Podcasts about scorsese

"If you hold on to the past, you die a little each day..." For Episode 416, Brandon and Thomas finish their main series on the Southern Gothic genre with Martin Scorsese's CAPE FEAR. Listen as they discuss how Steven Spielberg was the film's first director, why Robert De Niro was so motivated to make the movie, which A-List actors starred in the film, how Nick Nolte convinced Scorsese for him to star in the film, how Scorsese re-ignited interest in CinemaScope in the 1990s, how Scorsese tried to make this his Alfred Hitchcock movie, and so much more! Use the code cinenation15 on thecinevault.com to get 15% off your online purchase! Also, don't forget to join our Patreon for more exclusive movie content: https://www.patreon.com/cinenation Opening - Kyle Chandler and Friday Night Lights (00:00:10) Recap of the Southern Gothic Genre (00:08:24) Intro to Cape Fear (00:12:30) How Cape Fear Got to Production (00:17:42) Favorite Scenes (00:36:49) On Set Life - (01:07:09) Aftermath: Release and Legacy (01:17:34) What Worked and What Didn't (01:21:36) Film Facts (01:27:52) Awards (01:30:01) Final Questions on the Movie (01:35:23) Final Questions on the Southern Gothic Genre (01:39:15) Wrapping Up the Episode (01:49:31) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

In honor of its recent 50h Anniversary, here is our newly remastered (with additional content) review of one of The Most Influential Films of the 1970's.....What can be said about one of THE most iconic movies of the past 50 years which hasn't been said already?   Well you probably know that it was directed by Martin Scorsese, one of our greatest living American filmmakers.  And you probably also know it stars the legendary Robert DeNiro in one of his most iconic roles playing Travis Bickle, the titular taxi driver.  You might also know that it was also written by the renowned writer/director Paul Shrader who would go on to craft other iconic films including American Gigolo and Affliction, along with several other collaborations with Scorsese.  You probably already have an idea that it tells the story of an Vietnam veteran, disgruntled cab driver who eventually finds himself on a mission to "clean up the streets" of mid '70's New York City in his own unique way of course. Whatever you might know regardless,  it's never a bad time to revisit this classic film which has inspired millions of imitators since its release......all pretending to be tough staring in a mirrow, uttering, "You talkin' to me??"Host & Editor: Geoff GershonProducer: Marlene Gershon Send us Fan MailSupport the showhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/ 

"Martin Scorsese doesn't make movies about women" - WRONG. "Martin Scorsese doesn't make movies that would work as a long-running workplace sitcom" - ALSO WRONG. Katey Rich joins us to chat about Scorsese's unexpected follow-up to Mean Streets, 1974's Alice Doesn't Live Here Anymore. We're talking diners, Ellen Burstyn, parenting strategies, "women's pictures," and far more Hootie & The Blowfish than you'd expect from this episode. We're also not "trying silence," okay? Buy the Hootie and the Blowfish shirt Katey (and David) have.  Listen to the Screen Draft eps with Griffin and Katey. Read about how Katherine LaNasa says Ghost of Ex-Husband Dennis Hopper Haunted Her: 'It Was Super Upsetting.' Read Vincent Canby's review. Subscribe to Prestige Junkie at the Ankler and Fighting in the War Room. Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

We wrap our “Odyssey” series on an endless SoHo night. It turns out Martin Scorsese's “After Hours” works wonderfully as an unofficial "Odyssey" adaptation, and we have precisely the guest to speak to New York City's sense of cosmic justice. Noah Ballard is back to talk Scorsese's ‘80s comeback, this film's cavalcade of hilarious characters, and times his parking garage has flooded. We made it home, friends. I have a long beard now. See you in the fall!

Rebecca Miller calls Martin Scorsese "the maestro," and who would disagree? She explores the life and work of the extraordinary filmmaker in her 5-part Apple TV documentary series Mr. Scorsese, which is nominated for three Primetime Emmy Awards, including Outstanding Documentary or Nonfiction Series. Miller joins Doc Talk to share what she learned about Scorsese, from how he course-corrected after making 1972's Boxcar Bertha, the drug problem that nearly killed him, and the origins of his long association with actor Robert De Niro. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cinco indicações sem vitória. Foi assim que Martin Scorsese chegou a Os Infiltrados (2006), o filme que finalmente lhe deu o Oscar de Melhor Diretor em 2007. Mas será mesmo essa a melhor obra da carreira dele, ou o prêmio veio como uma espécie de acerto de contas atrasado da Academia?Neste episódio de aniversário de 20 anos, o grupo destrincha detalhes que passam batido pela maioria do público: o filme é remake de um thriller de Hong Kong que nem Scorsese nem o roteirista assistiram antes de adaptar, a montagem de Thelma Schoonmaker que faz duas horas e meia parecerem uma só, e um motivo visual escondido em janelas e sombras que funciona como presságio de morte.Rafael Arinelli, Caio de Aquino, Fernando Machado e Cecília Barroso discutem a masculinidade performática de Matt Damon, o pânico constante de Leonardo DiCaprio, os improvisos assustadores de Jack Nicholson com uma arma de verdade no set, e o final com um rato que quase foi apagado digitalmente após uma petição de fãs em 2019.Vinte anos depois, Os Infiltrados continua questionando o sistema. Existe alguma diferença real entre o policial e o bandido?Ouça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • André Marinho Moreira• Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Guilherme S. Arinelli• Thiago Custodio Coquelet• Wilmar Arinelli Jr• William SaitoFale Conosco:• Email: contato@cinemacao.com• X: https://cinemacao.short.gy/x-cinemacao• BlueSky: https://cinemacao.short.gy/bsky-cinemacao• Facebook: https://cinemacao.short.gy/face-cinemacao• Instagram: https://cinemacao.short.gy/insta-cinemacao• Tiktok: https://cinemacao.short.gy/tiktok-cinemacao• Youtube: https://cinemacao.short.gy/yt-cinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de R$30,00, você terá acesso a conteúdo exclusivo e muito mais! Não perca mais tempo, torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Cecilia): Série: Cabo do Medo• (Cecilia): Reality Show: O Ultimato - Queer Love• (Caio): Anime: Madoka Magica• (Caio): Jogo: The Amazing Spider-Man• (Fernando): Álbum: Equilibrivm• (Fernando): Álbum: Equilibrivm II• (Fernando): Álbum: Tambores, Cafezais, Fuzis, Guaranás E Outras Brasilidades• (Rafa): Série: A Casa do DragãoEdição: ISSOaí

In episode twenty-three, Caveman and Maggi head to Vegas with Casino. Does this underrated Scorsese film hold up these days? It's a timeless story of love, greed, lust, and sand. And who completely derails the entire podcast with their underwear? Find out today!Follow our Instagram, Threads, & Letterboxd accounts @movieminglepodCheck out our YouTube channel, MovieMinglePodcast here...Questions? Comments? Write us at movieminglepod@gmail.com

As I almost finished the Liza Minnelli audiobook, I have to say that drug fueled affair with Scorsese was wild!talk about following the yellow brick road.

Physical media certainly has a theme this week with a number of interesting couplings and the music they make between them. Speaking of interesting couplings, Erik Childress and Peter Sobczynski are your guide through it all. They include a little Martin & Lewis, Rock Hudson & Claudia Cardinale and even Lana Turner & Ricardo Montalban. ¿Quién Es Más Macho? There is J-horror and modern horror, a less-anointed Scorsese film plus Catherine Deneuve & Alain Delon. Peter makes the case for a Tim Burton film celebrating its 30th Anniversary as one of his best and Erik recounts the personal connection to a still underseen film from the director of Once. 2:47 - Kino (Money From Home 3-D, Manon 70, Le Choc) 19:36 - Universal (Portrait in Black, Madame X, Blindfold) 36:45 – Ad Break 38:45 - MVD (New York, New York ) 56:14 - Lionsgate (Sing Street 4K) 1:10:19 - Ad Break 1:12:19 - Arrow (Ju-on: The Grudge (4K)) 1:18:37 Disney (Barbarian (4K)) 1:25:21 - Warner Bros. (Mars Attacks! (4K)) 1:46:18 - New Theatrical Titles On Blu-ray (Project Hail Mary (4K), Hokum (4K), Tuner, One Spoon of Chocolate, EPiC: Elvis Presley In Concert (4K)) 1:50:21 - New Blu-ray Announcements Download the Episode at Apple Podcasts, SUBSCRIBE and leave a REVIEW! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Knock knock! Who's there? MARTY, THAT'S WHO! Welcome to the first installment in PODCASTFELLAS - our supersized series on the films of short king and Italian-American asthmatic Martin Scorsese. This guy made some pretty good movies, huh. This week, Griffin, David, and Ben discuss Scorsese's Little Italy upbringing and his two first features - 1967's Who's That Knocking at My Door? and 1972's Boxcar Bertha. One feels like a film school parody of Scorsese movie. The other, a not-scuzzy-enough exploitation picture. Neither really feel like his true debut. Check out Mostly True: The West's Most Popular Hobo Graffiti Magazine by Bill Daniel Author Download Cash App Today: https://click.cash.app/ui6m/nq66a4tb #CashAppPod  Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card at cash.app/legal/us/en-us/card-agreement, for the Sutton debit flex card at cash.app/legal/us/en-us/debit-flex-card-agreement-sutton and for the Bancorp debit flex card at cash.app/legal/us/en-us/debit-flex-card-agreement-bancorp. Savings and Offers provided by Cash App, a Block Inc. brand. Offers may not be affiliated with third party merchants. Parents and legal guardians can open a managed account for kids 6-12. Cash App will pass through a portion of the interest paid on your savings balance held in an account for the benefit of Cash App customers at Wells Fargo Bank, N.A., Member FDIC. To earn interest on your Cash App savings balance, you need to have sponsor approval. Exceptions may apply. Savings yield rate is subject to change. Visit cash.app/legal/podcast for full disclosures. Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won't want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Cape Fear has finished its ten-episode run on Apple TV, and this is the full review: the finale, the cast, and the two episodes nobody needed.  Meaghan is joined by Arthur for a wrap-up of Nick Antosca's Cape Fear adaptation now that all ten episodes are out. The Apple TV limited series is built on The Executioners, the 1957 John D. MacDonald novel that already produced the 1962 film and Martin Scorsese's 1991 remake, so this is the third pass at the same story. Scorsese and Steven Spielberg executive produce. The cast is stacked, the score is excellent, and the runtime is not tight. Full spoilers for the entire series, including the finale.   The Cape Fear Adaptation Problem: Ten Episodes, Eight Episodes' Worth of Story Cape Fear is the third adaptation of John D. MacDonald's 1957 novel The Executioners, after the 1962 film and Martin Scorsese's 1991 remake. Both hosts land in the same place: eight episodes would have been the right shape. At least two mid-season hours drag on good performances alone. The side plots multiply because the runtime demands it. Nevaeh's arc ends when she leaves juvie and simply stops. Zack's mental health storyline is the one that stings. It gets worse across the season, never resolves, and reads as cruel rather than honest.   Javier Bardem's Max Cady and the Rooftop Tone Break The early ambiguity is the show's sharpest move. For a few episodes, you genuinely are not sure Max is behind any of it, and Bardem plays both registers well. The hurricane rooftop scene lands like a comic book. Lightning, close-up, a jump through the window, and a room full of laughter that the show almost certainly did not want. Max's late-season hallucinations tie back to his brain injury, but they do not push the story anywhere. The police work is comically bad, repeatedly, and the show has time to spare for it.   The Crystal Cady Twist and the Finale on the Boat Juliette Lewis plays Crystal Cady, a new character with no equivalent in the films, thirty-five years after her Oscar-nominated turn as Danielle in the 1991 version. The houseboat sequence spanning episodes nine and ten is the best stretch of acting in the series. Ron Perlman, Lewis, and Bardem all firing. Lewis and Amy Adams sharing scenes late in the season is a highlight, and Lewis gets genuine laughs before the reveal reframes her entirely. The finale sets Anna up to expose Max publicly, which is the most satisfying beat the show offers.   Performances Worth Naming Amy Adams carries the series because Max cannot be the centre. She is also completely believable as a lawyer, which is rarer than it should be. Lily Collias as Natalie is excellent in the back half, especially the vacillation in her scenes with Max. Joe Anders as Zack is not likeable, and that is the point. Very believable. Jamie Hector as investigator Ray Rawlins is the voice of reason, so of course he dies. Anna Baryshnikov plays Tabitha, and yes, she is Mikhail Baryshnikov's daughter.   Score, Setting and the Sequel Bait Question Jeff Russo's score is a real strength, reworking Bernard Herrmann's original theme into something that still hits. The Savannah setting is sticky and hot, and you feel it. Lots of Scorsese red. The final over-the-shoulder scene reads as sequel bait for a show billed as a limited series. Nobody here wants a season two. Also discussed: the Wicker trailer, The Hunger Games: Sunrise on the Reaping, and Silo season three. Subscribe on your favorite platform!SpotifyApple PodcastAmazon MusiciHeart RadioPodchaserYoutubeDon't forget to follow us on socials too!InstagramThreadsTikTokBlueSkyFacebook Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We're constantly told to slow down and be present, but what does it actually mean to pay attention when so much of modern life is designed to scatter it?This summer, French auteur Jacques Tati returns to LAB111 in six newly restored 4K classics, including his magnum opus PlayTime. Few filmmakers have looked at modern life with Tati's comic precision: traffic becomes choreography, bureaucracy becomes absurd theatre and the city itself becomes a machine for distraction.Producer Elliot Bloom and filmmaker Kiriko Mechanicus explore attention, bureaucracy and urban life through Tati's PlayTime, Kurosawa's Ikiru and Scorsese's After Hours, looking at what happens when the structures of modern life become so consuming that we stop noticing the lives we're actually living.But if paying attention has become something we increasingly struggle to do, what should we make of films that turn it into a virtue? In Perfect Days, is noticing the world a genuine alternative to modern life — or are we fetishising attention itself?Get tickets to It's Cinema! The Films of Jacques Tati @ LAB111Get tickets to After Hours @ LAB111Get tickets to ⁠Cine Of The Times: No Country For Old Men⁠ @ LAB111A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

There was no reason to make another polite, faithful version of “Cape Fear.” Thankfully, Creator/Showrunner Nick Antosca had no interest in one.Apple TV's “Cape Fear” is sweaty, violent, emotionally ugly, and pitched somewhere between a domestic thriller and a full-blown hyper-violent fever dream. The show takes the basic machinery of the 1962 film and Martin Scorsese's operatic 1991 remake, pulls it apart, and rebuilds it as a ten-hour nightmare about privilege, resentment, marriage and the strange gravitational pull of a charismatic monster.Or, as Antosca rather happily described it during his recent appearance on The Playlist's Bingeworthy podcast, “It is the lurid nightmare that we set out to make.”Mission accomplished!

Donnie Brasco is a film that is criminally underdiscussed. Today that changes as we get what is likely our longest two-man episode ever. This film features incredible acting, incredible tension, and a gut-wrenching yet satisfying ending. Would this film be held in higher regard with a household name directing it? What if Scorsese helmed this picture? The most remarkable part of this film is the true story that it's based on. Joe Pistone did something never before done. He almost became a "made man" in the mafia and he was a federal agent working DEEP undercover. This discussion overturns all the stones and there are many dives into the actual story which is easily as mind-blowing as the film. Push play and fahgetaboutit.LinksSupport Our Work - https://lsgmedia.net/joinDiscord - https://discord.com/invite/8FmrT9DrvuAcknowledgementsFloyd Frye (Intro/Outro Voice): https://www.tiktok.com/@floydfrye George C Music (Music): https://www.youtube.com/@GeorgeCMusicDisclaimer: This episode features impressions and parodies of celebrities and characters for entertainment purposes only. All impressions are satirical and fictionalized. Clips used in this episode fall under fair use for commentary, criticism, and parody. This is a movie podcast meant purely for entertainment— no affiliation with any celebrities, studios, or rights holders.

August at the New Beverly features dark comedies with Danny Devito, buddy movies, a big Scorsese anniversary, a new Eli Roth movie, classic screwball, dirty cops, early Hitchcock and much much more! Our returning guest this month is John Moret from the Trylon Cinema in Minneapolis who is always fun to talk movies with! Enjoy! Check out all things New Beverly here: https://thenewbev.com/ Have A look at what's Happening at The Vista/Video Archives Cinema Club Here: https://ticketing.uswest.veezi.com/sessions/?siteToken=20xhpa3yt2hhkwt4zjvfcwsaww If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts

La semana pasada nos fuimos por las ramas. Lo sabemos. Lo sentimos. Volvemos a la cuarta pared para terminar lo que empezamos, pero al final no. Esta semana queríamos hablar de Scorsese convirtiendo al espectador en cómplice de un estafador en El lobo de Wall Street. Haneke y el momento más incómodo de la historia del cine meta —ese mando a distancia en Funny Games que te quita la catarsis cuando más la necesitas—. Los Gremlins saboteando literalmente su propia película. Wayne's World ofreciendo tres finales distintos para que el público elija. Y cuatro incorporaciones nuevas: el duelo de narradores poco fiables de Election, Rob Gordon hablándonos desde la barra de su tienda de discos en High Fidelity, Alfie pidiéndonos aprobación moral por sus conquistas, y los Muppets viendo su propia película veinte años antes de que Spaceballs inventara el mismo truco. Pero no ha podido ser. La primera parte la tenéis en el vídeo anterior. Esta vez acabamos. Aunque bueno. Tampoco os prometemos nada. Y lo hacemos con Sergio Mena de El Descampao, que ha venido a opinar, a discrepar y sobre todo a dirigir el programa. Con Mon Suárez. Y los memes de @diamocasin. Con El Selenita a cargo de la creatividad digital. Y el Dictador Supremo Frikimalismo se meterá con vosotros por ver esta maravilla de programa y para recordaros que hay que mandar MX Dollars. Haz eso que no haces nunca de darle la LIKE y SUSCRIBIRTE. Twitter: @frikimalismofm Instagram: @frikimalismofm

Chris Paul and Burning Bright pull the trigger on Tarantino's 1992 debut, and it turns into one of those episodes that wanders in the best possible way before it even gets to the movie. Expect detours into AI generated political speeches quoting Scorsese films, a deep dive on Grok's credibility problem, and a genuinely wild story about an AI detection tool that can be fooled just by rearranging a paragraph. Once they finally land on Reservoir Dogs, the guys break down the film's structure, its performances, and what a movie about a crew of criminals eyeing each other with suspicion has to say about trust, information, and who's really playing who. There's some sharp banter about acting versus authenticity too. Stick around to hear what's coming up next week, a newer release starring a couple of recognizable names.

7:00 HOUR: Nolan, Scorsese, or Tarantino, Would you pay more for a flight with no kids?

Jim quizzes the rest of the show on these iconic directors and their films

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comDavid is a historian and perhaps the greatest living film critic. He's the author of more than 20 books, including biographies of David O. Selznick and Orson Welles, and The New Biographical Dictionary of Film. His new book is called A Sudden Flicker of Light: A Revisionist History of Movies. It's a wonderful extended rant in some ways, a love letter and a searing indictment of cinema. I was a little intimidated talking with him, but it was a lot of fun.For two clips of the episode — on the uptight genius of Hitchcock, and the authoritarian nature of cinema — head to our YouTube page.Other topics: born in South London in 1941 and his home damaged by the Blitz; his father leaving when he was born; his boyish mix of fear and delight at the cinema; the shower scene in Psycho; how film denies you the chance to stop and think; the directors who relish white space (e.g. PT Anderson); Birth of a Nation and Triumph of the Will; newsreels before TV; real nuke explosions on screen; Oppenheimer; from communal theater viewing to solo smartphone viewing; Game of Thrones and the insane production value of TV these days; Breaking Bad; Trump the ultimate product of TV; his telegenic Cabinet; the danger of deepfakes; Paul Schrader's First Reformed; the audience's love of car crashes and villains; Godfather I and II; contrasting Hitchcock and Malick; Tree of Life; nature in Thin Red Line; Fincher's Seven; Robert Bresson's religious films; Scorsese's Silence and Last Temptation of Christ; the vulgarity of Spielberg (e.g. the red dress in Schindler's List); ep. 3 of Adolescence; and Nolan's new Odyssey.Browse the Dishcast archive for an episode you might enjoy. Coming up: John O'Sullivan on conservatism, Azam Ahmed on terrifying new drugs, Robby George on natural law, and Megan McArdle on pretty much anything. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

DP Eben Bolter, ASC, BSC breaks down the watery, noir lighting, anamorphic lenses, and practical tricks behind Apple TV's Cape Fear. Podcast highlights include: -How Eben built Cape Fear's look around the theatrical expressionism of the 1991 Scorsese film. He used the same 2.35 aspect ratio as the Scorsese film, rather than a more conventional widescreen frame. -Working with the production design team to capture the southern humidity and watery themes. Eben chose Atlas Mercury anamorphic lenses with an oval bokeh that give it a watercolor quality. The team also used helium and flame bars to create in-camera heat haze rather than relying on visual effects. -Rigging LED pixel tape and crystals inside the matte box to create practical lens flares on command. Find Eben Bolter: https://www.ebenbolter.com/Cinematography/Cinematography.html Instagram: @ebenbolter Cape Fear is streaming on AppleTV. SHOW RUNDOWN: 01:59 Close Focus 14:14-58:02 Eben Bolter Interview 59:16 Short Ends 01:08:21 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

At long last it's the Rover's Return… What are the burning issues that will be taking up Andy Burnham's time when he takes over No.10 next week? OGWN listeners bombard us with questions and we do our best to answer them. What can Burnham do that Starmer couldn't? Does he need to do more than move stuff to the North? And why did Labour give Starmer a carriage clock, of all things?  Plus, Climate of Fear: Kemi Badenoch chooses the hottest moments of our Hell Summer (a period which is actually killing people) to purge Tory MPs who back Net Zero. WTF is she playing at? We look at this terrifying moment and whether the summer's frightening scenes can push back the tide of climate change denialism.  • Questions for But Your Emails? Thoughts? Comments? Email us at ogwn@podmasters.co.uk.  ESCAPE ROUTES • Jason bought George Martin: The Scores – the collected musical works of that chap who did The Beatles.  • Seth has been watching old episodes of Frasier – specifically S2 E18, The Club, with the 1896 vintage bottle of port.  • Ava went to see a series of Scorsese re-runs at the cinema.  • Ros has been re-reading Victor Hugo's Les Misérables. Buy through our affiliate bookshop and you'll help fund the podcast by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too.  www.patreon.com/ohgodwhatnow Presented by Ros Taylor with Jason Hazeley, Seth Thévoz and special guest Ava Santina. Audio Production by: Tom Taylor. Art direction: James Parrett. Theme tune by Tom Taylor and Simon Williams. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jordan Belfort's story got the Scorsese treatment in 2013, but The Wolf of Wall Street was only ever half the picture. On this episode of Reality Life with Kate Casey, executive producer and investigative journalist Jason Leopold unpacks Paramount+'s new documentary The Real Wolf of Wall Street, built from over 15,000 pages of previously unreleased government documents and new interviews with the people who actually lived it. Jason is a two-time Pulitzer finalist known for filing more FOIA lawsuits than nearly any journalist in the country, and breaks down who Belfort really was behind the Hollywood myth, what the documents reveal that the movie left out, and how the story of Stratton Oakmont still echoes through finance today. Reality Life with Kate Casey Summer Reading List: https://katecasey.substack.com/p/books-i-cant-stop-talking-about-this Vanity Fair Article: https://www.vanityfair.com/culture/story/martha-moxleys-diary What to Watch List: https://katecasey.substack.com Patreon: http://www.patreon.com/katecasey Instagram: http://www.instagram.com/katecaseyca Tik Tok: https://www.tiktok.com/@itskatecasey?lang=en Facebook Group: https://www.facebook.com/groups/113157919338245 Amazon List: https://www.amazon.com/shop/katecasey Twitter: https://twitter.com/katecaseySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on Movie Mistrial, we drive through the neon gloom of 1970s New York with Martin Scorsese's Taxi Driver.Robert De Niro's iconic performance and Scorsese's gritty direction create one of cinema's most powerful portraits of alienation and obsession. Its relentless darkness and morally disturbing protagonist can make it a deeply uncomfortable watch for some viewers.Join us as we examine whether Taxi Driver is a timeless masterpiece—or an intentionally unsettling experience that resists easy praise.Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitter Facebook: http://tiny.cc/MistrialFB Instagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

No hay ventilador o medicina que arregle el asma de aquel niño, que amenaza con ahogarse en las peores noches de verano. La solución está… en las salas de cine de Nueva York.

Erik Childress and Peter Sobczynski take you through another week of physical media that includes three bangers from Criterion including Paul Newman at his baddest, early Scorsese and the Neil Jordan twist that rocked the world. There are gunslingers and hit men, William Wyler and Marlene Dietrich and one of the great modern sitcoms in a new set. Plus it is the 40th anniversary of one of the most infamous flops of the 1980s. Time for a reappraisal or is it still as baffling as ever?2:43 - Criterion (Hud 4K, Alice Doesn't Live Here Anymore (4K), The Crying Game (4K))42:27 - Kino (The Love Trap, La Scoumoune (aka Hit Man) (1972))53:23 - Arrow (Red Sun (4K))1:05:43 - Shout (Full Contact 4K)1:12:47 - Universal (The Song of Songs, Howard the Duck (4K Steelbook))1:52:11 - New TV on Blu-ray (The Office (Superfan Complete Series - Superfan Extended Episodes))1:59:50 - New Theatrical Titles On Blu-ray (Obsession (2026) (4K), Michael (2026) (4K), Normal (4K), Lee Cronin's The Mummy (4K), Deep Water (2026), The Christophers, Pillion, Animal Farm (2025))2:11:03 - New Blu-ray AnnouncementsCLICK ON THE FILMS TO RENT OR PURCHASE AND HELP OUT THE MOVIE MADNESS PODCAST OR BUY FROM MOVIEZYNGBe sure to check outErik's Weekly Box Office Column – At Rotten TomatoesCritics' Classics Series – At Elk Grove Cinema in Elk Grove Village, ILChicago Screening Schedule - All the films coming to theaters and streamingPhysical Media Schedule - Click & Buy upcoming titles for your library.(Direct purchases help the Movie Madness podcast with a few pennies.)Erik's Linktree - Where you can follow Erik and his work anywhere and everywhere.The Movie Madness Podcast has been recognized by Million Podcasts as one of the Top 100 Best Movie Review Podcasts as well as in the Top 60 Film Festival Podcasts and Top 100 Cinephile Podcasts. MillionPodcasts is an intelligently curated, all-in-one podcast database for discovering and contacting podcast hosts and producers in your niche perfect for PR pitches and collaborations.USE COUPON “MOVIEMADNESS” TO GET 10% OFF ALL DUBBY PRODUCTSSIGN UP FOR AUDIBLE This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit erikthemovieman.substack.com

(0:00) The AI Buildout: Datacenters Bigger Than Cities (Andrew Feldman) (1:50) Reasoning, Inference, and Breaking Moore's Law (16:28) Open Source, AI Sovereignty, and the Road to AGI (40:54) The Innovation Behind Generative Video (Robin Rombach) (47:31) Martin Scorsese, Robots, and the Future of Hollywood IP Thanks to our partners for making this possible! AppLovin Ads - AppLovin's AI advertising platform reaches over a billion daily active users across mobile games. Full-screen video ads with a 35-second median watch time. Advertisers are profitably spending hundreds of thousands of dollars a day and advertiser access is still in closed beta. The window is open at https://applovin.com/ALLIN Nasdaq - Positioned at the nexus of technology and the capital markets, Nasdaq provides premier platforms and services for global capital markets and beyond with unmatched technology, insights and markets expertise. https://www.nasdaq.com/convergence-economy Follow Andrew: https://x.com/andrewdfeldman Follow Robin: https://x.com/robrombach Follow the besties: https://x.com/chamath https://x.com/Jason https://x.com/DavidSacks https://x.com/friedberg Follow on X: https://x.com/theallinpod Follow on Instagram: https://www.instagram.com/theallinpod Follow on TikTok: https://www.tiktok.com/@allin Follow on LinkedIn: https://www.linkedin.com/company/allinpod Intro Music Credit: https://rb.gy/tppkzl https://x.com/yung_spielburg

This week on Bad Dads Film Review, we head into early Scorsese territory with Mean Streets, starring Harvey Keitel as Charlie and Robert De Niro as Johnny Boy.It is New York, 1973: Catholic guilt, bar-room bravado, small-time gangster pressure, unpaid debts, family loyalty, loaded silences, unloaded guns, and the unmistakable beginning of the Scorsese crime-movie language that would later explode into Goodfellas.What we coveredThe famous opening idea: “You don't make up for your sins in church. You do it on the streets.”How clearly the film points toward later Scorsese: Catholicism, crime, music, neighbourhood codes, restless camera moves and men trapped by loyalty.Harvey Keitel's Charlie: a young man trying to be a gangster, a good Catholic, a loyal friend, and a decent person — all at once, badly.Charlie's guilt, the candle-burning, and the sense that a few Hail Marys are nowhere near enough for what he thinks he deserves.Robert De Niro's Johnny Boy as a reckless human hand grenade: charming, funny, dangerous, and absolutely allergic to consequences.Johnny Boy's debts, the pressure from Michael, and why the lack of respect becomes almost more dangerous than the lack of money.The rooftop gun scene, including the attempt to shoot the light off the Empire State Building.The “mook” bar fight — possibly the most memorable use of the word “mook” in cinema history.The corrupt cop casually taking a bribe after the bar fight.Teresa, Charlie's relationship with her, and the family/friendship knot that keeps Charlie tied to Johnny Boy.The grimy restaurant kitchen scene and its spectacularly dubious food hygiene energy.The ending: the drive-by shooting, Scorsese's possible cameo as the gunman, the crash, the sirens, and the refusal to offer neat redemption.The low-budget invention: LA standing in for New York in places, Scorsese's family and friends appearing, and the camera-rig drunk shot attached to Keitel.The fashion: De Niro's hair, the sideburns, the silk shirts, and the sheer 1973 Italian-American wardrobe content.Key quotes / momentsSidey spots the Goodfellas DNA almost immediately.Dan calls Johnny Boy “a human hand grenade.”Reegs remembers the “mook” scene as the thing that stuck with him from the film.Cris singles out De Niro's hair and later the restaurant kitchen, which looks like one of the worst episodes of Kitchen Nightmares.The dads admire the film as the raw blueprint for Scorsese's later, more polished crime films.VerdictA strong recommend. The dads recognise that Mean Streets is looser and rougher than Scorsese's later work, but that is part of its power: it is gritty, restless, funny, violent, Catholic, and absolutely foundational.You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

“For all the paperwork of democracy — government by and for the people — we have become a citizenry of spectators who simply want to be entertained. And we are accustomed to the realization that we can't do anything about what's on the screen.” — David Thomson Has the prolific film critic David Thomson fallen out of love with the movies? That's the question I began my conversation with Thomson, arguably the greatest living writer on film. My question was triggered by his revisionist movie history (out today), A Sudden Flicker of Light, which, while still glorifying film, nonetheless recognizes the damage that the medium has done to us. No, he hasn't fallen out of love with the movies, Thomson responded. But he did acknowledge a new kind of wariness about his beloved medium — a suspicion of auteur worship, that tradition which concentrates on the great artistry of individual directors like Welles, Hitchcock, and Scorsese while ignoring what the motion picture medium as a whole has done to society. “What has God wrought?” Samuel Morse asked about the telegraph. David Thomson is asking the same question about the consequence of movies. Cinema, particularly Hollywood, Thomson argues, has spent a century disempowering audiences. Sitting in the dark, gazing at the screen, people have lost their agency. This passivity, Thomson argues, has invaded our political life, transforming us from citizens into spectators. No, Mr Smith hasn't gone to Washington. Instead, America has become a theater of gawkers addicted to screen entertainment, unable to discriminate between a sudden flicker of light and reality. Thus the degeneration of America into a violent Coppola movie. Thus The Joker who has crawled out of primeval darkness and now monopolizes all our screens. You could make a movie about it. Call it “Being There” or “Network.” Or perhaps “The Truman Show.” Five Takeaways •       Cinema Has Trained Us to Be Spectators — and That Has Destroyed Our Agency: Thomson's central argument: sitting in the dark watching a bright light in front of them, audiences learned that the thing on the screen is not their responsibility. People are not really hurt on screen, no matter their bodies are torn apart. They are not really happy, no matter what they say in the film. And whatever happens, the audience remains a spectator. Extrapolate that out into a broader world and you have a society in which, for all the paperwork of democracy and government by and for the people, people have become a citizenry of spectators who simply want to be entertained. America, Thomson believes, is in that state. •       Every Cut Is Violent — and Every Cut Is a Marriage: Thomson's most original observation is the smallest: the cut. A cut is where the stream of imagery you are watching goes from one shot to another. It is a separation — but it is also a marriage. Every cut says: join them up. The way we measure the effectiveness of directors from D.W. Griffith onward is that they found ways to put shots together so that film had sequence and order, like the order of sentences in writing. And every cut has an element of violence in it, because you are seeing one thing and then, bang, you are watching something quite different. We have never taught our children what a cut is — even though they have spent far more of their lives watching moving imagery than reading. That neglect, Thomson argues, is consequential. •       The Culture of Manhood and the Systematic Neglect of Women: Thomson's most politically charged observation: the culture of manhood and the serious neglect of women was going on in virtually every film he saw until at least the 1980s, and you could argue well beyond that. That is, he says, a kind of tacit advertising — a way of saying, look, this is really a very good way for how the world should be. It is something that has become harder and harder for him to endure as an idea. And he thinks that the war in Iran would not have been as likely if America had had enough women running the country — because women feel and think together in concert in different ways, with more room for compassion, sentiment, and plain rationality. •       Cinema Is Deeply Educational — and We Have Ignored That: Thomson's answer to Andrew's challenge: what does any of this have to do with movies? Everything. You cannot have a mass medium without the mass being affected, without the ways in which they think being shaped. The movies have given us examples of how to live that have been intensely persuasive. They are deeply educational. And yet we have permitted them, and like every technology humans have ever invented, we have let the technology take control of us rather than the other way around. Children spend far more time watching moving imagery than reading — and yet we do not teach them what a cut is, what a camera angle means, how the medium constructs its reality. That neglect has been, Thomson believes, catastrophic. •       Citizen Kane Is the Definitive American Film — Not The Godfather: Andrew's final question: what is the definitive movie about America? Not The Godfather, Thomson says, because the Godfather films cannot overcome their attraction to authority. There is a reverence for dark power in the Godfather films. Whereas in Citizen Kane, there is all through the film a terrible ruefulness about what happens to people who seek power. Welles absolutely understood and was intensely critical of the personality that needed power and authority — and he was afraid of it. For that reason, it is still for Thomson the definitive American film. Thomson has been known to doze off watching it, because he knows it too well. On July 4, he plans to watch something different. Ideally, The Odyssey. About the Guest David Thomson is the author of more than twenty books on film, including A Sudden Flicker of Light: A Revisionist History of the Movies (Simon & Schuster, July 7, 2026), The New Biographical Dictionary of Film (six editions, 1975–2014), Orson Welles, The Big Screen, Have You Seen…?, and biographies of David O. Selznick, Marlon Brando, and Nicole Kidman. Michael Ondaatje has called him “the best writer on film in our time.” He lives in San Francisco, where he is Andrew Keen's neighbour. References: •       A Sudden Flicker of Light: A Revisionist History of the Movies by David Thomson (Simon & Schuster, July 7, 2026). •       Citizen Kane (Orson Welles, 1941) — Thomson's definitive American film; discussed extensively in the conversation. •       The Godfather (Francis Ford Coppola, 1972) — referenced as ...

Film critic and journalist John Bleasdale joins Christina to discuss the news that Luca Guadagnino's film about OpenAI CEO Sam Altman, Artificial, has been dropped by Amazon, which just happens to have a partnership with OpenAI...Also in the mix: the many partnerships forming between creators and tech. A24 has announced a $75 million research partnership with Google DeepMind. Steven Soderbergh is embracing AI. Scorsese has signed on as a partner with an AI image-generation startup. And Netflix has acquired an AI filmmaking start-up founded by Ben Affleck. Have the tech companies taken over Hollywood? Is AI Hollywood's big dilemma? John Bleasdale. Film critic. Writer. Author of Darkness Visible the Cinema of Jonathan Glazer. Instagram @drjonty 

Apple TV’s new limited series version of Cape Fear is the third screen adaptation of the John D. MacDonald novel The Executioners. It is the second remake of the 1962 movie directed by J. Lee Thompson and written by James R. Webb. And it’s the first remake of the 1991 movie directed by Martin Scorsese and written by Wesley Strick. It’s executive produced by Scorsese and Steven Spielberg and stars Amy Adams, Javier Bardem, and Patrick Wilson. And: I Love Boosters is writer-director Boots Riley’s followup to his sci-fi comedy Sorry To Bother You. It is a sci-fi heist comedy and an adaptation of the song “I Love Boosters!” by Riley’s group The Coup. It stars Keke Palmer, Taylour Paige, Naomi Ackie, LaKeith Stanfield, Don Cheadle, and Demi Moore. GUESTS: Rebecca Castellani: The co-founder of Quiet Corner Communications and the director of marketing at Washington Montessori School Illeana Douglas: The Official Movie Star of The Colin McEnroe Show and the author of three books, including the forthcoming Jungle Red! The Making of MGM’s The Women Shawn Murray: A stand-up comedian, writer, and the host of the Fantasy Filmball podcast Lindsay Lee Wallace: A writer and journalist covering culture, health, technology, bats, and anything else people will answer her questions about Music featured (in order): The End – Elmer Bernstein Linger (2026 Stephen Street Stereo Mix) – The Cranberries Hi Ho – Tune-Yards Text Message Unsent – Keke Palmer And When I Die – Blood, Sweat & Tears Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

“Sound is a really important part of how I make movies because I always tell people that if the sound is good and the picture is bad, then you'll stick around to see what happens. However, if the sound is terrible and the picture is great, you're out of there in like ten minutes. So sound is something that I always cherish. And I think that the right filmmaker who appreciates sound can really take advantage of what we think about and use, you know, the viewer's imagination. A lot of film pictures start off in black and, you know, they just have the sound, so they really grab the audience's attention right from the beginning. So sound is just such a powerful medium.” – Jayson JohnsonThis week's guest is a filmmaker and the founder of Strike Five Films, an independent production company dedicated to authentic, character-driven storytelling. A graduate of Eastern Illinois University, he began his career under the mentorship of Francis Ford Coppola, working on the Wine, Daydreams & Memories tour before producing over 1,400 hours of broadcast television for Discovery ID. Since founding Strike Five Films in 2017, he's written, directed, and produced nine short films that have screened at more than ninety festivals worldwide, earning six awards. His work has been featured in numerous media outlets and is defined by themes of perseverance, community, and creativity.He's currently in pre-production on his debut feature, R.O.G.E.R & Me, an offbeat, heartfelt film rooted in Richmond, CA, while continuing to mentor emerging filmmakers and expand his mission of fusing storytelling, social impact, and independent artistry. His name is Jayson Johnson, and if you've ever wondered how intentional sound can elevate storytelling and make a lasting impact on audiences, you won't want to miss Jayson's behind-the-scenes insights and practical tips.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that.(00:00) – How Sound Captivates AudiencesWe start things off with the vivid impression sound made on Jayson as a child, and how it led him to a career in filmmaking. “One of the memories I have as a child,” he recalls, “is, you know, you're sound asleep, and then all of a sudden, the vacuum cleaner goes on… that was kind of like an alarm clock for us, you know, because we always had chores.” He tells us more about his influences growing up and how a lifelong love of movies became a calling. “When I went to college,” he explains, “I had no idea what I wanted to do, so I signed up with Speech Communication, and they had a discipline of Radio, TV, and Film. And I just tried out everything.”(11:27) – Sound Techniques in FilmmakingJayson tells us more about his early years in the industry and how a chance job opening led to an encounter with Sofia and Francis Ford Coppola. “I put out all these resumes, I don't even know how many I put out,” he tells us. “Probably a hundred or so. No one called me except for this one place, and I said, ‘Oh, it's a winery. I'll go there.' And it happened to be Francis Coppola Winery.” He recalls his work on Sofia Coppola's Marie Antoinette, and the lessons about sound that Marin Scorsese's classic Goodfellas taught him to apply to his own films. “We see the cars explode,” he explains, “and Scorsese wants the audience to feel the emotion of that scene by not saying anything and just adding that little pause in there and, you know, letting the audience feel the gravity of the moment.”Episode SummaryExploring how silence enhances emotional depth in storytelling.Jayson discusses the sound techniques he's used in his films.Tune in for next week's episode as we talk about how music can transform a film, both for better and for worse, his thoughts about the emergence of AI videos and virtual celebrities like Tilly Norwood, and why he considers sound to be the first step in his creative process as a filmmaker.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a review at https://lovethepodcast.com/audiobranding (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Forrest and Kristina Oakes are joined by @Filmsuck-t9u and @JacobinMag film critic Eileen Jones to talk about Martin Scorsese's Cape Fear (1991) A remake of the original 1962 Gregory Peck and Robert Mitchum film. Scorsese's remake stars Robert De Niro as Max Cady, an ex-con who blames a lawyer Sam Bowden (Nick Nolte) for his incarceration and begins to stalk and terrorize his family. Starring Jessica Lange, Juliette Lewis, Gregory Peck, Illeana Douglas, Robert Mitchum. #capefear #scorsese #robertdeniro #robertmitchum #gregorypeck #juliette #juliettelewis #filmpodcast #moviepodcast #nicknolte #martinscorcese #1991 #jessicalange #thriller #psychologicalthriller #psychologicalhorror #horror #horrorstories #martinscorsese #maxcady #universal Filmsuck Podcast: https://www.patreon.com/c/filmsuck

Someone (or something) has gotta keep us safe at night. Wrapping up this first round of DuoVision double features is a pair of aughts Jodie Foster thrillers from major auteurs: David Fincher's PANIC ROOM (2002) and THE BRAVE ONE (2007). Who knew the little girl from Scorsese's TAXI DRIVER would grow up to get her own vigilante blood bath? Not us.

The 50th anniversary of the famous Sex Pistols concert at the Lesser Free Trade Hall in Manchester has just passed. We discuss punk rock, how it started, and what it has become. Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Show notes Sex Pistols at the Lesser Free Trade Hall - Wikipedia ‘I knew it was over for us': the bands who got left behind when punk exploded - The Guardian Elisha Cook Jr. (Wilmer) - Wikipedia ‘People are still isolated and obsessive': De Niro, Scorsese, Foster and Schrader reunite for Taxi Driver at 50 - The Guardian Épater la bourgeoisie - Wikipedia Super Black Market Clash - Wikipedia Hot Tuna (album) - Wikipedia Caoilfhionn Rose on The Next Track Our next tracks: The Durutti Column: Renascent Blood, Sweat & Tears: Blood, Sweat & Tears If you like the show, please subscribe in Apple Podcasts or your favorite podcast app, and please rate the podcast.

Wes makes a passionate case for film editors as the unsung heroes of cinema, highlighting legendary editors like Thelma Schoonmaker and Sally Menke who shaped the visions of Scorsese and Tarantino respectively. Editors are just like the unsung music producers of Pearl Jam and Creed.  818-835-0473 orwhatevermovies@gmail.com www.orwhatevermovies.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven Spielberg is back in his blockbuster habitat with a June release. Will his return to a science fiction summer movie be a success? We will find out as Aaron Neuwirth and Justin Gott return to the show after some online fretting by the host concerning Spielberg's audience appeal. Howard Casner was an early in on the show, and as is often the case, he is a bit of an outlier of opinions. How is this movie like Scorsese's "The Irishman", should we trust the media even less than the government, just how good is Emily Blunt? Theology, politics, and human nature are all part of the conversation, come have a listen.Update: The accidental crossfades in the episode have been removed. This is a cleaner version of the show now. 

Dwight Stones is on the cover of the June 14, 1976 issue of Sports Illustrated, and he joins Past Our Prime to take us back to one of the most electric moments of his remarkable career. That cover came on the heels of a world record in the high jump — a performance that announced to the world that Stones wasn't just a great athlete, he was an event. Being on the cover of Sports Illustrated in 1976 wasn't just an honor, it was a cultural moment. In an era before social media, before highlight reels and YouTube, that cover was how America met its sports heroes, and Stones understood exactly what it meant. He had arrived — not just as a world-class jumper, but as a personality, a presence, and a star. What made Stones different from every other high jumper of his era was that he understood something most track and field athletes never figured out — the competition didn't start when the bar went up, it started the moment he walked into the stadium. He studied Muhammad Ali the way a film student studies Scorsese, borrowing Ali's gift for psychological warfare and applying it to the high jump pit. He talked, he taunted, he performed, and he made sure that every opponent in the building knew he was there and that beating him was going to cost them something mentally before it cost them anything physically. He even pioneered a new kind of dual role in the sport, competing in a meet and simultaneously serving as an analyst — giving new meaning to the idea of a dual meet and blurring the line between athlete and broadcaster in a way nobody had ever done before. Stones first discovered the Fosbury Flop as a young athlete and never looked back, and the man who invented it — Dick Fosbury — became not just a technical influence but a mentor and a genuine friend. Fosbury changed the sport forever when he went over the bar backwards at the 1968 Mexico City Olympics, and Stones was among the first generation to fully embrace and master the technique. He'll tell us what it meant to have Fosbury in his corner and how a revolutionary way of clearing a bar became the foundation of everything Stones built his career on. It was more than a technique — it was a philosophy about seeing the world differently than everyone else, which suited Dwight Stones just fine. Then there are the two bronze medals — separated by four years and a lifetime of emotion. The first, at the 1972 Munich Olympics, was a stunning achievement for the youngest member of the American team, a teenager who had no business being on that podium and got there anyway through sheer talent and nerve. The second, at the 1976 Montreal Games, is a different story entirely — one that still irks him to this day. Stones joins Scott, Marc, and Bill on Past Our Prime to talk about both medals, the world record, the showmanship, the mind games, and what it felt like to be young, fearless, and on top of the world in the summer of 1976 — with his face on the cover of the greatest sports magazine that ever existed to prove it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix just straight-up admitted they won't work with directors who still want theatrical releases -- film chief Dan Lin told The New York Times they've "accepted" that crowd is off-limits because Netflix is a streaming company first, last, and always, and those big-screen divas keep demanding actual movie theaters like it's still 1995. Yeah after years of dangling fat checks to lure in Scorsese, Cuarón, and the rest only to shove everything straight to your couch, they're now drawing a hard line in the sand while quietly padding a few prestige exceptions for awards bait -- because nothing says "we love cinema" like blacklisting anyone who thinks your $200 million movie deserves popcorn and a dark room instead of autoplay on the toilet. Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #News #Podcast #FYP #Shorts #NetflixTheatrical #NetflixDrama #DanLin #StreamingVsTheaters #HollywoodDirectors #NetflixFilmBoss #TheatricalReleases #NetflixPolicy Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailWe're two episodes into Apple TV+'s new adaptation of Cape Fear, and we have some thoughts. The series, which dropped its first two episodes on June 5th, stars Javier Bardem as Max Cady, Amy Adams as attorney Anna Bowden, and Patrick Wilson as her husband Tom — a family now living under the shadow of a man they may have wronged. Scorsese and Spielberg are both on board as executive producers, which raises the bar considerably.We came in with full knowledge of the source material. Mike read John D. McDonald's original novel, and both films — the 1962 version with Robert Mitchum and Gregory Peck, and Scorsese's 1991 remake with Robert De Niro and Nick Nolte — are part of the conversation throughout. What we were hoping to see is a reimagining that earns its place alongside those films. What we got, at least in these first two episodes, is something we're still trying to make sense of.The issues start early. Javier Bardem's portrayal of Max Cady lacks the menace that both Mitchum and De Niro brought to the role in very different ways. His introduction at the fundraiser gala — rambling speech, handed the microphone without hesitation, no security in sight — was hard to take seriously. The violence skews gratuitous in a way that feels less like intensity and more like a substitute for it. There are subplots involving the teenage son, an online chat that's clearly not what it seems, and a mysterious masked figure in a green trench coat that we couldn't make heads or tails of. The series also appears to be steering toward a version of events where Max Cady may actually be innocent — which, if true, is a significant departure from everything that makes this story work.We also noticed an Easter egg worth mentioning: Wesley Strick, who wrote the screenplay for the '91 film, shows up in a cameo as an ER doctor.We're essentially split after two episodes — one of us is out, the other is holding on to see what episode three brings. We'll check in again if the series turns things around — and if you don't see another Cape Fear episode on the channel, that's probably your answer.If you've seen the films, read the book, or are watching the series yourself, we want to hear from you — especially if you're a Javier Bardem fan and think he's bringing something to the role we're not seeing yet.Support the showOh Brother Podcast:Support the Show! (Be The First to Listen with Early Access)Listen on all podcast platformsSubscribe on YouTubeFollow us on Instagram

“I never knew, and I was a bright kid. I didn't know who the mayor of New York was, but I could tell you the names of all the mafia guys on the corner.” — Vincent Coppola So we finally found a Coppola for the show. No, not Francis Ford. But somebody just as cool and even more authentic. The longtime Newsweek reporter Vincent Coppola grew up in Brooklyn three subway stops from Manhattan, but never went there until he was a teenager, nor even visited Central Park until his twenties. Coppola's version of Brooklyn, a teeming Italian ghetto squeezed between the banks of the polluted Gowanus Canal, no longer exists. Except in his exquisitely rendered new memoir, Gowanus Crossing: A Brooklyn Boyhood, which has the most delicious story about an Easter pie recipe you'll ever read. The Brooklyn of Vinnie's childhood was intact, insular, cut off from everywhere more than three stops away. It had its own government — the Mafia; its own religion — the Catholic Church; its own poisoned geography — the Gowanus Canal. A world inside a world. He didn't know who the mayor of New York was, but he knew the name of every wise guy on every street corner. To a kid, Gowanus was a magical place. The grown Vinnie (now called Vincent), having crossed his own Rubicon to attend Columbia journalism school, describes it as a “toxic snow globe.” Brooklyn über alles. Or, more authentically, al primo posto. Especially now, when only a real Coppola can resurrect it. Five Takeaways •       A Toxic Snow Globe: Cut Off Three Stops from Manhattan: Coppola grew up in an Italian enclave on the Gowanus Canal — a waterway that was, unbeknownst to its residents, one of the most polluted in America. The community was so insular that Coppola — a bright, bookish kid — never went to Manhattan until he was a teenager, never visited Central Park until he was in his twenties, though he was three subway stops away. He knew the names of all the Mafia guys on the corner. He did not know who the mayor of New York was. A toxic snow globe: its own rules, its own government, its own religion. Intact and entirely cut off from the rest of the world. •       The Mafia as Shadow Government: The Mafia was not background colour in Coppola's childhood. It was the actual government. Police from the 78th Precinct pulled up to the social club on Sundays; officers walked in and walked out with brown paper bags full of cash. Squad cars ferried a hitman — the bodyguard of Carmine Persico — as if they were taxis. This corrupted any childlike innocence about institutions. The stereotype of the nice policeman, the honest cop, the beloved priest: none of them applied. Because they were poor, nobody cared. Nobody cared about the canal being polluted until real estate people came in. •       The Predatory Priest and the Code of Silence: A local priest molested altar boys for decades, including Coppola's best friend. Nobody in the community knew. Coppola's observation: if the Mafia had known, they would have killed that man. It would have been that simple. Two oppressive codes of silence — the Mafia's omertà and the Church's own silence — operated in parallel. One protected criminals who were also community pillars. The other protected a predator. The community was too poor, too preoccupied, too isolated to see what was happening in front of their eyes. •       The Easter Pie Recipe: A Story About Secrets and Mothers: One of the great set pieces of the book. Coppola was obsessed throughout his life with a specific Easter pastry — pizza di grano, a grain pie — that the old neighbourhood women made and would not share the recipe for. He worked for Newsweek, had access to chefs everywhere, could not reproduce it. At his mother's funeral, an old neighbour pressed a piece of paper into his hand. Weeks later he found it in his jacket pocket and opened it. Not cash — the recipe. Written in Italian. Beginning: “under a full moon.” It was a hundred years old. He wasn't going to be baking under full moons. •       The Ghost Town: A Million-Dollar Desert: Coppola returned to Gowanus three weeks before the interview, invited to speak at a public library. His neighbourhood was blooming with skyscrapers and condominiums. And it was dead silent. When he grew up, the streets were teeming — children playing hopscotch, women gossiping on chairs outside, music, grilling on the corner, betting. He came back to a million-dollar ghost town. It broke his heart. The people he grew up with had been driven out — priced out of the place where they belonged. That is the elegy the book is writing. He hopes he preserved the best of that world. About the Guest Vincent Coppola is a journalist and the author of six books. A former reporter at Newsweek, he has written for Esquire, Rolling Stone, Men's Journal, and Atlanta magazine. He is a 1977 honours graduate of the Columbia University Graduate School of Journalism. His essay on his mother's battle with cancer won the William Allen White Gold Medal. He is the author of Gowanus Crossing: A Brooklyn Boyhood (Henry Holt, June 9, 2026). He lives in Savannah, Georgia. References: •       Gowanus Crossing: A Brooklyn Boyhood by Vincent Coppola (Henry Holt, June 9, 2026). •       Frank McCourt, Angela's Ashes — the publisher's comparison: “Frank McCourt's gimlet eye with the exuberant menace of a Scorsese movie.” •       Carmine Persico — the mafioso boss referenced in the conversation; his bodyguard is a character in the book. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (00:31) - Introduction: the Brooklyn of Whole Foods vs the Brooklyn of the Gowanus Canal (01:20) - An Italian village plucked from the south of Italy and dropped in Brooklyn (02:04) - Vince, did you ever really leave? (02:27) - Stage four cancer: the trigger for the memoir (03:11) - The Gowanus C...

Most people run from grief. Eden Marryshow turned it into a film. In this conversation, Eden breaks down the emotional process behind filmmaking, storytelling, creativity, and why the best art usually comes from the most personal places. We talk about losing family, directing actors, independent filmmaking, community, and the long path creators take back to who they were before the world told them to stop creating. This episode is also a masterclass on storytelling itself from Star Wars and Scorsese to creative discipline, ego, collaboration, and why limitations often produce better art than unlimited budgets.  We also discuss: • Why most people know who they are by age six • The connection between grief and creativity  • Directing actors without ego • Why independent creators have to learn everything • The psychology behind great storytelling • Rocky, Star Wars, Goodfellas, and favorite films  • Why "story is king" in filmmaking • How schools often suppress creativity  • Building community through storytelling • NFL talk, Giants football, and leadership Guest links Instagram: @edenmarryshow Email: 511eden@gmail.com Jason Linktree https://linktr.ee/admin  

James Mangold's Cop Land Harvey Keitel, Ray Liotta, Robert DeNiro, and Sylvester Stallone in one of the most highly-anticipated films of the 1990s . . . Springing from the headlines of the 80s, 90s, 00s, 10s, and today, James Mangold's 1997 police corruption drama was released to critical acclaim and tepid box-office. In an era of 90s Independent filmmaking, focusing on newspaper/magazine headlines and evening newscasts, Mangold would write and pitch a story (ostensibly a Western) set in modern day life. The reluctant hero, Sheriff Freddy Heflin (an overweight, tired, and sad Stallone), who is neither the Rocky or Rambo hero Stallone is known for, fighting the corruption of an all-star cast of big-city police living outside of the city in a mob financed town. Stallone versus Keitel, Robert Patrick, Peter Berg and John Spencer, with a cocaine-addled Ray Liotta as back-up, and a disheveled, angry, and calculating Internal Affairs officer played by DeNiro manipulating the scene, Mangold's second film - with obvious comparisons to Scorsese - stands out as an brutal and honest look at police corruption and those wiling to stand up against it. As always, we can be reached at gondoramos@yahoo.com - Our Continued Thanks and Appreciation. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

In another topic-focused GGACP mini-episode, Gilbert and Frank share their love of unheralded films, underrated TV shows, underappreciated pop songs and often unknown performers, discussing, dissecting and (occasionally) defending their handpicked guilty pleasures and buried treasures. This week: Boss Hogg comes to Brooklyn! Scorsese satirizes SoHo! And the big screen's first (and last!) Jewish James Bond villain! Learn more about your ad choices. Visit megaphone.fm/adchoices

Counselor... come out come out wherever you are! With the new Apple TV series about to launch, we thought it might be the perfect time to revisit Martin Scorsese's 1991 thriller Cape Fear. Some say it is an overlooked and underrated entry in Scorsese's filmography while others see it as nothing more than Marty cashing a paycheck. Is it a remake done right or is it too violent and too pulpy? Who is sexier: Robert DeNiro or Nick Nolte? Is there a hidden meaning behind the Problem Child theatre scene? What is the minimum time required for sexual intercourse and maximum time required for a fireworks display? Learn about loss and enter the Ninth Circle of Hell and on this week's episode of Film Junk.

IndieWire's Anne Thompson and Ryan Lattanzio are joined today by producing partners Jason Blum and James Wan, who break down the recent box office success of indie horror films and give advice on how to carry this momentum forward. Before that, Anne and Ryan share their thoughts on Spielberg's "Disclosure Day," preview the Tribeca Festival, and parse Scorsese's bizarre support of AI. Read more about "Backrooms" stunning performance - https://www.indiewire.com/news/box-office/backrooms-box-office-hollywood-rethink-young-people-want-1235197437/?v3=true Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailAngelo, Rhea, and Jay are back — and this week there are three numbers that have shaken Hollywood to its core: $81 million, $100 million, and $52 million. That's what three YouTube kids just grossed at the box office... a 20-year-old with Backrooms, a 26-year-old who turned $750K into Obsession's biggest second-weekend spike in modern box office history, and Markiplier, who walked out of a gaming channel and grossed $52 million on $3 million. The film school brats gave us Scorsese and Coppola. The VHS kids gave us Tarantino and Rodriguez. Is this the YouTube generation?THEN: Scott Pelley walked into a meeting and told his new boss, Nick Bilton, to his face that Bilton and Bari Weiss are "murdering 60 Minutes" to placate Donald Trump. CBS is still waiting on federal approval for the Paramount/Warner Brothers merger, Bilton has zero broadcast background, and Pelley just lit a match on his own legacy. At what point does speaking truth to power become career suicide — and does it even matter if you're right?ALL THAT PLUS: Byron Allen's Comics Unleashed is a DUD, Rhea delivers what can only be described as a passionate sermon for The Sheep Detective, Angelo checks out a new show by The Fonz and much MUCH more!MAKE SURE TO VISIT OUR SPONSOR: Steven Singer Jewelers!The TV Show is a weekly podcast hosted by Jay Black, with regular guests Angelo Cataldi and Rhea Hughes. Each week, we dive into the new Golden Age of Television, with a discussion of the latest shows and news.

Pop Culture Thursday: Jared reads the latest celebrity headlines from Page Six and gives his unfiltered takes!Ciara Miller, West Wilson, and Amanda Batula: Summer House reunion dramaNepo baby debate reignites with Francesca ScorseseTaylor Swift spotted with Travis Kelce at NBA gameJacob Elordi pulled into injury clickbait confusionBarbra Streisand linked to fake Cannes injury storyJaclyn Smith at 80 reveals beauty secretAurora Culpo welcomes baby girl with fiancé ZachJared is on tour!

What are the best movies from six of the greatest directors ever? Lance Taylor and Tyler Johns go filmmaker by filmmaker through the careers of Quentin Tarantino, Martin Scorsese, David Fincher, Paul Thomas Anderson, Stanley Kubrick, and Christopher Nolan to choose the films that best define each director. From Tarantino's pop-culture-changing Pulp Fiction to Scorsese's gangster classic Goodfellas, Fincher's dark thriller Seven, PTA's powerhouse drama There Will Be Blood, Kubrick's horror landmark The Shining, and Nolan's massive historical epic Oppenheimer, this episode is a full movie-lover deep dive. The guys also discuss the difference between a director's “best” movie and their personal favorite, why some films age better than others, and how certain movies reshape an entire genre. Before the main topic, Lance and Tyler review recent viewings including Who Will Stop the Rain?, Marathon Man, Billy Idol Should Be Dead, Hooper, Widow's Bay, Mortal Kombat 2, and Batman Beyond. #BestFilms #BestMovies #LegendaryDirectors #QuentinTarantino #MartinScorsese #ChristopherNolan #StanleyKubrick #DavidFincher #PaulThomasAnderson #PulpFiction #Goodfellas #Oppenheimer #TheShining #TheNextReel #moviereview SUBSCRIBE: @NextRoundLive - / @nextroundlive FOLLOW TNR ON SPOTIFY: https://open.spotify.com/show/7zlofzLZht7dYxjNcBNpWN FOLLOW TNR ON APPLE PODCASTS: https://podcasts.apple.com/us/podcast/the-next-round/id1797862560 WEBSITE: https://nextroundlive.com/ MOBILE APP: https://apps.apple.com/us/app/the-next-round/id1580807480 SHOP THE NEXT ROUND STORE: https://nextround.store/ Like TNR on Facebook: / nextroundlive Follow TNR on Twitter: / nextroundlive Follow TNR on Instagram: / nextroundlive Follow everyone from the show on Twitter: Jim Dunaway: / jimdunaway Ryan Brown: / ryanbrownlive Lance Taylor: / thelancetaylor Scott Forester: / scottforestertv Tyler Johns: /TylerJohnsTNR Sponsor the show: sales@nextroundlive.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's brand new episode is a full review of 1985's After Hours.   It's quite possible that you have never heard of this movie, but before you dismiss it, listen to this-   Directed by Scorsese.  Starring Catherine O'Hora, Rosanna Arquette, John Heard, Cheech and Chong, Bronson Pinchot, Dick Miller and more.   It could be described as having the anxiety of the original Uncut Gems.  It's fun and we think you will like it.   •0:00:00 - Introductions •0:02:30 - Memories of first viewing •0:06:00  - Pertinent movie details  •0:10:00  -  Critical and fan reviews •0:17:00 - Scene by scene breakdown  •1:42:00 - Modern day ratings —————————————————————— SPONSORS-  **ASPCA-  To learn more about Pet Health Insurance, visit http://aspcapetinsurance.com/breakfast  **TruDiagnostics- Our listeners can get 20% off at http://TruDiagnostic.com using code CONFUSED at checkout. **LITTLE SLEEPIES-  If you're expecting or dressing little ones, check out Little Sleeps.  You can visit http://littlesleepies.com and use promo code PodSpring26 for 15% off **Draftkings-  Download the app now and sign up with code CONFUSED to claim 1,500 flex spins. **FABLETICS-  Get 80% off everything when you sign up as a VIP! Just head to http://Fabletics.com/confused —————————————————————— **Support us at http://patreon.com/confusedbreakfast for bonus weekly episodes, voting on upcoming movies, giving your modern-day ratings on our movies and much more. **Mail us something   The Confused Breakfast PO Box 10016 Cedar Rapids, IA 52402-9802 Special thanks to our executive producers- Josh Miller, Starling, Dylan Mick and NicMad. Learn more about your ad choices. Visit megaphone.fm/adchoices