who drop it into a construction like "a sandwich vitiated by too much peanut butter" may find themselves subject to some mild vituperation.

Why *wouldn't* we revisit any entertainment property—this podcast ep included—starring Channing Tatum?! Behold, one of last year's hits, for your (re-?)listening pleasure. What do the critics have to say about Magic Mike? Here's Shirley Li at The Atlantic, Emma Specter at Vogue, A.O. Scott at the NYT, Richard Brody at The New Yorker, Bob Mondello at NPR, and Kyle Smith at the Wall Street Journal.  Channing's look right now! Specifically this Met Gala pic and this Variety cover! He and Zoë Kravitz share a stylist, Andrew Mukamal (who was featured on Kell on Earth—see also: this Interview interview with Kelly Cutrone).   If you're into the business side of Magic Mike, check out WSJ's story “For Magic Mike, Channing Tatum Looked for Strippers Moms Could Love.” As for Channing's other creative projects: Sparkella, Born & Bred Vodka (more from BonApp), and the much-hyped romance novel he's writing with Roxane Gay. (Unrelated but also totally related, Tessa Bailey's reverse-harem romance Happenstance.)   Oh, Girl Scouts, preparing girls to meet the world with courage, confidence, and character since 1912! We love the logo redesign by Collins, and if you need a cookie source, buy them from Troop 6000, a first-of-its-kind program designed to serve families living in temporary housing in the New York City shelter system, or from trans girls around the country.  Another scouting org we love: Radical Monarchs, which creates opportunities for girls and  gender-expansive youth of color—this doc is great. Share your Magic Mike reviews with us at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq—or join our Geneva! And for more recommendations, try out a Secret Menu membership. The juggle is real. Don't just respond to stress, get ahead of it with Stress Relief from Ritual. Get 25% off your first month at ritual.com/athingortwo. Start Ritual or add Stress Relief to your subscription today. YAY.

On Zone of Interest and Holocaust film.   [Patreon Exclusive]   We discuss the winner of the Oscar for Best International Feature Film – one that split opinion, among critics and on the pod too! How does the film fit in the pantheon of Holocaust films? Is it a Holocaust film? How well does it deal with its obvious subject matter: the banality of evil? Is the film neutral and detached or preachy, condescending, moralising? What to make of the commentary around the film, including director Jonathan Glazer's statements? How does it relate to Israel/Palestine? What to make of present-day Auschwitz? Should it be preserved? Link: The Zone of Interest is an extreme form of 'Holokitsch', Richard Brody, New Yorker Is The Zone of Interest simply uninteresting? Toby Marshall, Substack The Zone of Interest is about the danger of ignoring atrocities – including in Gaza, Naomi Klein, The Guardian The Zone of Interest Reminds Us How Easy It Is to Ignore a Genocide on Your Doorstep, Juliet Jacques, Novara The Banality of Evil is No Longer Banal, Maren Thom, Café americain One-star review of Zone of Interest

If all of our current class hierarchies were eliminated, what would replace them? This question is at the core of TRIANGLE OF SADNESS (2022), the art-house hit that show the limits of being an "equal-opportunity offender." PLUS: campus protests, keffiyeh bans, and the state of the publishing industry. Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus "No One Buys Books" by Elle Griffin - https://www.elysian.press/p/no-one-buys-books "The Delusional Triangle of Sadness" by Armond White - https://www.nationalreview.com/2022/10/the-delusional-triangle-of-sadness/ "Triangle of Sadness" review by Richard Brody - https://www.newyorker.com/culture/the-front-row/triangle-of-sadness-reviewed-were-on-a-yacht-and-were-puking "Triangle of Sadness" review by Gabe Klinger - https://letterboxd.com/gabeklinger/film/triangle-of-sadness/

Lily Gladstone had been in several films, but unknown to most moviegoers, when she got a call for Martin Scorsese's period drama “Killers of a Flower Moon.” The role was challenging. She plays the historical Mollie Burkhart, an Osage woman married to a white man, Ernest (played in the film by Leonardo DiCaprio), who perpetrates a series of murders of Osage people in a scheme to secure lucrative oil rights. Ernest may be poisoning her with a cocktail that includes morphine, and some of the dialogue is in Osage, a language that Gladstone—raised on the Blackfeet reservation in Montana—had to learn. Gladstone is the first Native person nominated for Best Actress in a Leading Role, and is aware of the historical weight the nomination carries.  “We're kicking the door in,” she says. “When you're kicking the door in, you should just kind of put your foot in the door and stand there,” she adds. “Kicking the door and running through it means it's going to shut behind you.” Plus, our film critic Richard Brody returns with his annual movie honors: the Brody Awards. An awards show exclusively for The New Yorker Radio Hour, he'll be handing out imaginary trophies—and trash-talking Oscar favorites like “Oppenheimer”—alongside the staff writer Alexandra Schwartz.

This week we're traveling back to the 1920s with Killers of the Flower Moon! Join us as we learn about William "King" Hale, Mollie Burkhardt, FBI Agent Tom White, and more! Sources: David Grann, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI. Doubleday, 2017 https://ualr.edu/sequoyah/thisday/hale-given-life-sentence-february-1-1929/ FBI Vault: https://vault.fbi.gov/Osage%20Indian%20Murders  https://www.fbi.gov/history/famous-cases/osage-murders-case https://www.npr.org/2018/04/06/600136534/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri  Evening star. [volume] (Washington, D.C.), 16 Jan. 1957. Chronicling America: Historic American Newspapers. Lib. of Congress. https://chroniclingamerica.loc.gov/lccn/sn83045462/1957-01-16/ed-1/seq-28/  "Review: FAILED PROTECTORS: THE INDIAN TRUST AND ""KILLERS OF THE FLOWER MOON"" Reviewed Work: Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann Review by: Matthew L.M. Fletcher Michigan Law Review, Vol. 117, No. 6, 2019 SURVEY OF BOOKS RELATED TO THE LAW (April 2019), pp. 1253-1269 (17 pages) https://www.jstor.org/stable/45135202 " Donald Fixico, "The Osage Murders and Oil," The Invasion of Indian Country in the Twentieth Century: American Capitalism and Tribal Natural Resources 2nd edition (University Press of Colorado, 2012), 27-54. https://www.jstor.org/stable/j.ctt46nvt7.7  https://www.atlasobscura.com/articles/osage-murders-photos-killers-of-flower-moon https://www.tshaonline.org/handbook/entries/white-thomas-bruce  and https://www.tshaonline.org/handbook/entries/federal-correctional-institution  https://www.fbi.gov/news/podcasts/inside-the-fbi-the-osage-murders https://voicesofoklahoma.com/interviews/conner-joe-carol/  https://www.okhistory.org/publications/enc/entry.php?entry=OS005 https://www.esquire.com/uk/culture/film/a45547775/what-happened-to-everyone-in-killers-of-the-flower-moon-after-the-film-ends/  Kirsten Chuba, "Osage Consultant Admits to Complicated Feelings over Killers of the Flower Moon," Hollywood Reporter, available at https://www.hollywoodreporter.com/movies/movie-news/killers-of-the-flower-moon-osage-consultant-mixed-feelings-1235620231/ Richard Brody, "Martin Scorsese on Making Killers of the Flower Moon," The New Yorker, available at https://www.newyorker.com/culture/the-front-row/martin-scorsese-on-making-killers-of-the-flower-moon

This week we're excited to present a panel of critics and programmers to discuss the significance of the late French film critic Serge Daney (1944–1992)'s thought today, with a particular emphasis on how his politically driven analysis and radical enthusiasms of the 1970s might speak to our contemporary moment. Film at Lincoln Center was proud to recently present Never Look Away: Serge Daney's Radical 1970s, a series that celebrated French film critic Serge Daney and the films he championed in his book La Rampe, occasioned by its long-awaited English translation under the title Footlights. Complementing this program was a panel that featured The New Yorker's Richard Brody, translator of Footlights and series co-programmer Nicholas Elliott, and moderator FLC Assistant Programmer Madeline Whittle. This discussion considered the relation between mise-en-scène and moral perspective, the cinema as an antidote to advertising, and the critic's role as an ally to filmmakers. Never Look Away: Serge Daney's Radical 1970 was sponsored by MUBI.

On the eighth episode of All the Film Things, we are celebrating Noirvember! I am joined by my friend, and host of the podcast Red Room Radio, Cristina Santiago, to discuss Louis Malle's 1958 noir film, Elevator to the Gallows. This episode is spoiler- filled. Elevator to the Gallows is a crime thriller film set in Paris and with the events unfolding within 24 hours.  The film follows two couples in paralleled storylines. One couple, is young and always together while the other pair are literally separated. Jeanne Moreau stars in the lead role of Florence, who we see in the beginning of the film, plotting with her lover Julien (Maurice Ronet) to kill her husband- his boss- in order for them to be together. After their plans go awry, a tangled web of events involving both couples is set in motion. Not only was this Louis Malle's debut directed feature film, this film also made Jeanne Moreau a star. Released two years before Jean Luc Godard's Breathless, Elevator to the Gallows is regarded as an inspiration for the French New Wave. Miles Davis's jazz score is regarded as "historic" and we quote from Richard Brody's article on the score and film for The New Yorker. I incorrectly stated the name of the author and did not realize until the release date of this episode. This is technically the second ATFT episode Cristina has appeared on. As I mention in the beginning in this episode, this was our second attempt at discussing Elevator to the Gallows. We recorded this second attempt on November 10, 2023 but there are a few excerpts from the first attempt, which was recorded on October 26, 2023. Cristina has a real appreciation for Old Hollywood films so I had recommended her this film, assuming she enjoyed foreign film as well, but I was surprised to learn Elevator to the Gallows was the first foreign film she watched! But watching the film didn't go so smoothly… Cristina and I discuss this in the beginning of the episode. Luckily, she enjoyed the film and is looking forward to watching more classic foreign films! Cristina hosts the pop culture podcast Red Room Radio. Like ATFT, Cristina has a range of topics and different formats allowing her to have a broad range of pop culture- focused episodes. She recently welcomed R. Kurt Osenlund on RRR for a pop culture chat. I was fortunate to have been a guest on RRR for part one and two of the Jayne Mansfield episodes. Be sure to follow Red Room Radio on Apple Podcasts, Spotify, and more so you never miss an episode! In this episode, Cristina and I talk about the famous scene of Jeanne Moreau strolling the streets of Paris at night, Miles Davis's score, imagining what Academy Awards Elevator to the Gallows should have won, the film's ending, and much more! Noire #1 by Music By Pedro https://goo.gl/sJT2e8  Promoted by MrSnooze  • Film Noir Background Music for Videos...   "Flashback Synth" by se2001 Retrieved from Freesound.org

At the end of this month, after more than two decades, Netflix is phasing out its DVD-rental business. While that may not come as a surprise given the predominance of streaming platforms, it's a great loss to cinephiles, according to the New Yorker's Richard Brody. Streaming services routinely drop titles from circulation, and amazing films may be lost to moviegoers. “Physical media is what protects us from being at the mercy of streaming services for our movies and our music,” Brody says. “It's like a library at home.” Brody gives the producer Adam Howard a peek into his own personal stash of films, and picks a few DVDs of films he would take with him in a fire: Godard's “King Lear” (“the greatest film ever made – literally”); “Chameleon Street,” by Wendell B. Harris, Jr.; “Stranded” and “The Plastic Dome of Norma Jean,” by Juleen Compton; and a box set of five films by John Cassavetes.

The Nose is off. In its place, a look at the No. 1 podcast in America, Strike Force Five, hosted by Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers, and John Oliver as a way to pay the late night writing staffs during the strikes. Plus: New Yorker film critic Richard Brody joins us to extol the virtues of owning movies on physical media. And finally: endorsements, Nose or no. During this little period of Noselessness, we've decided at least to entertain ideas around doing the show differently. And we want your input! If you're familiar with The Nose, and you have a couple minutes, please take our survey. You might even win a life-alteringly great prize! (It's a coffee mug. You might win a coffee mug.) GUESTS: Richard Brody: The movies editor for Goings On About Town at The New Yorker Megan Fitzgerald: Senior project manager at Connecticut Public Sabrina Herrera: Community engagement and social media editor at Connecticut Public Jennifer LaRue: A writer, editor, and publicist and a contributing producer for The Colin McEnroe Show Cat Pastor: Assistant radio operations manager at Connecticut Public Julia Pistell: A writer and comedian, a founding member of Sea Tea Improv, and a contributing producer for The Colin McEnroe Show Nicholas Quah: The podcast critic for New York Magazine and Vulture, where he writes the weekly newsletter 1.5× Speed Catie Talarski: Senior director of storytelling and radio programming at Connecticut Public Chion Wolf: The host of Audacious on Connecticut Public The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode!Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

This week on the podcast we're trying our hand at the greatest radio format of all time. Lily does her best (very bad) Kirsty Young impression as James' delivers his top 3 Desert Island DVDs. He also, of course, details his preferred AV set-up for shipwrecked screenings - think monkeys in tuxedos.ReferencesThe lowdown on Cargo Cults'The rise (and Inevitable fall) of Citizen Kane as the Greatest Movie Ever Made' by Bilge Ebiri for vulture.com'What's so good about Citizen Kane?' by Nicholas Barber for BBC Interesting article on the battle for writer's credit on Citizen Kane by Richard Brody for the New Yorker'Citizen Kane' a masterpiece at 50', by Roger Ebert'Realism for Citizen Kane' by Gregg Toland for theasc.comGene Kelly and Cyd Charisse's sexy dance routine in Singin' In the Rain'Why Singin' in the Rain Is an Almost Perfect Musical' by Jeanine Basinger for The Atlantic'Beyond the Frame: Singin' in the Rain' by David E. Williams for the asc.com 'Shooting In Color Caused Some Problems Behind The Scenes Of Singin' In The Rain' by Whitney Seibold for slashfilm.comLucasfilm's J.W. Rinzler Talks About The Making of Star Wars: The Empire Strikes Back by for Vanity Fair'The Empire Strikes Back at 40: did the Star Wars saga peak too early?' by Scott Tobias for The Guardian'In Hindsight, Empire Strikes Back Director Irvin Kershner Would've Helmed One of the Prequels' by Mike Ryan for Vanity Fair Film Pharmacy recommendationsCeline & Julie Go Boating (1974) dir. by Jacques RivetteShowgirls (1995) dir. by Paul Verhoeven-----------If you love what we do, please like, subscribe and leave a review!Produced and edited by Lily AustinMusic and sound by James BrailsfordLogo design by Abby-Jo SheldonFollow usEmail us

Asteroid City é o novo filme do simétrico Wes Anderson, diretor americano, que já levou o Globo de Ouro e tem uma linguagem bastante própria de seus filmes. O filme que chegou aos cinemas no dia 10 de agosto de 2023 é difícil até de dar uma sinopse. Seria uma peça teatral filmada sobre um grupo de adolescentes geniais que vão participar de uma feira de ciências no deserto americano? Seria um filme sobre perdas e o caos que envolve o processo criativo de um dramaturgo? Ou ainda a história de uma família que após sofrer uma grande perda precisa se reconectar? Independente da sinopse, Asteroid City demonstra ser o filme mais radical de Wes Anderson, não só pela temática, mas por toda a visão de cinema que o diretor tenta transmitir com o longa e que acaba separando o público entre aqueles que têm curiosidade em mergulhar nessa visão e aqueles que podem se cansar no meio do processo. Rafael Arinelli recebe Thiago Muniz (Pipocas Club) e Diego Quaglia (Fiz Cinema) para discutir suas impressões sobre Asteroid City e entender que mesmo o filme sendo polêmico em sua forma, Wes nos trás uma obra que é uma pitada de excentricidade em um mar de clichês e mesmices no mercado Hollywoodiano. Abra sua cabeça, esteja pronto para submergir em camadas e mais camadas de um dos diretores mais autorais de sua geração, faremos isso indo para uma cidade minúscula no meio deserto americano cuja maior atração é um meteoro que caiu ali perto. 02m48: Pauta Principal 1h23m12: Plano Detalhe 1h33m49: Encerramento Ouça nosso Podcast também no: Feed: https://bit.ly/cinemacaofeed Apple Podcast: https://bit.ly/itunes-cinemacao Android: https://bit.ly/android-cinemacao Deezer: https://bit.ly/deezer-cinemacao Spotify: https://bit.ly/spotify-cinemacao Google Podcast: https://bit.ly/cinemacao-google Amazon Music: https://bit.ly/amazoncinemacao Agradecimentos aos patrões e padrinhos: • André Marinho• Anna Foltran• Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Lima• Flavia Sanches• Gabriela Pastori• Guilherme S. Arinelli• Gustavo Reinecken• Katia Barga• Luiz Villela• William Saito Fale Conosco: • Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• Twitter: https://bit.ly/twittercinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacao Apoie o Cinem(ação)! Assine o Cinem(ação) e passe a fazer parte de um grupo seleto de ouvintes que têm vários benefícios. Com um valor a partir de R$5,00, você já terá direito a benefícios e o melhor de tudo, depois de 1 ano de contribuição, você ganha um presente exclusivo! Acesse a página Contribua, escolha o plano que melhor lhe atende e venha ser um apoiador do nosso canal! Plano Detalhe: (Thiago): Documentário: Retratos Fantasmas (Thiago): Série: Cangaço Novo (Diego): Filme: As Tartarugas Ninja: Caos Mutante (Diego): Youtube: Matt Zoller Seitz, Lisa Rosman & Richard Brody discuss Wes Anderson (Rafa): Filme: Hotel Ruanda Apoia.se: https://apoia.se/cinemacao

A feature length conversation with Bruce Koussaba and Alena Lodkina. Chatting about her new film Petrol, currently trotting the globe one screening at a time. The two filmmakers chat all things from smoking on set, to Richard Brody, and possibly having ADHD – in a dialogue charting Lodkina's journey with Petrol, from inception to The New Yorker.See omnystudio.com/listener for privacy information.

It's Just The Gist  - "F*cking White People" Edition; The story of the 1981 film ROAR. A tale of how a rich naive Hollywood couple spent over a decade making a movie that starred them, their kids and 150 lions, tigers, leopards, panthers, ALLL the big cats. The movie was pitched as a "family comedy", but is widely regarded as one of the most dangerous films of all time. Roar starred Tippy Hedron (Star of Hitchcock's The Birds and others) her daughter Melanie Griffiths, and the rest of their family. The plot is broadly "we can save the world/animal kingdom/lions and tigers etc are all big friendly besties who just are misunderstood and we can live with them in harmony". Sounds cute in theory, maybe in adorable cartoons, but filming with 150 big cats gives very different results. Turns out, big cats gunna big cat; the films credits say no animals were harmed in the making of the movie (lies lol), but they don't say anything about how many PEOPLE were mauled, scalped, attacked, and generally not treated as one would hope to be treated at work. We give you just the gist, but if you want more, there's this: LINKS  Watch ROAR! Trailer from it's 2015 re-release https://bit.ly/roarfilm-trailer . Read 'Looking Back at Roar, a Shocking, Lion-Filled 1981 Movie You've Never Seen (Yet)' by Matt Patches for Esquire Mag online https://bit.ly/3OyeI1i . Read 'Noel Marshall's “Roar”: Humans Were Harmed in the Making of This Film' by Richard Brody for The New Yorker in 2020 https://bit.ly/3BSHuSp . Watch 'The Insane Story Behind The Movie Roar' from Weird History on Youtube https://bit.ly/3MoXf8z . Watch Roar - currently bootlegged on Youtube here https://www.youtube.com/watch?v=m_nOUrQNF_c&ab_channel=Hale . Photos of the stills from the film via IMDB https://www.imdb.com/title/tt0083001/mediaindex . FOLLOW THE SHOW: Follow @justthegistpodcast on Instagram https://bit.ly/jtg-gram . Check out @justthegistpodcast in TikTok https://bit.ly/jtg-tiktok . Follow @jacobwilliamstanley on Instagram https://bit.ly/jacobwilliamstanley-IG . Follow @rosiewaterland on IG https://bit.ly/rosiewaterland-ig . CREDITS Hosts: Rosie Waterland & Jacob Stanley Executive Producer: Elise CooperAudio Imager: Nat Marshall Social Producer: Zoe Panateros Managing Producer: Sam Cavanagh  Find more great podcasts like this at www.listnr.com/See omnystudio.com/listener for privacy information.

On this episode, I am joined by noted Cate Blanchett enthusiast and Scorpio, Aubrey Gordon (@yrfatfriend) who you know from the excellent podcast Maintenance Phase. We talked about (and spoiled btw) the movie Tár. We talked about queer anti-heroes/villains, what this movie says (if anything) about cancel culture, whether this is a horror movie, and a lot more.Buy Aubrey's books on Bookshop. Things we talked about:Imitation of Life Can You Ever Forgive Me?Michael ClaytonCarolThe Worst Idea of All Time podcastThe Best Idea of All Time podcast“‘Tár,' Reviewed: Regressive Ideas to Match Regressive Aesthetics” by Richard Brody for The New Yorker“Tár is actually a horror movie” by Martin Millman for ColliderThread from r/blankies about ghosts in the movie TárGet Oh, I Like That merch here! This episode was produced by Sally and Aubrey and edited by Aram Vartian. Our logo was designed by Amber Seger (@rocketorca). Our theme music is by Tiny Music. Follow us Instagram @OhILikeThatPod.

If you've been asking “Why aren't more podcasts talking about Magic Mike's Last Dance and Girl Scouts?” you've come to the right place. Shall we??   What do the critics have to say about Magic Mike? Here's Shirley Li at The Atlantic, Emma Specter at Vogue, A.O. Scott at the NYT, Richard Brody at The New Yorker, Bob Mondello at NPR, and Kyle Smith at the Wall Street Journal.    Channing's look right now! Specifically this Met Gala pic and this Variety cover! He and Zoë Kravitz share a stylist, Andrew Mukamal (who was featured on Kell on Earth—see also: this Interview interview with Kelly Cutrone).     If you're into the business side of Magic Mike, check out WSJ's story “For Magic Mike, Channing Tatum Looked for Strippers Moms Could Love.” As for Channing's other creative projects: Sparkella, Born & Bred Vodka (more from BonApp), and the much-hyped romance novel he's writing with Roxane Gay. (Unrelated but also totally related, Tessa Bailey's reverse-harem romance Happenstance.)     Oh, Girl Scouts, preparing girls to meet the world with courage, confidence, and character since 1912! We love the logo redesign by Collins, and if you need a cookie source, buy them from Troop 6000, a first-of-its-kind program designed to serve families living in temporary housing in the New York City shelter system, or from trans girls around the country.    Another scouting org we love: Radical Monarchs, which creates opportunities for girls and  gender-expansive youth of color—this doc is great.   Share your Magic Mike reviews with us at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq—or join our Geneva! And for more recommendations, try out a Secret Menu membership. This episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode. Try out professional counseling with BetterHelp and take 10% off your first month with our link. Help your hair with Nutrafol. Take $15 off your first month's subscription with the code ATHINGORTWO.   Get more out of your bread with Hero Bread—10% off your first order with the code ATHINGORTWO. Sleep well with Boll & Branch—get 15% off your first set of sheets when you use the promo code ATHINGORTWO. YAY. Produced by Dear Media

Merriam-Webster's Word of the Day for March 10, 2023 is: factotum • fak-TOH-tum • noun A factotum is a person who has many diverse activities or responsibilities, and especially one whose work involves a wide variety of tasks. // After graduating from college, Natalia worked for several years as an office factotum. See the entry > Examples: "Francesca, one of her former students, works tirelessly as Lydia's factotum, amanuensis, and personal assistant, in the expectation of becoming her assistant conductor in Berlin." — Richard Brody, The New Yorker, 12 Oct. 2022 Did you know? "Do everything!" That's a tall order, but it is exactly what a factotum is expected to do. It's also a literal translation of the Latin phrase fac tōtum: the phrase is usually glossed as "do all!" with the punctuation expressing the force behind the command. (Fac is an imperative form of facere, "to make, do," and tōtum means "the whole, entirety.") When it first appeared in English in the mid-16th century, factotum was frequently paired with other words in such phrases as dominus/domine factotum ("lord/lady" factotum), magister factotum ("master" factotum), and Johannes factotum ("John" factotum), all approximate synonyms of the slightly younger term jack-of-all-trades. While in the past factotum could also be synonymous with meddler and busybody, the word today refers to a handy, versatile sort anyone in need of an assistant might hope for.

“Everything Everywhere All at Once” is in a genre all its own, and is an extremely unlikely favorite for the Academy Award for Best Picture. It's a loopy sci-fi quest that becomes a martial arts revenge battle, superimposed on a sentimental family drama. Stephanie Hsu plays both Joy, a depressed young woman struggling with her immigrant mother (played by Michelle Yeoh), and Jobu Tupaki, an interdimensional supervillain bent on sowing chaos, and possibly the end of the world.  “The relationship between Evelyn and Joy in its simplest terms is very fraught,” Hsu tells the staff writer Jia Tolentino. “It's the story of a relationship of a daughter who's a lesbian who is deeply longing for her mother's acceptance . . . but they keep chasing each other around in the universe and they can just never find one another. Until, of course, they launch into the multiverse and become nemeses.” The film is nominated for eleven Academy Awards, including Best Supporting Actress, for Hsu's performance.  Plus, in a New Yorker Radio Hour annual tradition, the incorruptible film critic Richard Brody bequeaths the awards that really matter: the Brody Awards, recognizing the finest performances and the best picture of 2022.

Hello from Juilliard! This week, our friend Vinson Cunningham, award-winning critic at The New Yorker, joins Tammy and Jay to discuss 2022's wokest(?) film, “Tár.” (Spoiler alert!) [1:00] Before we get into it, we address Kyrie Irving's request for a trade from the Brooklyn Nets… and what makes him so annoying. (We recorded before Irving's move to the Dallas Mavericks was announced.) Plus: What does his situation say about workers' rights, in the context of highly-compensated NBA players? [12:50] In our main segment: “Tár,” the dark portrait of a high-powered orchestra conductor's fall from grace, starring Cate Blanchett. How does the film see the dangers of artistic personas (with a #MeToo plotline reminiscent of James Levine's abuses), “cancel culture” (per Richard Brody's review), and labor relations? And how do the movie's heavy-handed academic scenes compare to Vinson's experience as a college teacher? [33:40] The film also critiques a specific type of (aging? resentful? arrogant?) second-wave feminist, as Zadie Smith argues in her illuminating piece in the New York Review of Books. We also discuss Becca Rothfeld's analysis of “Tár” and the obsession with reputation management. Plus: the orientalist narrative of a Western (anti-)hero finding herself in the East. Thanks for listening! Subscribe on Patreon or Substack to join our Discord and participate in an upcoming movie night with Jay, Tammy, and fellow listeners. As always, you can follow us on Instagram, TikTok, and Twitter, and stay in touch via email at timetosaygoodbyepod@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe

Tár is about a super important and revered conductor (EGOT, principal conductor for the Berlin Orchestra, blah blah) named Lydia Tár (Cate Blanchett). She's one of those tightly wound type-A people who want everything to be perfect and expects those around her to make it that way. She comes off as a tightly wound narcissist and really only shows pure emotion toward her daughter, Petra, whom she shares with her wife, Sharon (Nina Hoss), the orchestra's concertmaster. Slowly, over the course of the film, you begin to realize that Lydia abuses the young women around her, stringing them along with promises of career advancement so she can enjoy them sexually or just take advantagement of their time and talent. Her personal assistant, Francesca (Noémie Merlant) puts up with a ton of crazy shit in hopes of becoming assistant conductor someday. Her wife ignores her affairs with other women because she likes being Lydia's right hand woman … her confidant and trusted advisor. One woman, Krista, who we only ever see from behind and in Lydia's anxiety nightmares, apparently stepped out of line and suffered dire career consequences as a result. When she commits suicide and accusations surface, Lydia spirals downward and loses all the prestige she worked so hard to gain. Other shit you should check out: Richard Brody's review in The New Yorker Todd Field's screenplay

Merriam-Webster's Word of the Day for December 18, 2022 is: ineluctable • in-ih-LUK-tuh-bul • adjective Ineluctable is a formal word meaning “unable to be avoided, changed, or resisted.” Often followed by such words as fate and conclusion, it is a synonym of inevitable. // Even the tallest mountains will one day be reduced to sand by the Earth's slow yet ineluctable geologic forces. See the entry > Examples: “In the earliest years of Hollywood, a century ago, a star-driven system gave way to a director-driven one, which studio executives then quickly clamped down on. What emerged was a top-down system that, ever since, has seemed, absurdly, like a natural and ineluctable state of the art.” — Richard Brody, The New Yorker, 2 Dec. 2021 Did you know? If you love grappling with language as much as we do, you're sure to get a (flying) kick out of today's word. Ineluctable, you see, has its roots in wrestling, a popular sport in ancient Greece and Rome. The Latin word lucator means “wrestler,” and luctari means “to wrestle,” as well as “to struggle, strive, or contend.” With the addition of e- (ex-) luctari became eluctari, meaning “to struggle clear of.” The negating prefix in- then piled on to form ineluctabilis, an adjective describing something that cannot be escaped or avoided. It is ineluctabilis that English speakers borrowed to form ineluctable, a word often used to describe fates that one cannot squirm free from, whether due to something as cosmic as the Fates themselves or as corporeal as a headlock.

Is it just me, or does it seem like AI technology has made some big leaps this week? Between the photo generating apps on Instagram & Tiktok blowing up, and several new systems introduced to me by colleagues, I'm once again amazed by the advances in technology we're seeing in a relatively short period of time.    While impressive, perhaps you also (rightly so) find these developments more than a little scary. Whether you're a writer, a video editor, or other service provider, it may not be long before AI will be capable of producing the work you do - for far faster and cheaper.    So the question becomes, how do you maintain your job and continue to stand out in this changing world?   In today's new post, I'm sharing how you can leverage the tools that are out there to make your job easier, while still providing a greater level of service to your clients than any AI can compete with.    Read on to learn how to make yourself truly invaluable & irreplaceable in 2023.  Smarter & faster   Years ago, on an episode of the Sell or Die podcast I host with my husband, we had Richard Brody on as a guest. He's an incredible tech mind with many claims to fame, most notably (to me) the spell-check function in Microsoft Word. On the show, he said something that scared the hell out of me. He said, “The machines are going to become smarter than we are.”   Those words have stuck with me ever since. And now, all of the sudden, I feel like I am seeing that prediction come to life.    Between the way photo apps are now able to create mock images of you in both the past and future, to the data we get on the words we use in our sales proposal videos (Use something more persuasive! Insert an empathy word here!), it's becoming abundantly clear that technology is exceeding many of the capabilities of humans. What the machines are able to accomplish rapidly is absolutely incredible.    This may have got you thinking: Am I going to be out of a job soon? How to not become obsolete   If you're a service provider of any kind, it's not dramatic to be asking yourself that very question. There's no outsmarting or outpacing a machine.    You can now go to a website, pop in a couple of topics, and get an entire blog post written for you in minutes. You can download a program that allows you to upload a long video and have it broken down for you into short, usable clips. AI can do work that typically takes you hours within minutes.    So what can you do to increase your own job security going into 2023? How can you make yourself invaluable?   Here are a couple of things you can do to be irreplaceable:   Use technology to enhance what you're doing. Leverage the tools that are out there to make your job easier. Rather than hiding behind technology, it's going to be the people who stand in front of it, who use it as a stepping ladder, that ultimately get ahead.    Provide a greater level of service to your clients. The level of service that you provide and the experience that you give to your customers is so freaking important. If you want someone to choose you over a bot, you've got to deliver a 5-star experience. You may not be faster, but your clients need to see that working with you is superior overall in your interactions and delivery.    Showcase your human empathy.  Empathy is your ability to relate and connect with the other person to form a relationship. You need to show your customers that you deeply understand where they're at and what they're seeking. Then, you create trust in your ability to help them get there.  Relationships take time. Building trust takes time. And so now more than ever, with machine learning becoming so prevalent and AI being so sophisticated that you can basically say what you want and get a form of it immediately, the human element will be what sets you apart.    Your voice and the energy behind it are irreplaceable and what you need to use to stand out. AI can do a lot of things, but it's not you. AI doesn't have your energy. AI cannot make people feel seen and heard and understood in the ways that you can. And that, my friend, is your success frequency.    This is why your success frequency is more important now than ever before. So live into it, and act on it.

Rebeca Huntt tells her own coming of age story in her debut documentary "Beba," now streaming on Hulu. She uses the medium of film to explore the personal, political and poetic. The New Yorker critic Richard Brody describes the film as "an intimate story with a grand scope." It's been nominated for the Cinema Eye Honors in three categories including Best Director and was named by Indiewire as one of the Top 25 Films of 2022.On Instagram: @bebafilm @rebecahuntt @purenonfiction @thompowers1

A long time ago, in a galaxy, far, far away... Well, actually, just a few weeks ago, right here on the good old internet, our esteemed colleague, The New Yorker's Richard Brody, tweeted out two simple words: TÁR WARS. He was referring, of course, to the swirl of controversy around TÁR, one of this year's most talked-about films. The movie, directed by Todd Fields and featuring a central performance from Cate Blanchett, tracks the gradual downfall of one Lydia Tár, the egomaniacal and possibly predatory conductor of the Berlin Philharmonic. Though a likely lock for many end-of-year lists, TÁR has been fairly divisive among critics. So for today's podcast, Film Comment editors Devika Girish and Clinton Krute took inspiration from Mr. Brody's tweet and invited two well-matched gladiators—the valiant Jessica Kiang on the pro-side and the courageous Nathan Lee on the con—to debate the relative merits and demerits of TÁR. Two critics enter, one critic leaves… May the best critic win!

We discuss Tár and Los Espookys, a film and a series about what lies beneath the surface of a performance. 01:46 Tár, playing in theaters, is an ambitious, relentless, engrossing film about art — and the great and terrible artist. 26:48 Los Espookys, available on HBO, is a gem of a surreal, absurdist, magical realist comedy series. 39:31 Plus, culture notes about our favorite curmudgeon/New Yorker critic Richard Brody's very strange week. ... Follow us on Twitter and Instagram. For extended show notes — including links that we reference, plus more — subscribe to our Substack. Inquiries, complaints, and recs for what to watch can go to criticismisdead@gmail.com. Music: REEKAH Artwork and design: Sara Macias and Andrew Liu

David and Scott discuss movies about the Internet as well as an unwarranted attack on Richard Brody.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“Cinema is never on time,” wrote the great critic Serge Daney. That statement never seemed to apply to Jean-Luc Godard, an auteur who was always of his time and ahead of it—a relentless interrogator of the present who also sought the horizons of a new future. This week, as we mourn the recent passing of one of our greatest artists, Film Comment Co-Deputy Editors Devika Girish and Clinton Krute invited two critics and Godard experts for a talk about the filmmaker's life and career. Richard Brody writes about movies for The New Yorker and is the author of the must-read Godard biography, Everything is Cinema, and Blair McClendon is a film editor, regular Film Comment contributor, and author of a beautiful remembrance of Godard published by n+1. The four discussed Godard's vast and protean filmography, from foundational works like Breathless and La Chinoise to masterful essay films like Goodbye to Language and The Image Book, and the ways in which Godard's films awakened them, in their formative cinephilic years, to the aesthetic and political potentialities of cinema.

Merriam-Webster's Word of the Day for September 21, 2022 is: perspicacious • per-spuh-KAY-shus • adjective Perspicacious is a formal word that means “possessing acute mental vision or discernment.” Someone who is perspicacious has a keen ability to notice and understand things that are difficult or not obvious. // She considers herself a perspicacious judge of character. See the entry > Examples: “Some of the film's performances are merely peculiar and others merely apt, but [actor Don] Cheadle is thrilling, with coiled strength and a perspicacious gaze that seems to realize ideas in motion.” — Richard Brody, The New Yorker, 1 July 2021 Did you know? Some perspective on perspicacious: the word combines the Latin perspicac- (from perspicax meaning “clear-sighted,” which in turn comes from perspicere, “to see through”) with the common English adjective suffix -ious. The result is a somewhat uncommon word used to describe someone (such as a reader or observer) or something (such as an essay or analysis) displaying the perception and understanding of subtleties others tend to miss, such as the distinctions between the words perspicacious, shrewd, sagacious, and astute—something our synonym chooser can help with.

This week on the Film at Lincoln Center podcast, we're featuring a special archival panel discussion on the late filmmaker Jean-Luc Godard from the 52nd New York Film Festival. Listen to a special panel, including The New Yorker's Richard Brody, former MoMA curator Lawrence Kardish, Goodbye to Language star Héloise Godet, and critic Max Nelson, discuss Godard's work and career with moderator Eric Kohn from IndieWire. Tickets to the 60th New York Film Festival, taking place from September 30 to October 16th, go on sale Monday, September 19 at noon. Don't miss this anniversary milestone edition and explore the lineup at filmlinc.org/nyff

Today we're traveling back to the 1970s with Blackkklansman! Join us as we learn about the real Ron Stallworth, women in the KKK, whether or not Flip Zimmerman was a real guy, and more! Sources: Ron Stallworth, Black Klansman: Race, Hate, and the Undercover Investigation of a Lifetime (New York: Flatiron Books, 2018) Johnny Brayson, "Here's The Real Story Behind Adam Driver's 'BlacKkKlansman' Character," Bustle (9 August 2018). https://www.bustle.com/p/where-is-flip-zimmerman-in-2018-the-blackkklansman-character-played-a-key-role-in-a-wild-true-story-10015280   Chuck Arnold, "Meet the real detective behind 'BlacKkKlansman'" New York Post (9 August 2018). https://nypost.com/2018/08/09/meet-the-real-detective-behind-blackkklansman/   VIBE Magazine, "Spike Lee Explains How BlacKkKlansman Was Made | VIBE" YouTube (7 August 2018).  https://youtu.be/pKRslSc-wNw  CBS Mornings, "Spike Lee, real-life Ron Stallworth talk new film "BlacKkKlansman"" YouTube (10 August 2018). https://youtu.be/BkkTLULVMCo   SAG-AFTRA Foundation, "Conversation with BLACKKKLANSMAN," YouTube (12 Novermber 2018). https://youtu.be/XslaWRgKoFE   Rotten Tomatoes, https://www.rottentomatoes.com/m/blackkklansman  Mark Kermode, "BlacKkKlansman review - a blistering return to form for Spike Lee," The Guardian (26 August 2018). https://www.theguardian.com/film/2018/aug/26/blackkklansman-review-spike-lee-blistering-return-to-form  A.O. Scott, "Review: Spike Lee's 'BlacKkKlansman' Journeys Into White America's Heart of Darkness," The New York TImes (9 August 2018). https://www.nytimes.com/2018/08/09/movies/blackkklansman-review-spike-lee.html   Richard Brody, ""BlacKkKlansman," Reviewed: Smike Lee's Vision of Resistance to White Supremacy," The New Yorker (10 August 2018). https://www.newyorker.com/culture/the-front-row/blackkklansman-reviewed-spike-lees-vision-of-resistance-to-white-supremacy  Wiki: https://en.wikipedia.org/wiki/BlacKkKlansman  "'Free the Pendleton 14' podcast shines new light on issue of white supremacy among active duty military," AirTalk KPCC. https://www.kpcc.org/programs/airtalk/2019/01/24/64114/free-the-pendleton-14-podcast-shines-new-light-on/  Lois Beckett, "How the US military has failed to address white supremacy in its ranks," The Guardian (24 June 2020). https://www.theguardian.com/us-news/2020/jun/24/us-military-white-supremacy-extremist-plot  Seth G. Jones, Catrina Doxsee, Grace Hwang, and Jared Thompson, "The Military, Police, and the Rise of Terrorism in the United States," Center for Strategic & International Studies (12 April 2021). https://www.csis.org/analysis/military-police-and-rise-terrorism-united-states  Kathleen Belew, "The White Power Movement at War on Democracy," HFG Research and Policy in Brief (January 2021). https://www.hfg.org/wp-content/uploads/2021/06/WhitePowerVersusDemocracy.pdf  Kathleen Belew, "There Are No Lone Wolves: The White Power Movement at War," in A Field Guide to White Supremacy, 312-24 (University of California Press, 2021). https://www.jstor.org/stable/j.ctv1xbc21c.26  Kathleen Belew, Bring the War Home: The White Power Movement and Paramilitary America (Harvard University Press, 2018). https://www.jstor.org/stable/j.ctv24w659z.6  Kathleen Blee, "Women in the 1920s Ku Klux Klan Movement," Feminist Studies 17, 1 (1991) Kathleen Blee, "Becoming a Racist: Women in Contemporary Ku Klux Klan and Neo-Nazi Groups," Gender and Society 10, 6 (1996) William F. Pinar, "White Women in the Ku Klux Klan," Counterpoints 163 (2001)

We've traveled back to 1987 to wax ecstatic about Elaine May's maligned box office failure, Ishtar. We match May's compassion for the brashly stupid Chuck and Lyle (played by Dustin Hoffman and Warren Beatty, respectively) as Chad explains his personal connection to the movie, Veronica wonders how (and if) the movie successfully balances its many threads, and guest Frank Falisi lays out his theory that this is a high musical à la Vincente Minnelli.Some further reading that we reference on the show: Peter Biskind's account of the film–excerpted from Star, his Beatty biography–for Vanity Fair, enthusiast Richard Brody speaking with Elaine May for the New Yorker, and Chad's own Ishtar essay, “But We Can Sing Our Hearts Out,” featured in our 2019 issue dedicated to May's movies & legacy.The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad.Find all 100+ issues of Bright Wall/Dark Room, including this month's jaunt back to ‘87, at brightwalldarkroom.com. Please subscribe, rate, and honor us with a quick review. We're on Twitter @BWDR and @TheBWDRPodcast, and you're welcome to show support via our Patreon. We welcome listener feedback and sponsorship inquiries at editors@brightwalldarkroom.com. Thanks: we think you're wonderful.

Another good friend stops by for coffee and conversation. Richard Brody is a radio pro who has worked on and off the air for decades, achieving notoriety as one of the most successful and innovative radio account executives in the business. In his younger days we took his turns as disc jockey on many stations and formats throughout the northeast. He also helped produce and promote hundreds of concerts, working with some of the biggest stars in the music business. Rich is the closest thing to a radio historian you're going to meet and his stories are always great fun!

Whether you think about it or not, many stories we know are chock full of governance. This is the second part of my chat with writer and programmer Shauna Gordon-McKeon. I enjoyed learning about governance in last week's episode, but the conversation we had in this episode is my favorite. We get into what inspires us to (or to not) take action, the laziness of dictatorship-topple stories, and the ethics and logistics of writing major and minor characters. I also go off on a tangent about Breakfast of Champions by Kurt Vonnegut because of course I do. If you have a governance story you love or just want to talk about, feel free to email me! researchholepodcast@gmail.com! Justice for rhubarb! Read Shauna's story, Sunlight, for the After the Storm anthology here: https://medium.com/after-the-storm/sunlight-cdb9bb0be8bc This note is from Shauna: There's a good article by Ada Palmer and Jo Walton on how over-reliance on heroic narratives leads to conspiracy thinking: https://www.uncannymagazine.com/article/the-protagonist-problem/. I don't think I referenced it explicitly but it's very relevant. If you want to read two very articulate views on the politics of Black Panther written by actual Black people, as an antidote to Shauna and I—two white people—just riffing, check out “There Is Much to Celebrate–and Much to Question–About Marvel's Black Panther” by Steven Thrasher and “The Passionate Politics of ‘Black Panther'” by Richard Brody. If you want to not be like Shauna and I and actually read the books we reference, you can check out Workshops of Empire: Stegner, Engle, and American Creative Writing During the Cold War by Eric Bennett. The book I couldn't remember the name of in the podcast was called Craft in the Real World: Rethinking Fiction Writing and Workshopping by Mathew Salesses. Before you plant nerds come at me, yes, I misspoke. Technically, rhubarb is a vegetable, though it is legally a fruit! So I was kind of right! The Huffpost article “So What Exactly IS Rhubarb, Anyway?” explains this distinction further. The article Leah referenced in her Something I Learned This Week email is “Listen to the Sick Beats of Rhubarb Growing in the Dark” on Atlas Obscura. You can learn more about Shauna by following her on twitter at @shauna_gm or visiting her website: http://www.shaunagm.net/. You can find bonus material, including a brief preview paragraph from Shauna's governance story-in-progress by supporting me, Val Howlett, on Patreon.

This week we're going back to the Middle Ages with David Lowery's The Green Knight! Join us as we talk about St. Winfred's head, sumptuary laws, camera obscura, horrifying puppets, and more! Sources: The Life of St. Winifred, Golden Legend Volume VI, available at https://sourcebooks.fordham.edu/basis/goldenlegend/GoldenLegend-Volume6.asp#Winifred "Camera Obscura," History of Science Museum, available at https://www.hsm.ox.ac.uk/camera-obscura "When Was the Camera Invented? Everything You Need to Know." NFI, available at https://www.nfi.edu/when-was-the-camera-invented/#:~:text=While%20historians%20generally%20accept%20that,one%20he%20made%20around%201826. Brian Tallerico, "The Green Knight," RogerEbert.com (July 30, 2021) https://www.rogerebert.com/reviews/the-green-knight-movie-review-2021  Mark Kermode, "The Green Knight review - a rich and wild fantasy," The Guardian (26 September 2021), https://www.theguardian.com/film/2021/sep/26/the-green-knight-review-david-lowery-dev-patel-gawain   Alissa Wilkinson, "The Green Knight is glorious and a little baffling. Let's untangle it." Vox (30 July 2021) https://www.vox.com/22585318/green-knight-explained-ending-spoilers-girdle-winifred-temptation   Richard Brody, ""The Green Knight," Reviewed: David Lowery's Boldly Modern Revision of a Medieval Legend," The New Yorker (August 3, 2021), https://www.newyorker.com/culture/the-front-row/the-green-knight-reviewed-david-lowerys-boldly-modern-revision-of-a-medieval-legend  CinemaBlend, "Dev Patel & Joel Edgerton | 'The Green Knight' Interview" (July 27, 2021), https://youtu.be/VSW1ZBd2ARY  Anatomy of a Scene, "Take a Journey with Dev Patel in 'The Green Knight'" (July 30, 2021) https://youtu.be/Hc_SJ7dZQc4  https://en.wikipedia.org/wiki/The_Green_Knight_(film)  Romance of Lancelot du Lac Bodleian Library MS. Raw. Q. b. 6, Bodleian Libraries, University of Oxford, https://digital.bodleian.ox.ac.uk/objects/cee84920-8cef-42f4-afa3-7fcd97ea55f1/   "Fashion Rules: a 14th century Knight's livery," St. John's College, University of Cambridge https://www.joh.cam.ac.uk/mens-fashion#:~:text=English%20Sumptuary%20Laws%20were%20imposed,%2C%20furniture%2C%20jewellery%20and%20clothing.  "Sumptuous Origins," What (Not) to Wear: Fashion and the Law, Harvard Law School Historical & Special Collections' exhibits, https://exhibits.law.harvard.edu/purple-silk-and-cloth-gold  W. Mark Ormrod, "Landed Society, Conspicuous Consumption and the Political Economy: The Sumptuary Laws of 1363," in Winner and Waster and its Contexts: Chivalry, Law and Economics in Fourteenth-Century England (Boydell & Brewer, 2021), 74-82, https://www.jstor.org/stable/j.ctv1grbbh2.9  Louise M. Sylvester, Mark C. Chambers, and Gale R. Owen-Crocker, Medieval Dress and Textiles in Britain: A Multilingual Sourcebook (Boydell & Brewer, 2014), https://www.jstor.org/stable/10.7722/j.ctt7zstfh.16 and https://www.jstor.org/stable/10.7722/j.ctt7zstfh.14  David Carpenter, The Struggle for Mastery: The Penguin History of Britain 1066-1284 (London: Penguin, 2004).    Nicholas Orme, "The Culture of Children in Medieval England," Past & Present 148 (1995): 48-88. https://www.jstor.org/stable/651048  Frances K. Barasch, "Shakespeare and the Puppet Sphere," English Literary Renaissance 34:2 (2004): 157-175. https://www.jstor.org/stable/24463671  Victoria & Albert Museum, "A history of puppets in Britain," https://www.vam.ac.uk/articles/a-history-of-puppets-in-britain#slideshow=21816336&slide=0 

Kraina FM is a radio station that broadcasts in Kyiv and more than twenty other cities, playing Ukrainian-language rock and pop. When Russia invaded Ukraine, it took on the mantle of “the station of national resistance,” airing news bulletins and logistical information like requests for supplies. The radio hosts began adding jokes about the invading Russians, and advice from a psychologist about talking to children about the war; a writer told fairy tales on air to occupy those kids during the stressful nights of wartime. The station staff has dispersed, with Bogdan Bolkhovetsky, the general manager, and Roman Davydov, the program director, holed up in a town in the Carpathians, keeping production moving over unreliable Internet and communicating with listeners by text. They don't know how many of their broadcasting stations are still functioning, and their tower in Kyiv could be destroyed at any time. But “we are not doing anything heroic,” Bolkhovetsky told Nicolas Niarchos, who visited their makeshift studio. “We are still in a lot of luck, having what we have right now. Thousands of people were not so lucky as we are. . . . We're just doing what we can under these unusual circumstances.” Plus, we present the 2022 Brody Awards—the critic Richard Brody's assessment of the best performances and the best films of the year.

This week Jessica is joined by a guest co-host to discuss Greta Gerwig's recent adaptation of Louise May Alcott's beloved novel Little Women. We revisit our own childhood's looking back on the 1994 version of Little Women we all remember watching growing up and consider what strives have been made in how Alcott's characters are explored in her updated retelling of the classic. No typical show notes this week but below you'll find the resources Jessica leveraged in preparation for this episode. Special thanks to our honorary co-host today from Louise May Alcott's home state of Massachusetts. Devi will be back next episode. “A New Generation of Little Women” from iTunes Extras with purchase of movie “Making a Modern Classic” from iTunes Extras with purchase of movie The Compromises of Greta Gerwig's “Little Women by Richard Brody https://www.newyorker.com/culture/the-front-row/the-compromises-of-greta-gerwigs-little-women Greta Gerwig's “Little Women” is Awesome. Here is Why by Rebecca DeWolf https://outofthetower-rebeccadewolf.com/?p=950 How Faithful Is the New Little Women Movie to Louisa May Alcott's Beloved Novel? BY MARISSA MARTINELLI https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html Why Greta Gerwig's Little Women Movie Radically Changed the Book's Ending BY ELENA NICOLAOU https://www.oprahdaily.com/entertainment/a30186941/little-women-ending/ Artwork from: https://www.hollywoodreporter.com/news/general-news/making-little-women-greta-gerwig-gives-modern-take-1868-novel-big-screen-1256879/