Podcasts about Technicolor

A video game villain. A tribute to a sci-fi author. A Technicolor hero. A big boy. A WWII cyborg. Which are hot, which are not? The Girls of the Hot Squad continue their evaluation of Who's Who #5's entries based on sheer datability. Featuring permanent panelists Elyse, Isabel, Josée, Nathalie, Shotgun, and Amelie. Listen to Episode 27 below (the usual mature language warnings apply), or subscribe to the feed on Apple Podcasts or Spotify! Relevant images and further credits at: Who's Hot and Who's Not ep.27 Supplemental This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: https://fireandwaterpodcast.com/ Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST NETWORK. And thanks for leaving a comment.

A video game villain. A tribute to a sci-fi author. A Technicolor hero. A big boy. A WWII cyborg. Which are hot, which are not? The Girls of the Hot Squad continue their evaluation of Who's Who #5's entries based on sheer datability. Featuring permanent panelists Elyse, Isabel, Josée, Nathalie, Shotgun, and Amelie. Listen to Episode 27 below (the usual mature language warnings apply), or subscribe to the feed on Apple Podcasts or Spotify! Relevant images and further credits at: Who's Hot and Who's Not ep.27 Supplemental This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK! Visit our WEBSITE: https://fireandwaterpodcast.com/ Like our FACEBOOK page: https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST NETWORK. And thanks for leaving a comment.

Big hair. Bright neon. One legendary dreamcoat.In this episode, we talk about St. Francis de Sales Musical Theatre's upcoming production of Joseph and the Amazing Technicolor Dreamcoat—running April 30–May 3, 2026 at the Franciscan Theatre at Lourdes University.This high-energy Andrew Lloyd Webber classic gets a totally rad twist as the production reimagines the story in the colorful world of the 1980s. Expect bold costumes, retro choreography, and a Technicolor coat that might just steal the show.It's fast, fun, and packed with unforgettable songs—from “Any Dream Will Do” to “Go Go Go Joseph.”If you love musical theatre and a little 80s nostalgia, this is one show you won't want to miss.

Prisoner of Jesus the Messiah Ephesians 3:1-13 by  William Klock Ask yourself what happens when the church is being faithful in its gospel calling and life. As we've worked through the first two chapter of Ephesians, Paul has explained that the church is God's new temple. It's a people purified by the blood of Jesus so that God can draw near in the person of his Spirit to dwell with us. That's always been God's plan for humanity and for creation. The garden was his temple and he placed us there to steward it well, on the one hand, and on the other, to dwell with him and to enjoy his presence—life with him.  And ever since we rejected that calling, God has been working to restore us to it.  And so the church, this people washed clean of sin and death by Jesus, and then filled with his Spirit, this new temple, we're the working model of God's coming new creation in the here and now. And if we're faithful in being that working model, what happens? The ideal, the hope is that people hear our proclamation of the kingdom and they see the first beginning of God's new creation when they look at the church. In the midst of the darkness, the church should be light.  In the midst of death, the church should be life.  The church should be here to show a better way through the cross.  To prophetically wipe away the tears of the hurt and mourning and to confront the principalities and powers, the false lords and the corrupt systems of the world with the truth of the gospel and the lordship of Jesus.  And people do hear and see and experience the faithfulness of the church.  In us they meet the living God and the Lord who died for them and they encounter his glory and they kneel in faith and are, themselves washed by Jesus and filled with the Spirit. But our idea of the faithful church often stops there. Maybe that's because we think of the church, not in terms of faithfulness, but in terms of success.  Butts in the pews. Money in the plate. Acclaim by the world.  And yet for the first Christians the opposite was true.  They were small.  They were poor.  They were persecuted and imprisoned and martyred by the world around them. And that's because, when the church is faithful in living and proclaiming and witnessing the presence of God's new creation and the Lordship of Jesus, the principalities and powers—that was how Jews like Paul thought of the unseen powers, once placed by God to oversee peoples and nations, but now in rebellion against him—those principalities and powers, earthly kings, and the powerful people invested in those kingdoms and the corrupt systems that run them—Brothers and Sisters, if we're doing our job showing that God's new world is breaking in and that Jesus is setting things to rights, those powers will fight back.  They will try to shut us up or shut us down. They will throw us in prison.  They will kill us.  Or they will try to corrupt us. They'll divide our loyalties: Sure you can worship Jesus, but you'll also need to kneel to Caesar.  They'll get us to adulterate the gospel with materialism and commercialism or politics.  They'll convince us we can have one set of values in the church and another in business or in government. With that in mind, look at Ephesians 3. Paul rites, “It is because of all this that I, Paul, the prisoner of Messiah Jesus on behalf of you gnetiles…”  Paul sort of interrupts himself there for rhetorical purposes, but we should pause here too.  Paul was in prison. Probably this is when he was in prison in Rome, but it could have been in Ephesus.  And for a lot of people in his word, that meant that Paul was out of favour with God.  How often do we hear that sort of thing today? There are parts of the church that have been corrupted and compromised by the idea that faith means health and wealth, happiness and prosperity.  That you can name it and, by faith, claim it.  And if you don't get it, well, then you don't have enough faith or you're out of favour with God.  If we were to turn over to Second Corinthians we'd see that that's how the Corinthians interpreted Paul's imprisonment.  But this is pagan thinking. But Paul knew better. In verse 13 he tells them, “Don't lose heart because of my sufferings on your behalf. That's your glory!”  In other words, he's imprisoned because he's been faithful to the calling God gave him.  He's imprisoned because of his great faith.  He wants the Ephesians to understand the paradox of the cross: God's power is made perfect in weakness.  We're prone to forgetting this.  When we bail on a church because we think it's too small, when we start adopting sales tactics as if the gospel is something to sell, when we cozy up to corrupt leaders and rulers looking for favour, when we think we have to project or pursue strength in order to win, we've lost the plot that is centred on the cross of Jesus.  You can't adulterate God's new creation with the old.  If we do, we lose our witness and we stop challenging the principalities and power of the old with the lordship of Jesus and the glory of the kingdom. So Paul was in prison because he was being faithful, because he was establishing, just as God had called him to do, these little communities that were breaking the rules of the old order: bringing Jews and gentiles, men and women, slave and free together into a single family.  This was the family through which God will make his glory known throughout the earth.  Remember the priests mocking Jesus on the cross, to come down if he was really the son of God, then they would believe. But Paul knew—and the people in those little churches in Ephesus knew—it was because Jesus is the son of God that he had to stay on the cross.  It was through his weakness, through his death that the great enemy, death itself, would be defeated and the battle won.  Weakness is the powerful way of the cross. Paul had got the attention of the powers of the present evil age and it landed him in prison, but instead of thinking that God had failed, Paul knew that this was actually the sign, the proof that the gospel and the Spirit were doing their work, that they were truly rising to challenge the old gods and kings.  So he goes on in verse 3, “I'm assuming, by the way, that you've heard about the plan of Gods' grace that was given to me to pass on to you?  You know, the mystery that God revealed to me, as I wrote briefly just now.  Anyway…  When you read this you'll be able to understand the special insight I have into the Messiah's mystery.  This wasn't made known to human beings in previous generations, but now it's been revealed by the Spirit to God's holy apostles and prophets.  The mystery is this, that, through the gospel, the gentiles are to share Israel's inheritance.  They are to become fellow members of the body, along with them, and fellow sharers of the promise of Jesus the Messiah.”   God's great mystery, his secret purpose that was there all along, promised to Abraham and to Moses, to David and to the Prophets, but missed by so many people in Israel—and of course totally unknown to the gentiles who did know about those promises—that mystery hit Paul like a ton of bricks the day he met the risen Jesus on the road to Damascus—or maybe it was three days later when Ananias prayed for him and his eyes were opened.  Paul started to rethink everything his Jewish Pharisee brain knew—and it knew the whole story—but suddenly he was looking it at through a new lens, through the reality that this Jesus who was crucified as a false Messiah had been raised and was, in fact, the Messiah after all.  And if that were true—well, that wall outside the temple, the one carved with the warning that gentile must not pass on pain of death—that wall was now irrelevant.  In fact, that whole temple had become irrelevant because of Jesus.  He's said this back in 2:19 and now he says pretty much the same thing again, “The mystery is this, that through the gospel, the gentiles are to share in Israel's inheritance.  They are to become fellow members of the body…fellow sharers of the promise in Messiah Jesus.”  In Greek he drives this point home with real force using three words that all begin with the prefix syn that means “with”.  The gentiles are with-inheritors, with-body, and with-partakers—to put it very literally in English.  For those in the Messiah, the distinction between the Jews and the rest of the world is gone.  And we often read right past it, but this was absolutely key, heart of the gospel stuff for Paul. Israel's story reached its climax and the promises were fulfilled in the Messiah and in his death for the sins of the whole world.  In that moment the whole sacrificial system, the whole system of purity and impurity, the temple itself became irrelevant for everyone—whether or Jew or gentile—for anyone who throws himself or herself at the feet of Jesus in faith and love to be purified once and for all and forever by his blood, to be filled by God's Spirit, and thereby to become a part of God's new temple. When the scales fell from Paul's eyes, he was the first to really grasp all this.  The other apostles back in Jerusalem were still debating whether gentile believers had to be circumcised or not.  So Jesus sent Paul to go announce to the gentiles that it's not necessary.  There's now a single people defined by faith in the risen Messiah.  Of course, Paul first went back to Jerusalem to make sure his fellow apostles understood this, too.  But his mission was to proclaim the good news to the nations.  I expect most of the his first converts were those gentiles who were already on the fringe.  The “god fearers” as the Jews called them.  Greeks and Romans who encountered Jewish society and saw something they'd never seen before.  In a world of moral filth, they saw in Israel a passion for holiness, a desire for justice, a hope of God setting the world to rights—a hope few in the gentile world had.  And they couldn't go to the temple, but they could sit in the synagogues and hear the scriptures read and there they heard about the faithfulness of Israel's God.  And so they hung around, on the fringe, longing for what this family had, but knowing it was not theirs and thinking it never could belong to them.  Hoping that maybe there could be a place for them, even if on the fringe, in this story of hope.  And Paul came to them excited, to announce that in Jesus, they were co-inheritors, fellow body-members, and fellow partakers of all those promises God had made to his people.  That in Jesus and the Spirit, the could actually become the temple of the living God…not on the fringe, but actually the temple in which he dwells. Imagine the excitement those first gentile believers felt. Like children in an orphanage, waiting and longing for years to have a place in and the love of a family, now they were part of the family.  They'd escaped from the fickle gods and moral filth and hopelessness of paganism and were now sons and daughters of God. So having made clear this point that is so central to everything, Paul goes on in verse 7: “This is the gospel that I was appointed to serve, in line with the free gift of God's grace that was given to me.  It was backed up with the power through which God accomplishes his work.”  I have to think that Paul never ceased to marvel at this.  The guy who made it his career to round up Christians so they could be brought before the Jewish council—and stoned like Stephen—that evil guy was called and chosen by God to proclaim this good news.  Washed clean by the blood of Jesus and made an apostle.  If anyone understood grace, it was Paul.  If anyone knew the power of God made perfect in weakness, it was Paul.  And so he goes on in verse 8: “I am the very least of all God's people.  However, he gave me this task as a gift: that I should be the one to tell the gentiles the good news of the Messiah's riches, riches no one could begin to count. My job is to make clear to everyone just what the mystery is, the purpose that's been hidden from the very beginning of the world in God who created all things.” Paul, the least deserving of anyone having been such a great persecutor of Jesus and his church, has been given the grace to proclaim the riches of God, his immense wealth.  The riches of the Messiah.  Sonship in God's family.  The inheritance of the word.  And one day that world set to rights and fellowship with the living God forever.  This is good news.  Not good advice, like, “Hey, let me tell you about Jesus. Try him out and see if he works for you and if not, oh well.”  No this is good news.  Sin and death are defeated, the corrupt principalities and powers are on borrowed time, God's kingdom has come.  And those powers have heard the proclamation of Paul and his churches and they're angry.  Maybe if it had just been all talk, maybe if they'd just proclaimed it as good advice, maybe if they'd let themselves be corrupted by the desire for strength and power, but no…the principalities and powers, the king and gods of the present age are angry, because they've seen this good news at work.  Caesar was the great peacemaker who had forged all the peoples of his vast empire into one with his sword and his armies.  But this crucified Messiah who came out of a weak and conquered people, whose missionaries had gathered a bunch of largely poor people, women, and slaves—their unity across all their difference brought about by a message of grace—that was a real threat to the order of the old world.  The Lord Jesus was the real deal.  Caesar was a cheap copy.  And while the Caesars of the world will one day be brought down, they won't go down easily.  And yet, it's in just this that the church has its greatest witness the power of God, the power of the cross, the power of the good news.  God's power is made most manifest when we are at our weakest—laughed at, imprisoned, martyred.  Those things are proof of the power of the gospel. And now Paul brings the first part of the chapter to its climax in verse 10: “This is it: that God's wisdom, in all its rich variety, was to be made known to the principalities and powers in the heavenly places—through the church! This is God's eternal purpose, and he's accomplished it in Messiah Jesus our Lord.  We have confidence and access to God in him, in full assurance, through his faithfulness.” I've heard and read Tom Wright say that if you want to understand what Paul is really getting at in this first half of Ephesians, look at the 10s: 1:10, 2:10, and 3:10.  In 1:10 we see God's purpose to bring all things together in heaven and on earth in the Messiah. In 2:10 we see the church today, justified by grace through faith, called to have the vital role to play in God's plan to bring everything together in the Messiah.  And here in 3:10 Paul reminds us that when the church is faithfully the church—that fellowship of people from every nation, tribe, and tongue who have given their allegiance to the Messiah, then the principalities and powers are put on notice and called to account.  As Paul says here: “God's wisdom, in all its rich variety, was to be made known to the principalities and powers in the heavenly places—through the church!”  For two thousand years God's promises to set creation and humanity rights was out there, but how was it going to happen?  Brothers and Sisters, it's through the church being the church, with uncompromising allegiance to Jesus, living in the power of the Spirit, refusing to compromise, refusing to give an inch to evil men, to wicked systems, to the gods of the present age.  Not one inch.  Because, the resurrection and ascension of Jesus tell us, in those famous words of Abrham Kuyper, “there is not one inch in the whole domain of human existence over which Christ, who is sovereign over all, does not cry, Mine!” And knowing that with full assurance, uncompromisingly living that out, we the church are, as Paul put it in Chapter 2, we're God's poiema, his beautiful, finely crafted handywork.  We put on display God's wisdom in all its polypoikilos, the ESV translates it “manifold”.  I'm tempted to translate it a little more freely as something like “all the colours of the rainbow”.  Think of the vision of the church in Revelation 7—an uncountable multitude from every nation, tribe and tongue.  The church is meant to display the polychromed, Technicolor glory of God's new creation and, in doing so, to reveal the shabby drabness of this wicked old age and its gods and kings.  But what the church has done instead is to fracture.  This colour here and that colour over there.  It's to our shame.  And perhaps it's because we ourselves have lost the glory of that Technicolor world the church is meant to represent, we seem to be perpetually drawn back to the shabby drabness of the present age and it's cheap attempts to do what only Jesus and the Spirit can do.  Again, we treat the church and the gospel like commodities to marketed and to be bought and sold.  We try to divide our loyalty between Jesus and mammon or sex or power.  We become captivated by the ugliness of violence and war.  Or we sell our souls for a mess of political pottage, losing our vision of new creation and our passion for goodness, truth, and beauty and instead of trusting in the God who will bring it about, we trust in horses and chariots and chase after lesser evils instead of the good.  Brothers and Sisters, that what the principalities and powers, that's what the devils want.  They want us to think that we can bring God's kingdom by using the world's ways.  But it won't, it can't work.  Because doing so simply paints the church with the same shabby drabnesss of their world and casts a veil over the glory of God and the goodness of the gospel.  It removes us as a threat to those powers. But when we are faithful to being the church.  When we are uncompromising in our loyalty to Jesus.  When love one another and are truly one, instead of fracturing our witness to the unity of the people of God, that's when the world and its rulers take notice.  They recognise that, as Paul wrote back in 2:6, we are already seated with God in the heavenly places in the Messiah.  That doesn't mean we're somehow above the mess.  Instead it means we're right here in the midst of the mess, taking on the corrupt and evil powers of this age with power of the cross of Jesus for the sake of the people around us.  We're here, with the authority of heaven, to shine the light of the gospel and to put on full display the Technicolor glory of God.  Even as the powers fight back. We've all seen it.  It's not always as obvious as Paul being in prison.  More often than not, it seems that when a church being faithful to preach God's word and to live out the gospel and the life of the Spirit, all hell comes at us out of nowhere.  People start grumbling and creating divisions.  People leave over stupid things.  World or national events distract us from the gospel. or divisions become obstacles to faithfulness.  Those are times for prayer and to double-down on faithfulness to Jesus and the gospel when we're tempted to give up or tempted to compromise.  But Paul would tell us to be prepared.  When you're being faithful, when a church is putting on display the manifold wisdom of God—new creation—the enemies of the gospel will see, they'll feel the threat, they will strike back.  That's why Paul was in prison.  And he tells them, “That's your glory.” Think again back to the Solomon's dedication of the temple.  That stunningly grand and beautiful building, skilfully and purposefully crafted so that the glorious presence of God could dwell with in it.  So that God could shine forth from it.  That was the glory of his people on display for the sake of the whole world.  And Solomon and all Israel watched as the cloud of glory descended and filled the temple.  I always struggle to visualize just how amazing that must have been.  But the key takeaway here is this, Brothers and Sisters: that glory now indwells us.  We are now God's temple, his skilfully and purposefully crafted handiwork, purified by the blood of Jesus, so that he can dwell in us.  And if we, by his grace and sure of promises, are faithful to be what he has made, we will shine forth that glory: life in the midst of death, light in the midst of darkness, hope in the midst of despair, glorious Technicolour in the midst of dreary mud puddles, new creation in the midst of the hold. Let's pray: Almighty God, consider the heartfelt desires of your servants, we pray,  and stretch out the right hand of your majesty to defend us against all our enemies, through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and for ever.  Amen.

If you want to live an abundant life you are going to need to learn to recognize the voice of God. Welcome to the 167!Connect with usWebsite: https://www.newlifegardner.comFacebook:  https://www.facebook.com/NewLifeGardner/Instagram:  https://www.instagram.com/newlifegardner

Pete and Hannah take a nostalgic trip to postwar Paris as they review An American in Paris, the dazzling MGM classic that blends romance, art, and unforgettable music. From Gene Kelly's electrifying dance sequences to Gershwin's sweeping score, they explore what makes this Technicolor masterpiece endure—and whether its charm still captivates modern audiences.

A Isabel le ha dado un ‘sthendalazo' multicolor en toda la cara y nos va a hablar de eso precisamente de películas en las que para ella el color es fundamental. Desde El Mago de Oz, hasta LA LA LAND. Pasando por las Vírgenes Suicidas de Sofía Coppola. Un recorrido por el cine que verás después de escuchar este podcast con otras gafas. Y no las de sol. Lucía vuelve a los 70's y a la Factory de Andy Warhol y nos retrata hoy a NICO, la mujer que todos tenemos en la mente en blanco y negro. Con una infancia de posguerra y precariedad, mucha precariedad, nos cuenta como se posiciona como modelo, cantante y actriz (pero de verdad, ¿eh?) en los 60 y como trabaja para comer.  Una vida compleja y como nos dice Lucía, atraída hacia lo degradado. “Enloquecer, colocarse y bajar a los infiernos”, nos cuenta. Precursora del punk y el underground. Historión de otra mujer más que mucha gente verá siempre detrás de un hombre. O de varios. _____________________________________________ Este programa y todo lo demás es posible gracias a personas como tú. Accede a todos los programas íntegros y a contenido extra en nuestro Patreon: https://patreon.com/deformesemanal Y ven a vernos a los teatros: https://linktr.ee/deformesemanalidealtotal Gracias. Learn more about your ad choices. Visit megaphone.fm/adchoices

"No, I'm a star! Please, I'm a star!" After years of resisting the spell Mia Goth has cast on all of us, we're covering Pearl! Shot back-to-back with X during the dark days of the pandemic, Ti West's mélange of horror and 50's melodrama captivated audiences. We talk about how the movie feels outside the studio system and how it lends itself to its odd Technicolor fever dream tone. Who we'd take out of the 2023 Best Actress Race to fit in with Mia Goth's incredible performance, and the delightfully camp moments Pearl gives us.  Thank you for listening, and don't forget to subscribe, rate, and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Bluesky: @MTMUGPod.bsky.social Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna Cover Art by Shaun Piela 

Aquesta setmana al Males Vibracions 4 senyors, com els 4 genets de l'apocalipsi et portem el que ens ha donat la gana en forma de música. Garcia, Vicent, Pesudo i Canós, el darrer ens porta Somnis en Technicolor, i els primers una secció de novetats carregada, Agenda Vibradora amb esdeveniments i felicitem al Pub Terra. Llistat: Slade - Look wot you dun; The Lizzards - The Circle; Acid Smoothie - Still Standing Still; The Jackets - The question; Loose Content - Big Bright Burning Sun; Toni Porcar - Perdices; Nick Waterhouse – It's A Time; Zoobombs - Flaming Funky Lady;Mother Earth - Stop The Train - I Need Your Love So Bad - Blues For The Road - You Win Again - Come On And See - Then I'll Be Moving On.

We open this episode by talking about how seeing ourselves on camera during COVID changed the way many of us think about how we look. We discuss how lighting, color, and cohesion play a bigger role than we realize, and how that realization often becomes the entry point into color analysis. From there, we introduce House of Colour and Dee Pineaut, who joins us to explain what color analysis actually is and where it comes from.We walk through the history of color analysis, starting with early 20th-century art theory and the Bauhaus movement, and then moving into the film industry with the rise of Technicolor. Filmmakers learned that certain colors could make actors look healthier, younger, brighter, or more sinister, and those same principles apply to everyday people. We talk about how color can either harmonize with someone's natural undertones or fight against them, affecting how vibrant or washed out they appear.We then break down what a typical House of Colour appointment looks like. Natural daylight and an in-person experience are essential, and precision-dyed drapes are used to determine whether someone has warm or cool undertones. From there, we outline the four seasonal palettes—spring, summer, autumn, and winter—and what those seasons mean in practical terms. We discuss how finding the right colors simplifies getting dressed, helps wardrobes become more cohesive, and reduces decision fatigue in the morning.We move beyond color into style analysis, where we talk about body shape, clothing cuts, and personality. We emphasize that this process is not about changing someone's body, but about honoring it and choosing shapes, fabrics, and details that work best for each individual. We highlight how style evolves over a lifetime and how these tools help people adapt through career changes, retirement, weight changes, and life transitions.We also cover the additional services House of Colour offers, including cosmetics, wardrobe edits, personal shopping, and online shopping resources. Dee shares her own journey into this work, explaining how her personal transformation led her to open a House of Colour studio in Royal Oak. We close by talking about client success stories, community involvement through the Royal Oak Chamber, and how listeners can get started on their own color and style journey.More:Dee's House of Colour Website: https://www.houseofcolour.com/stylists/dee-pineau-royal-oak-michigan(00:00) – Intro(01:25) – What Color Analysis Is and Where It Comes From(02:48) – Film, Technicolor, and the Psychology of Color(03:32) – What House of Colour Does(04:51) – What a Color Analysis Appointment Looks Like(06:34) – Favorite Colors vs. Best Colors(08:06) – Why In-Person Analysis Matters(09:13) – Style Analysis and Body Shapes(11:06) – Additional Services: Makeup, Wardrobes, Shopping(13:10) – Dee's Personal Journey to House of Colour(14:27) – Client Transformations and Success Stories(15:22) – Royal Oak Chamber and Community Involvement(16:26) – How to Get Started with House of Colour Learn more about the Royal Oak Chamber of Commerce: https://www.royaloakchamber.com/Connect with our hosts:Jon Gay from JAG in Detroit Podcasts - http://www.jagindetroit.com/Lisa Bibbee from Century 21 Northland - http://soldbylisab.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What is it to "die to your flesh" and "walk in the Spirit" in our lives? What does death have to do with discipleship? Welcome to the 167!

Nathan and Ryan step into the Technicolor fantasy worlds of The Secret Life of Walter Mitty (1947), the Danny Kaye–starring comedy that turns escapist daydreaming into full-blown cinematic spectacle. Loosely inspired by the James Thurber story, the film follows a meek photo editor whose vivid imagination repeatedly whisks him away from mundane reality into swashbuckling adventures, musical numbers, and heroic alter egos. The hosts discuss Kaye's rapid-fire performance style, the film's playful visual inventiveness, and how Hollywood transformed a short, subtle story into a maximalist studio showcase. Is it a classic of Golden Age comedy or a fascinating case of adaptation excess? Tune in to find out.

Stop being saved and stuck. Live life in technicolor. Welcome to the 167!Connect with usWebsite: https://www.newlifegardner.comFacebook:  https://www.facebook.com/NewLifeGardner/Instagram:  https://www.instagram.com/newlifegardner

As we continue revisiting past Oscar winners, this week we're spotlighting a former Best Cinematography winner with Michael Powell and Emeric Pressburger's Black Narcissus.A masterclass in color, atmosphere, and visual storytelling, Black Narcissus remains one of the most stunning films ever put to screen. Shot almost entirely on soundstages yet feeling vast and untamed, the film's cinematography transformed painted backdrops and controlled lighting into something mythic and haunting.We break down how the visuals shape the psychological tension, why its use of Technicolor still feels revolutionary, and whether modern audiences fully appreciate just how groundbreaking this film was.Lush, hypnotic, and visually unforgettable — this is Oscar-winning craftsmanship at its finest.#WatchTowerFilmPodcast #OscarSeason #BlackNarcissus #BestCinematography #PowellAndPressburger #ClassicCinema #Technicolor #FilmPodcast #AcademyAwards #Cinematography

S6E06: Making MovieLabs MagicIn 2019, MovieLabs published their 2030 Vision for the film and TV industry. What is their progress on delivering on that vision that stands to drive greater efficiencies, standards, and collaboration in the industry?In the latest episode of Making the Media, we delve into the world of MovieLabs and discover the work which has been done with Avid to help realize the ambitious vision for the future that is not too far away.Our Guests This Episode Jim Helman, CTO, MovieLabsJim Helman is an experienced technologist who brings toMovieLabs an extensive background in building entertainment-related products and a passion for innovation. At MovieLabs, Jim has led cross-industry initiatives including driving worldwide standards for high dynamic range (HDR)video and building the Entertainment Identifier Registry (EIDR), for which he received an Engineering, Science & Technology Emmy® Award. His work on security includes the development of the MovieLabs Enhanced Content Protection Specification (ECP), which established a hardware level of robustness for 4Kconsumer devices.Mark Turner, Program Director, Production Technology MovieLabsMark coordinates the Production Technology program for MovieLabs that created the 2030 Vision for the future of content creation. In Mark's 25 years in the global media industry, he has always been at the intersection of technology and business models. Mark has held roles from product management to sales, strategy, business development, and partnerships for start-ups, to multi-billion-dollar corporates including Ryff Inc., Technicolor, Levels Beyond, RStor, Dolby Laboratories, Microsoft, BT Media & Broadcast, andEutelsat. Shailendra Mathur, VP of Architecture, AvidShailendra is a seasoned technology executive and industry leader specializing in managing large engineering organizations. With over 30 years of innovation experience, he has a proven track record of combining business acumen, technology thought leadership, and collaborative teamwork to define business transformation strategies for media enterprises. His work has consistently created competitive differentiations and business efficiencies. More ResourcesFor more on this topic, check outAvid Content Core – Discover more about Avid's coming content data platform for media productionVideo Post-Production – Get the latest updates on Media Composer and AI-powered workflowsMovieLabs – Find out about the mission of the organization and its ongoing work to deliver on its 2030 Vision Contact UsQuestions? Comments? Cool ideas? Get in touch: makingthemedia@avid.com. Follow Avid at @avid.CreditsHosts:Craig Wilson and Ray ThompsonProduction team: Matt Diggs, Owen Lynch and Wim Van den BroeckThemeMusic: Greg “Stryke” Chin

A modern-day witch uses spells and magic to get men to fall in love with her, with deadly consequences.Becca didn't even need a piss jar to make me fall in love with hercontent warning at 05:23spoilers begin at 07:53ghostbeast.comcheck our Youtube and TikTok for video contentmusic provided by The F-usesupport us at ghostbeast.bigcartel.com and merchyeah.com/ghostbeastcontact us at podcast@ghostbeast.com

Ambition, Technicolor, fairy tales, how to be an artist in an unforgiving society, and terrible, terrible men. Let's talk about Powell and Pressburger's The Red Shoes.

En 1966, en la ciudad de São Paulo, los hermanos Dias Batista, Arnaldo y Sergio, se unieron a Rita Lee para formar el grupo Os Mutantes. En 1999, con la publicación del recopilatorio 'The best of Mutantes. Everything is possible', por el sello Luaka Bop de David Byrne, el mundo anglosajón (Beck, Kurt Cobain...) descubrió con asombro (y con retraso) la creatividad de aquellos brasileños psicodélicos. Les recordamos con grabaciones de los años sesenta y setenta de 'Ando meio desligado', 'Ave, Lucifer', 'Panis et circenses', 'Baby', 'Fuga nº II', 'A minha menina', 'Bat macumba', 'Technicolor', 'Le premier bonheur du jour', 'I feel a little spaced out', 'Vida de cachorro' y 'Balada do louco'. Y en el concierto que los volvió a reunir, hace veinte años, en el Barbican de Londres, pero sin Rita Lee -cantó con los hermanos Zelia Duncan- en 'Balada do louco', 'Fuga nº II' y 'Le premier bonheur du jour'. Escuchar audio

Nathan and Ryan dig into Alfred Hitchcock's most charmingly morbid film, The Trouble with Harry (1955), a dark comedy where a dead body keeps inconveniently turning up in the middle of a picturesque Vermont town. The hosts discuss Hitchcock's playful tone, the film's autumnal Technicolor beauty, and how its gentle humor stands in stark contrast to the director's more suspense-driven classics. Featuring an early performance from Shirley MacLaine and a score by Bernard Herrmann, this episode explores why The Trouble with Harry is one of Hitchcock's most underrated—and oddly comforting—films.

Joshua Noel and TJ Blackwell dive into the cosmic depths of "Absolute Martian Manhunter", Volume 1, where they explore the riveting narrative crafted by Deniz Camp and illustrated by Javier Rodríguez. Right off the bat, they tackle the heavy question of whether folks fear the Martian Manhunter more for his alien origins or because he mirrors humanity's own flaws. As they dissect the storyline, they highlight how this comic transcends typical superhero fare, delving into themes of identity, loneliness, and emotional chaos—especially in our hyper-connected world. With a casual vibe peppered with witty banter, the duo emphasizes the significance of reading in today's society, advocating for literacy and local libraries through their All Reading Counts initiative. Listeners can expect a blend of insightful commentary and light-hearted humor as they break down the artistic brilliance and profound implications of this unique take on the iconic character.The podcast dives deep into the psychological intricacies of the Martian Manhunter, a character often overshadowed in the broader DC Universe. Joshua and TJ kick things off with a thought-provoking question: are people really afraid of him because he's an alien, or does he mirror humanity's darker aspects? It's a profound inquiry that sets the stage for a rich discussion on the themes of alienation, identity, and the human condition, reflecting on how the Martian Manhunter's existence challenges our perceptions of what it means to be 'other.' As they unravel the narrative of "Absolute Martian Manhunter", penned by Denise Camp and illustrated by Javier Rodriguez, the duo highlights its unique take on the character, making it feel less like a superhero comic and more like a psychological thriller. They explore how the art style and color choices enhance the storytelling, emphasizing the emotional weight of the narrative. The episode is peppered with witty banter and personal anecdotes, especially as they reflect on their own experiences with reading and how literature shapes our understanding of complex themes. Overall, listeners are treated to a blend of humor and depth, making the discussion both entertaining and enlightening.The conversation shifts gears as Joshua and TJ discuss the importance of reading in today's world, particularly in combating the brain fog that comes with information overload. TJ highlights the benefits of reading for critical thinking, vocabulary enhancement, and overall mental clarity, while Joshua emphasizes its role in fostering deeper conversations and understanding among people. They both agree that comics, especially "Absolute Martian Manhunter", serve as an excellent medium for exploring complex themes like identity and alienation. The duo's chemistry shines as they joke about their reading habits and preferences, contrasting the struggle of keeping up with comic releases against the backdrop of contemporary societal issues. They touch upon how the emotional turmoil of the Martian Manhunter resonates with the current socio-political climate, where feelings of loneliness and isolation are rampant despite the connectivity of social media. It's a layered discussion that resonates with anyone grappling with the chaos of modern life.In the latter half of the episode, the focus narrows down to the character of Jon Jones and his transformation into the Martian Manhunter. The duo intricately discusses how the narrative portrays his struggles with identity and the overwhelming emotions he experiences. They analyze the psychological dimensions of the character, drawing parallels between Jon's journey and the broader experience of humanity in today's chaotic world. The White Martian serves as a compelling antagonist, embodying nihilism and the fear of being overwhelmed by emotions and societal expectations. As they dissect the themes of loneliness versus connection, Joshua and TJ cleverly intertwine humor with poignant observations about

In this episode of Houselights, we swing into the vibrant world of Michael Curtiz's 1938 classic, "The Adventures of Robin Hood." We explore how this film set the template for medieval adventures with its swashbuckling action and Technicolor brilliance. From Errol Flynn's iconic portrayal to the film's influence on future cinema, this discussion is a nostalgic journey through cinematic history. Join us as we unravel the layers of this timeless tale and its impact on the genre.

This episode is the all about the hallucinatory Technicolor, Japanese ghost story anthology film Kwaidan. We discuss the film's theatrical style, the enduring power of folklore and why you probably shouldn't marry strange women you meet in snowy woods.

In this episode we revisit three Technicolor melodramas made by British cinema's great auteur duo Michael Powell and Emeric Pressburger, bursting with vibrant emotions and sensuality that exercise a dangerous allure over their protagonists: Clive Candy, the upper-class colonialist twerp played by Roger Livesey in The Life and Death of Colonel Blimp (1943) who discovers the poetry in his soul thanks to the influence of three in-Kerr-nations of Deborah Kerr and the friendship of Anton Walbrook; Sister Clodagh (Kerr again) in Black Narcissus (1947), futilely pitting the Protestant work ethic against the infinite; and Victoria Page (Moira Shearer) in The Red Shoes (1948), torn between the demands of art and mere humanity. And in Fear and Moviegoing in Toronto, more Naruse: Flowing (1956), a study of a declining geisha house through the perspective of Kinuyo Tanaka's kindly but powerless servant, and The Stranger Within a Woman (1966), a film noir about being consumed by guilt while the world just wants you to move on.  Time Codes: 0h 00m 25s:    Brief Intro - Powell and Pressburger 0h 07m 11s:    THE LIFE AND DEATH OF COLONEL BLIMP (1943) [dir. Michael Powell & Emeric Pressburger] 0h 29m 14s:    BLACK NARCISSSUS (1947) [dir. Michael Powell & Emeric Pressburger] 0h 46m 41s:    THE RED SHOES (1948) [dir. Michael Powell & Emeric Pressburger] 1h 06m 35s:    Fear and Moviegoing in Toronto – Mikio Naruse's Flowing (1956) and The Stranger Within a Woman (1966) at TIFF Lightbox +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

This week, we discuss Billy Wilder's 1948 Technicolor musical comedy set in the picturesque mountains of turn of the century Austria, The Emperor Waltz.SPOILER ALERT We will be talking about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Paramount Pictures production. Released on June 17, 1948. Directed by Billy Wilder. Written by Charles Brackett and Wilder. Starring Bing Crosby and Joan Fontaine. Cinematography by George Barnes. Edited by Doane Harrison. Score by Victor Young.

Send us a textGeorge Feltenstein joins the podcast to announce four February releases from the Warner Archive and explain why each restoration matters, from pre-code thrills and early Technicolor to the first film noir. We also unveil another Hanna-Barbera release and outline three new Film collections, with a look ahead to a packed 2026. Warner Archive Store on AmazonSupport the podcast by shopping with our Amazon Affiliate linkDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook page The Extras TV YouTube ChannelThe Extras Twitter Warner Archive & Warner Bros Catalog Group Join our new public Facebook Group for Warner Archive Animation Fans and get the latest update on all the releases. As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

We continue our mini Zhang Yimou film festival with the tragic romance Ju Dou (菊豆). We chat about the characters and their place as archetypes and metaphors, the striking visuals, the claustrophobic setting, uncle/fathers, creepy kids, and patriarchy, man. Patriarchy.   I Love This You Should Too is hosted by Samantha and Indy Randhawa   Ju Dou is a 1990 romantic-drama film directed by Zhang Yimou and Yang Fengliang, starring Gong Li as the title character. The film, based on the novel Fuxi, Fuxi (伏羲伏羲) by Liu Heng, is a tragedy that revolves around Ju Dou, a beautiful young woman sold as a wife to Jinshan, an elderly cloth dyer. The film was produced using the vivid Technicolor process, long after it had been abandoned in the United States. It became the first Chinese film to be nominated for an Academy Award for Best Foreign Language Film. Upon its release, Ju Dou faced a ban in China, which was eventually lifted in July 1992.

⭐My Top 10 Color Film Noirs⭐

Der findes mange måder at forklare udlændinge, hvad Danmark er for et land. Man kan nævne velfærdsstaten, hygge og cykler. Eller man kan gøre det rigtige og afspille denne episode for dem, hvor dansk kultur kolliderer frontalt med Hollywood og efterlader et krater fyldt med Technicolor-eventyr, rumskrot og folkekomedie. Sonny leverer den officielle, statsautoriserede eksportvare med 'Hans Christian Andersen' (1952): en amerikansk musical, hvor Danny Kaye spiller en fiktiv, A.D.H.D.H.C. Andersen i et plastik-pænt "Kopenhaagen". Bliv ikke bange, hvis du oplever hyletoner eller hvinen i tænderne undervejs. Det er helt normalt. Ask tager den diametralt modsatte vej og finder Danmark nede i bunden af VHS-gitteret på Esso-tanken med 'Critters 4' (1992). Anders Hove dukker op i et træt rumlaboratorium, hvor små pelsede dræberkugler igen terroriserer et cast, der spiller som om deres agent har ghostet dem. Det er straight-to-video-space-spas på laveste blus, og et godt bud på "Danmark i Hollywood". Niels sørger for en delle-lun og sikker afslutning med den hjemlige Hollywood-rejse i 'Walter og Carlo i Amerika' (1989): Tynd spionsuppe, O.G. far-jokes og Tony Curtis på autopilot. Du får hele pakken og kan med ro i maven slumre hen i en lidt sløv, dansk 80'er-fis. Godnat. Samlet er denne aften en tour de VHS i dansk storhedsvanvid og mindreværd på én gang: Hollywoods høflige misforståelser af os og vores egne misforståelser af Hollywood. Det er rodet, nostalgisk, pinligt, virkelig sjovt… og på en eller anden måde også lidt rørende, fordi Danmark åbenbart altid insisterer på at være med i legen, selv når vi kommer for sent og har taget de forkerte sko på. I øvrigt, vil du støtte vores fortsatte, uansvarlige kulturformidling (og finansiere VHS-rens, chips og mental selvopretholdelse), så kig forbi Klub Moviebox på Patreon: https://www.patreon.com/moviebox. Og hvis du allerede støtter, så er du en af dem, der sørger for, at Danmark fortsat får den filmpodcast, det fortjener... Rigtig god fornøjelse og HUSK: Pas, penge og spol altid episoden tilbage, når du har lyttet færdigt! Med venlig hilsen,Ask, Sonny, Niels & Casper  

Happy holidays, costume nerds! For the Season Five finale of The Art of Costume Podcast, Spencer and Elizabeth wrap things up in classic Technicolor style with White Christmas (1954), featuring the legendary costumes of Edith Head.In this festive finale, our hosts dive into the cozy glamour of the film, celebrating the iconic duo of Bob and Phil, the sisters' show-stopping musical numbers, Bing Crosby's striking blue eyes, and the impeccable holiday style that defines this timeless classic. From shimmering gowns to military uniforms to what might be the best Santa costumes ever put on screen, this episode is a love letter to movie-musical magic.

Happy holidays, costume nerds! For the Season Five finale of The Art of Costume Podcast, Spencer and Elizabeth wrap things up in classic Technicolor style with White Christmas (1954), featuring the legendary costumes of Edith Head.In this festive finale, our hosts dive into the cozy glamour of the film, celebrating the iconic duo of Bob and Phil, the sisters' show-stopping musical numbers, Bing Crosby's striking blue eyes, and the impeccable holiday style that defines this timeless classic. From shimmering gowns to military uniforms to what might be the best Santa costumes ever put on screen, this episode is a love letter to movie-musical magic.

Episode 186 - Campbell's Kingdom (1957) "Rugged Wildcatters...Fighting The Treacherous Might Of The Canadian Rockies" Grab your parka and get ready for a trip to the Canadian Rockies, because 1957's Campbell's Kingdom is a gloriously old-school adventure that absolutely bursts with high-stakes drama and breathtaking scenery. If you're in the mood for a classic "ripping yarn," this is the film for you. It's a story of grit, oil, and one man's incredible race against time, all set against one of the most stunning backdrops ever captured on film. At the heart of the story is the wonderfully charismatic Dirk Bogarde as Bruce Campbell. Given a grim health diagnosis, Bruce inherits a patch of land in Alberta known as "Campbell's Kingdom." He's told it's worthless, but his grandfather died believing there was oil under that rocky soil. With nothing left to lose, Bruce sinks his last penny and every ounce of his failing strength into proving him right. This is where the fun really starts. The film is a fantastic story of the underdog. Bruce is a man with a dream, facing down a world of naysayers. This includes the slick, menacing villain Owen (played with wonderful steel by Stanley Baker) and a looming deadline from a hydro-electric company threatening to flood the entire valley. But Campbell's Kingdom isn't just a character drama; it's a grand spectacle! Director Ralph Thomas makes the Canadian Rockies a character in their own right. The Vistavision and Technicolor cinematography is simply spectacular, with sweeping vistas of snow-capped mountains, turquoise lakes, and rugged forests that will have you longing for the great outdoors. The action builds to a truly thrilling climax. As Bruce and his small, loyal crew drill desperately for their "black gold," the tension mounts. Will they strike it rich before the dam floods them out? Will Owen's schemes succeed? The final sequences are pure, high-adventure magic, delivering a payoff that is both exciting and deeply satisfying. Sure, it's a film of its time, with earnest heroes and clear-cut villains, but that's precisely its charm. Campbell's Kingdom is a wonderfully made, optimistic, and thrilling piece of classic British cinema. It's a feel-good movie about betting it all on a dream, and it leaves you with a real sense of exhilaration. This and previous episodes can be found everywhere you download your podcasts   Bonus content available at: patreon.com/ReelBritanniaPodcast   Follow us on Twitter @rbritanniapod    Thanks for listening Scott and Steven  

Boomer & Brandon discuss Powell & Pressburger's Technicolor opera The Tales of Hoffmann (1951) https://swampflix.com/ 00:00 Welcome 01:15 The Suspect (1944) 06:18 The King of Comedy (1982) 15:38 Marty Supreme (2025) 22:31 For Your Consideration (2006) 29:00 Abigail (2024) 37:12 Rabbit Trap (2025) 44:00 The Headless Woman (2008) 48:36 The Asphalt Jungle (1950) 52:24 America - Everything You've Ever Dreamed Of (1973) 56:51 Black Narcissus (1947) 59:50 The Tales of Hoffmann (1951)

Send us a textIn this episode Adam and Charlotte discuss the later years of Technicolor with their special guest, author Bob Hoffman. Bob wrote a book that focuses on the post-1950s era of Technicolor, after they had abandoned their film cameras and embraced film print manufacture. Bob's book Alchemy In Technicolor also examines Technicolor's forays into other countries and the downfall of physical prints. And of course, you cannot discuss Technicolor without discussing Natalie Kalmus, along with several other heroes of the company that aren't as well known.This is the third part to our larger Technicolor narrative, which includes episodes THE UNTOLD STORY OF TECHNICOLOR and NATALIE KALMUS: THE WOMAN THAT ALMOSST RUINED TECHNICOLOR.You can buy Alchemy In Technicolor here: https://moviealchemy.com/Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

Send us a textThe Warner Archive kicks off 2026 with a diverse lineup of 6 classic films, including a Clark Gable and Jean Harlow erotic pre-Code, a hard-hitting Robinson/Raft/Dietrich drama, a suspenseful Greenstreet-Lorre team up,  a highly anticipated noir with Charles Mcgraw, a Technicolor musical, another Mario Lanza classic, and more Hanna Barbera. PLUS two more film collections! George Feltenstein of the Warner Archive provides all the details behind the restoration and the included extras.Pre-order links:RED DUST (1932) Blu-rayTHE NARROW MARGIN (1952) Blu-rayTHE VERDICT (1946) Blu-rayMANPOWER (1941) Blu-rayBY THE LIGHT OF THE SILVERY MOON (1953) Blu-rayFOR THE FIRST TIME (1959) Blu-rayTHE NEW FRED AND BARNEY SHOW (1979)-The Complete Series Blu-rayJames Stewart 4 Film Collection Blu-rayRobert Taylor 4 Film Collection Blu-ray The Extras Facebook page The Extras TV YouTube ChannelThe Extras Twitter Warner Archive & Warner Bros Catalog Group Join our new public Facebook Group for Warner Archive Animation Fans and get the latest update on all the releases. As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

In this episode of The Art of Costume Podcast, our hosts follow the yellow brick road straight into the magical world of The Wizard of Oz. From the iconic ruby slippers to Adrian's remarkable legacy as a costume designer, they explore the artistry that brought this Technicolor wonder to life. Along the way, they unpack some surprising on-set costume drama and revisit Margaret Hamilton's unforgettable guest appearance on Mister Rogers' Neighborhood. There's no place like this episode for a deep dive into one of cinema's most beloved costume achievements.

In this episode of The Art of Costume Podcast, our hosts follow the yellow brick road straight into the magical world of The Wizard of Oz. From the iconic ruby slippers to Adrian's remarkable legacy as a costume designer, they explore the artistry that brought this Technicolor wonder to life. Along the way, they unpack some surprising on-set costume drama and revisit Margaret Hamilton's unforgettable guest appearance on Mister Rogers' Neighborhood. There's no place like this episode for a deep dive into one of cinema's most beloved costume achievements.

Ep. 362: Bruce Bennett on Charley Varrick, The American Revolution, Technicolor Weekend at Chicago Film Society, The Shootist Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm happy to welcome back series regular Bruce Bennett for our latest debrief. Among the films he brings to the show are longtime favorite Charley Varrick (directed by Don Siegel, subject of a retrospective most recently at Metrograph); The American Revolution (directed by Ken Burns, Sarah Botstein, and David Schmidt); and The Shootist (Siegel again, starring John Wayne in swan song mode). Bennett also talks about the wondrous annual Technicolor Weekend at Chicago Film Society. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In this episode, The 24 Frames Cast dives deep into one of cinema's most fascinating and overlooked revolutions: the rise of the 70mm blow-up. Beginning with Otto Preminger's The Cardinal in 1963—an ordinary 35mm film that stunned audiences when projected in 70mm—the episode explores how Panavision, Eastman Kodak, and Technicolor worked together to create a process so convincing that even seasoned projectionists mistook it for true 65mm photography.From the widescreen arms race of the 1950s to the golden era of roadshow presentations, we trace how exhibitors' demand for spectacle drove the development of blow-up technology. The episode examines the birth of Dolby 70mm six-track magnetic sound, the introduction of the famous “baby boom” bass channels, and how these innovations laid the foundation for the 5.1 and 7.1 systems we use in home cinemas today.The Movie Collector You Tube Channel:https://www.youtube.com/watch?v=KBss6hGjKeMIn 70mm Website:https://www.in70mm.comMusic: https://www.musicbed.com

"In the Process, I came to realize ... how nature in my own life had been such a healing force." - James Bonilla We wrap up season 11 with New York-born Puerto Rican writer and retired professor emeritus, James Bonilla. James's story is filled with transformation, healing, and wisdom. Born with congenital cataracts, at the age of nine, his right eye was injured in school by a fellow student's actions. For over ten years, James was blind. At the age of 19, doctors removed the cataracts (although the childhood injury remained). On his way home from the hospital, he remembers seeing the world in Technicolor through his own eyes. As a writer, James was comfortable writing about his identities as a Puerto Rican and a person with impaired sight. But it wasn't until he did the Process that he could accept his family's struggle with mental illness. He released patterns of shame that stemmed from his experiences of abandonment as a young child. In accepting his own mental illness, James found deeper healing of those issues through the power of nature. He realized that nature had been a constant source of healing throughout his life. Upon graduating, James felt called to share his experience healing mental illness with others. Because of his work at the Process, James emerged emboldened to share this experience in his new memoir, An Eye for An I. We hope you enjoy this inspiring conversation with James and Drew. We'll be back in early 2026 with season 12 of the Hoffman Podcast. Content Warning: This episode mentions suicide and includes intense emotional content and targeted racism. Please use your discretion. If you or someone you know is suicidal, reach out to The National Suicide Prevention Lifeline at 800-273-TALK (8255), or message the Crisis Text Line at 741741. More about James Bonilla James Francisco Bonilla is a New York-born Puerto Rican writer and retired professor emeritus of cultural competence and leadership at Hamline University in St. Paul, MN. James was born with congenital cataracts and has never had sight in his left eye. Following a racially-motivated assault at age nine, he lost much of his remaining sight in the right eye. Ten years later, a medical breakthrough restored sight to his right eye. Seeking relief and inspiration, he found unexpected solace in the natural world. This discovery led him toward both personal healing and advocacy work. Due to his experiences, James was drawn into the early disability rights movement and community organizing. This helped shape his work as a nationally recognized social justice educator and environmentalist. James received his doctoral degree from the University of Massachusetts, Amherst, School of Education in Organizational Leadership. He is a former Chair of the Faculty Advisory Committee to the National Conference on Racial & Ethnic Diversity in American Higher Education. He has made hundreds of presentations to universities, conferences, and human service organizations in the area of diversity, including outdoor education and environmental programs. His memoir, An Eye for An I: Growing Up With Blindness, Bigotry, and Family Mental Illness, was just released by the University of Minnesota Press. In it, he invites readers to empathize and consider their own potential to be of service in a broken, yet beautiful world. Read more about James' memoir on Hamline University's site. Follow James on Facebook and LinkedIn. Learn more about James here. Listen on Apple Podcasts As mentioned in this episode: Nuyorican: "The Nuyorican movement is a cultural and intellectual movement involving poets, writers, musicians, and artists who are Puerto Rican or of Puerto Rican descent, who live in or near New York City, and either call themselves or are known as Nuyoricans." Read more... Congenital Cataracts New York Association for the Blind Lisa Wenger, Hoffman teacher and coach •   Listen to Lisa on the Hoffman Podcast - The Sparkle in Her ...

After a blistering noir and a searing portrait of alcoholism, Billy Wilder's next film was . . . a Technicolor musical comedy starring Bing Crosby! Why did he make “The Emperor Waltz”? We're just as puzzled as you are. We're upping our Patreon in a major way for Season 2, so be sure to join today! Patreon.com/TheFilmographersPodcast Social media Instagram @thefilmographers Bluesky @thefilmographers.bsky.social Letterboxd @filmographers YouTube @TheFilmographersPodcast Website https://filmographerspodcast.com/ Credits Keir Graff & Michael Moreci, hosts Kevin Lau, producer Gompson, theme music Cosmo Graff, graphic design

To celebrate the release of Wicked: For Good, we're off to see the wizard, the 200th episode of this podcast.The Wizard of Oz is still as relevant, vibrant and perfect as ever. It was a beloved children's book, that manifested into a cultural cinematic icon. And despite the colours, the textures, the joyous wonder of the wonderful world of Oz, there's such a darkness to the story. The state-of-the-art, beautiful Technicolor world belies the pain, abuse, injuries and illnesses on set. Whoever said "art is pain" did might have been talking about the making of one of Hollywood's outstanding masterpieces. While memories may have been tarnished over the years, and accounts vastly differ of the experience and treatment, that didn't stop many from believing the set of The Wizard of Oz was cursed.MGM took a huge risk making The Wizard of Oz. It would take 20 years to make a profit, but it would become one of the first 25 films to be included in the National Film Registry. It became a yearly family tradition through the advent of TV, then VHS, DVD and Blu-ray to become the most seen and most influential movie of all time.The Wizard of Oz remains a timeless classic, with one of the most fascinating histories and legacies to ever be included on Verbal Diorama.For more on the theft and eventual recovery of the ruby slippers, listen to the No Place Like Home PodcastThis episode was originally published on: 16th March 2023Mentioned in this episode:From the ArchiveThere's no new episode this week, so I thought you might be interested in revisiting this slightly older, but no less brilliant episode. Just bear in mind, this episode is several years old, it may not sound quite as polished as newer episodes, and new information may have come to light in recent years with regards to the making of this movie (please see above for the original date of release) Please enjoy this time capsule of an episode. Thanks for listening!This podcast uses the following third-party services for analysis: Podscribe - https://podscribe.com/privacyOP3 - https://op3.dev/privacy

Most of us learned the Lord's Prayer before we understood what it was doing. It became a ritual, something recited rather than lived.  But when Jesus' words are returned to their original world - the Jewish people under Roman rule, the long ache for redemption, the hope of a coming kingdom - the prayer opens up in ways most modern readers have never seen. It becomes less a mantra and more a mission. In this conversation with Brad Gray and Brad Nelson of Walking the Text, we explore why context is not a luxury but a lifeline.  Jesus wasn't offering a poetic devotional. He was giving His disciples a framework for partnering with God, joining the story that began in the Exodus, and learning to embody the kingdom He announced.  Every line reaches back to Israel's history and forward to God's future, shaping a people who would carry His reign into the world. From the clash of kingdoms under Rome, to the Jewish practice of communal prayer, to the way the early disciples finally recognized the kingdom at Shavuot, this episode invites us to see the prayer not as ancient words but as a daily blueprint.  This is what it means to bring heaven here - to live as a people formed by the Father, trusting His provision, forgiving like He forgives, and resisting the powers that distort His world. Key Takeaways Context is not extra; it's everything. Jesus assumed His listeners knew the Jewish, historical, and literary world behind His words. The Lord's Prayer sits at the “center of the center” of the Sermon on the Mount - Matthew's way of spotlighting Jesus' mission. Every phrase echoes the Exodus story and frames Jesus as the new Moses leading a new Exodus. “Daily bread” held layers: Israel's wilderness manna, Rome's grain system, and the hope of Messiah's provision. Ancient Jewish prayer was communal, formational, and participatory - not merely expressive. Jesus' kingdom message is not about escaping earth but joining God's work of renewing it. Salvation isn't the finish line; it's the starting point for disciples who bring God's reign into the world. Chapter Markers  00:00 — Why Context Changes Everything  01:20 — What the Biblical Writers Assumed We Knew  04:20 — Discovering the Bible in “Technicolor”  06:15 — When the Lord's Prayer Becomes Personal  09:00 — The Prayer's Literary Center and the New Exodus  10:20 — Rome, Herod, and the Clash of Kingdoms  14:45 — Why the Disciples Needed to Be Taught to Pray  18:40 — What Jesus Is Really Forming Through This Prayer  21:00 — Kingdom, Salvation, and the Mission of Disciples  26:30 — The Phrase That Transformed Everything  29:00 — Why “For Thine Is the Kingdom…” Isn't Original  31:50 — The Film, the Book, and the Global Project  38:00 — The Vision Behind Bringing Heaven Here Explore more resources, teachings, and Israel study opportunities at https://thejewishroad.com. To connect with Brad Gray and Brad Nelson, and to find the film The Lord's Prayer and the book Bringing Heaven Here, visit https://thelordsprayer.com - your one-stop hub for the film, book, and upcoming series.

Calendars are for quitters. HORTOBERFEST continues with a trip down the aisles of your local defunct video store. The one where The Good Guys watch ⁠⁠⁠V/H/S '94.-The Good Guys:  Regan, Rob, and Ryan -Producer:  Eric 'e0n' Chung  -Engineers:  Regan & Eric  -Social Media Strategist:  E  -Background Music and FX courtesy of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Karl Casey @ White Bat Audio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  - -Good Soup -Be Kind -Rewind -⁠ -⁠⁠ -Featured background music playlist:  Ad Infinitum, Data, Mantra, Symbolic, Vintage, and Arcadia  by  White Bat Audio  -Background music for POP Quiz and Trailer is Technicolor by  White Bat Audio  - Theme music is Battle (Boss) by BoxCat Games and is licensed under CC BY 3.0  - Additional music is Against the Wall by BoxCat Games and is licensed under CC BY 3.0  -

On today's episode, Pete and Jacob limp out of the international break with bruised mouths, bruised lineups, and bruised optimism ahead of a monster North London Derby. We get into:

Visual effects veteran Dennis Berardi joins the podcast to discuss the resurrection of his legendary studio, Mr. X, and his latest collaboration with Guillermo del Toro on Frankenstein. Dennis shares the technical and artistic challenges behind the film, detailing how his team blended massive physical builds with digital artistry to create the film's "invisible" effects. From creating expansive Arctic icescapes in a Toronto parking lot to blowing up 20-foot "bigature" miniatures for the climactic tower sequence, Dennis explains how they achieved an operatic scale while maintaining the emotional intimacy of Del Toro's father-son narrative. The conversation also navigates the complex business of visual effects, as Dennis recounts the dramatic story of selling Mr. X to Technicolor and his subsequent fight to reclaim the brand and IP after the parent company's collapse. He outlines his philosophy for rebuilding Mr. X as a boutique, filmmaker-focused studio that values artistry over volume. Finally, Dennis, Chris, and Daniel speculate on the future of the industry, discussing the impact of AI, the fracturing of the VFX market, and why relationship-driven, smaller shops may be the key to sustainable high-end filmmaking. Mr. X Website > Dennis Berardi bio > Dennis Berardi on IMDB > Frankenstein on Netflix > The Empty Man Trailer >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)  

Hi, friends! Happy Wednesday! You've seen The Wizard of Oz... the ruby slippers, the Yellow Brick Road, the flying monkeys… But you've also heard rumblings of some dark rumors, haven't you? Well, behind all that glitter and Technicolor magic was a nightmare of toxic makeup, real fires, starvation diets, terror in Munchkinland and a studio system that nearly killed a teenage Judy Garland. In today's episode of Dark History, let's follow the (bloodsoaked?) yellow brick road backstage to uncover the shocking truth behind one of Hollywood's most iconic movies. From the Tin Man's near-death experience to the Witch catching fire on set (literally), to asbestos snow and all sorts of horrible abuse — this is the wicked story of The Wizard of Oz that MGM never wanted you to hear. ________ FOLLOW ME AROUND Tik Tok: https://bit.ly/3e3jL9v Instagram: http://bit.ly/2nbO4PR Facebook: http://bit.ly/2mdZtK6 Twitter: http://bit.ly/2yT4BLV Pinterest: http://bit.ly/2mVpXnY Youtube: http://bit.ly/1HGw3Og Goodreads: http://bit.ly/3IVnO7N Snapchat: https://bit.ly/3cC0V9d Discord: https://discord.gg/BaileySarian RECOMMEND A STORY HERE: cases4bailey@gmail.com Business Related Emails: bailey@underscoretalent.com Business Related Mail: Bailey Sarian 4400 W. Riverside Dr., Ste 110-300 Burbank, CA 91505 ________ This podcast is Executive Produced by: Bailey Sarian and Joey Scavuzzo Head Writer: Allyson Philobos Senior Writer: Katie Burris Research provided by: Xander Elmore Director: Brian Jaggers Additional Editing: Julien Perez and Maria Norris  Hair: Angel Gonzalez Makeup: Nikki la Rose ________ Get started today at StitchFix.com/darkhistory to get $20 off your first order—and they'll waive your styling fee. That's StitchFix.com/darkhistory The best way to cook just got better. Go to HelloFresh.com/DARKHISTORY10FM now to Get 10 Free Meals + a Free breakfast for Life! One per box with active subscription. Free meals applied as discount on first box, new subscribers only, varies by plan. That's HelloFresh.com/DARKHISTORY10FM to Get 10 Free Meals + free breakfast for Life. Shop my favorite pajamas at SKIMS.com. After you place your order, be sure to let them know we sent you! Select "podcast" in the survey and be sure to select our show in the dropdown menu that follows And if you're looking for the perfect gifts for everyone on your list - the SKIMS Holiday Shop is now open at SKIMS.com. Check out squarespace.com/DARKHISTORY for a free trial, and when you're ready to launch, use OFFER CODE: DARKHISTORY to save 10% off your first purchase of a website or domain.

Would that it twere so simple to lasso that lazy ol' moon! This week, we're chatting about all the studio shenanigans in Hail, Caesar! with our pal Shirley Li. Speaking of Shirley, we all knew she was skilled at getting David “The Dog” Sims off the leash, but did you know that she also attended researcher JJ's wedding?! Lore drop! Join us as we unpack the careers of Channing Tatum and Alden Ehrenreich, gush over the gorgeous near-Technicolor cinematography, and celebrate the love of da moviesh that comes through so clearly in this film. Read Shirley's work 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

Class One of The Art of Influence opens with The Wizard of Oz—how Production Designer Cedric Gibbons and Set Decorator Edwin B. Willis built Oz from the ground up. I unpack the sepia-to-color switch, Munchkinland's circular plan, the Yellow Brick Road as a story spine, Emerald City's Art Deco vocabulary, the Wizard's forced-perspective corridor, and why the sets still feel alive today. This episode is free; the full masterclass—covering MGM's greatest builds and their ripple effect on modern film and TV—is available on my site.Keywords: Wizard of Oz, production design, set decoration, Cedric Gibbons, Edwin B. Willis, MGM, Technicolor, Emerald City, Yellow Brick Road, Munchkinland, classic Hollywood, film design, set decorator, art direction, film history, visual storytelling.

Send us a textI just got back from my hometown, and I have so much to tell you! Let's take a walk down memory lane, talk about living our lives in color, and what is this beautiful journey called life all about anyway?"Where there is love there if life."~Mahatama GhandiSHOW NOTES:Join Life and Wellness Coach, Kira Mesi as she navigates the ups and downs of life through personal experience, storytelling, and interviews. Learn to lean into your best self with the mindful practice of gratitude living, honoring your soul's purpose, and the joy of Finding Rainbows on an ordinary day.  (and she's a singer, too....so get ready to spontaneously break out in song, sometimes :)"Dive into the ordinary looking for the extraordinary because life is hard, but if you look close enough, you will find the Rainbows." ~KGRAB A RAINBOWS MUG AND SUPPORT THE PODCAST:Finding Rainbows The Podcast (finding-rainbows-the-podcast.myshopify.com)FOLLOW ME FOR MORE INSPIRATION:@FindingRainbows | LinktreeSupport the show

Alex praises the recent Sierra Nevada Pils releases in 8.4 oz cans! But does he really believe what he says or is this another #nostrilgate? Then Alex and Stephen try some NA beverages and a new contender challenges St. Agrestis for the throne. They try their first NA wine and revisit a NA beer favorite then throw all four drinks through the Power Rankings treatment.  To get involved with the  "Life" International Barleywine Collab, click the link for info about the recipe, BSG discount, and links to help raise awareness of colon cancer.  If you'd like to make a direct donation to help support Alex, head over to his GoFundMe.  For more info about colon cancer and to help support the fight against it check out the Colon Cancer Foundation.  Head to our Patreon for weekly exclusive content. Get the Malt Couture Officially Licensed T-shirt. Follow DontDrinkBeer on Instagram and Twitter.