Podcasts about There Will Be Blood

The Graduate, Trainspotting, Jaws, Star Wars, Citizen Kane – films you can't picture without thinking of the music. Mark Kermode has been gripped by the marriage of movie and soundtrack since Dougal and the Blue Cat (aged 6) and, with Jenny Nelson, has just published ‘Surround Sound: the Stories of Movie Music'. We talk to him here about… … Scorsese, Cameron Crowe, Sofia Coppola, Edgar Wright: the new generation “who grew up with a headful of not just music, but records” … how John Williams is “the last Whistle Test composer”: two bars of ET, Jaws or Star Wars and you instantly know the film … how “silent cinema was never silent” and his band the Dodge Brothers playing live soundtracks … Butch Cassidy, Easy Rider, Blackboard Jungle … pioneers of the music video … the genius of American Graffiti: “Lucas wanted it so marinated in music the town would sound like a pickle jar” … how scores are recorded and edited and what happens when a director tells an orchestra he's changed his mind … “by the time each Lord of the Rings soundtrack reached New Zealand, Peter Jackson had re-cut the film” … Forbidden Planet in 1956, the days when electronic scores weren't real music … Martha Reeves, Jonathan Richman and the Jon Spencer Blues Explosion in Edgar Wright's Baby Driver … Tarantino's kitsch use of “his own scratchy vinyl” and why Jonny Greenwood‘s There Will Be Blood is unique and exceptional … plus the “atonal squonking” of the Exorcist and the greatest soundtrack of all time. Order ‘Surround Sound: the Stories of Movie Music' here: https://www.waterstones.com/book/mark-kermodes-surround-sound/mark-kermode/9781447230564Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

You may know Crispin Hellion Glover as an eccentric character actor from classics films like Back to the Future, River's Edge, and, of course, Friday the 13th: The Final Chapter. But he's also a committed independent filmmaker.Earlier this month, he attended the press screening for his latest movie, No! You're Wrong. Or: Spooky Action at a Distance at Chicago's Music Box Theatre--where he also performed a half-hour historical slideshow about the art and science of rat-catching for a handful of assembled press. After the show, Ian sat down with the writer/director/star for a wide-ranging interview about his refusal to make his films available digitally; his relationship with David Lynch; the history of Surrealism; artificial intelligence in the Arts, and much more.As for the movie at hand, it would require several hours and a couple of re-watches to accurately describe (and probably not even then). The best Ian can muster is, "It's like There Will Be Blood meets Cloud Atlas, set in the Land of Make-Believe".Chicagoans! See below to learn how you can experience this one-of-a-kind evening with the man himself this very week!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXLetterboxdInstagramFacebookShow LinksWatch the No! You're Wrong. Or: Spooky Action at a Distance trailer.Crispin Hellion Glover returns to the Music Box this week for two unbelievable nights of movies!On Wednesday, October 22, he'll be on hand for a screening of a film he recently starred in, Mr. K. On Thursday the 23rd, he'll present his latest slideshow, followed by a screening of No! You're Wrong. Or: Spooky Action at a Distance.He'll stick around for an hour-long Q&A and book signing--with a promise that he won't leave until the last book is signed!For tickets and more info, check out the Music Box Theatre's website:Mr. KNo! You're Wrong. Or: Spooky Action at a DistanceTo learn when Crispin will present his slideshow and screening in a city near you, visit his website.

The Graduate, Trainspotting, Jaws, Star Wars, Citizen Kane – films you can't picture without thinking of the music. Mark Kermode has been gripped by the marriage of movie and soundtrack since Dougal and the Blue Cat (aged 6) and, with Jenny Nelson, has just published ‘Surround Sound: the Stories of Movie Music'. We talk to him here about… … Scorsese, Cameron Crowe, Sofia Coppola, Edgar Wright: the new generation “who grew up with a headful of not just music, but records” … how John Williams is “the last Whistle Test composer”: two bars of ET, Jaws or Star Wars and you instantly know the film … how “silent cinema was never silent” and his band the Dodge Brothers playing live soundtracks … Butch Cassidy, Easy Rider, Blackboard Jungle … pioneers of the music video … the genius of American Graffiti: “Lucas wanted it so marinated in music the town would sound like a pickle jar” … how scores are recorded and edited and what happens when a director tells an orchestra he's changed his mind … “by the time each Lord of the Rings soundtrack reached New Zealand, Peter Jackson had re-cut the film” … Forbidden Planet in 1956, the days when electronic scores weren't real music … Martha Reeves, Jonathan Richman and the Jon Spencer Blues Explosion in Edgar Wright's Baby Driver … Tarantino's kitsch use of “his own scratchy vinyl” and why Jonny Greenwood‘s There Will Be Blood is unique and exceptional … plus the “atonal squonking” of the Exorcist and the greatest soundtrack of all time. Order ‘Surround Sound: the Stories of Movie Music' here: https://www.waterstones.com/book/mark-kermodes-surround-sound/mark-kermode/9781447230564Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Graduate, Trainspotting, Jaws, Star Wars, Citizen Kane – films you can't picture without thinking of the music. Mark Kermode has been gripped by the marriage of movie and soundtrack since Dougal and the Blue Cat (aged 6) and, with Jenny Nelson, has just published ‘Surround Sound: the Stories of Movie Music'. We talk to him here about… … Scorsese, Cameron Crowe, Sofia Coppola, Edgar Wright: the new generation “who grew up with a headful of not just music, but records” … how John Williams is “the last Whistle Test composer”: two bars of ET, Jaws or Star Wars and you instantly know the film … how “silent cinema was never silent” and his band the Dodge Brothers playing live soundtracks … Butch Cassidy, Easy Rider, Blackboard Jungle … pioneers of the music video … the genius of American Graffiti: “Lucas wanted it so marinated in music the town would sound like a pickle jar” … how scores are recorded and edited and what happens when a director tells an orchestra he's changed his mind … “by the time each Lord of the Rings soundtrack reached New Zealand, Peter Jackson had re-cut the film” … Forbidden Planet in 1956, the days when electronic scores weren't real music … Martha Reeves, Jonathan Richman and the Jon Spencer Blues Explosion in Edgar Wright's Baby Driver … Tarantino's kitsch use of “his own scratchy vinyl” and why Jonny Greenwood‘s There Will Be Blood is unique and exceptional … plus the “atonal squonking” of the Exorcist and the greatest soundtrack of all time. Order ‘Surround Sound: the Stories of Movie Music' here: https://www.waterstones.com/book/mark-kermodes-surround-sound/mark-kermode/9781447230564Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Alyssa Rosenberg, Sunny Bunch and Peter Suderman, the three panelists of the outstanding film podcast Across the Movie Aisle. I really enjoy the show and have been a longtime fan of their individual work.I think that they're a group with genuinely diverse opinions but who have a lot of love for cinema and as a result have some of the most deeply interesting conversations about the art form of any show I listen to. The show just split off from The Bulwark's network and is striking it out independently. Do check them out!This interview has been condensed and edited. Hey, Across the Movie Aisle. Thank you so much for coming on Numlock. I really appreciate it.Absolutely.Thank you for having us.Yes, this is the first three-on-one conversation that I've ever done here, so we're gonna have to juggle a bit. Either way, I am just such a fan of the show. I really, really enjoyed it, subscribed to the Bulwark for it when I heard that you guys were going independent. I was really excited to see what was motivating that, what opportunities you were seeing out there. It's just such a really fun program, and I think it's so unique in the space.Before we get into talking about the movies, do you wanna talk a little bit about where this show came from, where it started, then what you would say your perspective on the film industry is?Sonny: Sure.Alyssa: Who wants to tell the story?Sonny: The origin of the show was back in 2019. I started working for an independent film studio that's based in Dallas, where I live now. I moved here for the job. The pitch was, “it's like Fangoria,” but for action movies and thrillers and heist movies, that sort of thing. And one of the things I wanted to do when we came over was a little podcast network. We were gonna have some shows, some storytelling things, et cetera. And one of the things I had wanted to do for a while (and hadn't really had an outlet for) was a show I had envisioned as like Crossfire or McLaughlin Group or something like that, but by way of movies.So Across the Movie Aisle — I've always shorthanded it as Siskel and Ebert meets Left Right Center. And the idea here is that I am a conservative. I don't know how other people would describe me, but I still think of myself as a center-right person. Alyssa is the center-left person.Peter: Would you even say that you are a neoconservative?Sonny: Well, I'm a neoconservative with libertarian tendencies, which is a funny thing.Peter: “You work at the Weekly Standard,” is a good way to think about your politics? And they basically haven't changed since you worked at The Weekly Standard. Is that fair? That's the long and the short of it.Sonny: Then Peter is whatever Peter is. I'll let him define himself. But the idea here was you have three people with differing political views talking about movies and other stories about movies. The show has two segments. The first is called Controversies and Nontroversies. The second is a review. And the Controversies and Nontroversies segment was initially thought of as we tackle some dumb internet outrage of the day and decide if it's really worth being mad about.And that evolved into something slightly different, right? Right, guys? I feel like it's now more about the business of Hollywood.Alyssa: Yes, exactly. But I think it's worth noting that our story actually starts way before 2019. The three of us were all critics in some respect or other. I was over at ThinkProgress running their culture and sports verticals. Sonny, were you at the Weekly Standard when we started or were you at the Free Beacon then?Sonny: I think I was at the Washington Free Beacon when we met. So it must've been 2012 or 13.Alyssa: The three of us were going to screenings every week and somehow just gravitated towards each other. We would sit together. We were the people who were hanging out and hashing things out together after the screening ended. When I moved to the Washington Post, I ended up bringing Sonny over as a contributor to the blog that I was working on there. They were invited to my wedding. We were authentically contentiously friends years before we started the podcast.I think that's been a little bit of the special sauce for us, right? We are capable of having conversations that are somewhat harder to have elsewhere because (even before we started working together) there were five, six years of trust built up in in-person conversations and discussions over beers at the really terrible bar near the former AMC in Friendship Heights. Nobody is here on this podcast to blow each other up. But it's also not like “We're friends for the camera!”I think the show has always been like both a reflection of our dynamic. It's also the way that we hang out every week, even though Sonny lives in Dallas, and Peter lives in Boston some of the time. So for me, it's like my night out.I mean, as a listener, I really find the appeal to be exactly that. I think that having different perspectives on something as universal as film makes the show super compelling to listen to, even if I don't always necessarily agree with the perspective on it. What makes movies just so good to view from multiple different angles? There are lowercase “c” conservative films, there are lowercase “l” liberal films, that stuff. How do you guys find approaching the current state of the film industry from these different points of view?Peter: Alyssa talked about how our story goes back even before 2019, when the podcast started. And just for people who may not be familiar with the dynamic of Washington that all of us came up in in our 20s, Alyssa was working for ThinkProgress, which was the journalism arm of the Center for American Progress, which is this leading democratic or democratic affiliated think tank. Sonny was working for the Weekly Standard and then for the Washington Free Beacon, these feisty, conservative journalistic outlets.I actually started writing movie reviews for National Review for a couple of years. When I moved over full-time to Reason Magazine, which is where I've been for more than 15 years now, and also to the Washington Times, which is someplace that both Sonny and I wrote for. It's a conservative-leaning paper that has undergone many transformations. If you live in Washington, your social circle and your conversations and your life are so frequently segmented by politics.What we liked about being friends with each other and seeing movies with each other was that we saw that it didn't have to be the case. Movies and art and pop culture, even disagreements about them, were ways that we could come together and maybe not even agree, but like learn about each other. We're really good friends, but we also like each other's minds. This is something that is really important and drew us all together. I have learned a lot about movies from Sonny. I have learned about culture from Alyssa. I don't know if they've learned anything from me. Maybe they've been annoyed about how I'm fine with A.I.Having those perspectives, it's not just that it's like, “Oh, that's nice that you're a little different.” This is a learning opportunity for all of us. It also makes the act of watching movies together much richer. When you're watching the movie, if you're watching it next to Alyssa, I know what she's thinking. Maybe not what I'm thinking, but it's like having another set of eyes. If you're a critic, if you're somebody who likes movies, if you are somebody who likes movies for the social aspect of them, seeing them with somebody else and talking about them afterwards just makes it so much more enjoyable. The fact that we then get to have that conversation in public for an audience that seems to enjoy this is really rewarding.Alyssa: I have a very hard time with certain kinds of violence in movies. But I can sit in a theater with Peter, and he can tell me when I need to cover my eyes, but also when I'm gonna be okay when it's over. And he's always right, right? And that's the thing that we get.Peter: But also when we see the Taylor Swift movie, I show up, and Alyssa has friendship bracelets for us. Everybody's bringing something to the party here.Alyssa: Peter, you joked about whether or not we've gotten anything from you. And I actually think that in some ways, I'm the one of us whose politics and aesthetics have changed most as a result of doing the show with both of you. I came up in an era of lefty cultural criticism when there were real incentives for tearing things apart. And I think I, in some ways early in my career, helped advance a fairly doctrinaire vision of what political conversations about art should be. And I have some regrets about some of the things that I wrote and some non-regrets too. I did a lot of work at that point in my career that I liked a lot.But one of the things I've come to believe in my conversation with these guys is that art is at its most politically powerful not when it affirms an agenda or a worldview that is defined by a political movement, but it is at its most powerful and interesting when it creates space for conversations that are not possible in conventional political formats and political venues. I think the unpredictability of movies and the inability to shove movies neatly into a partisan schema is where their power comes from.It is not in being subordinate to an agenda, but in opening the space for new possibilities. And I think that having a space to come to that conclusion made me a better critic and a better person. Maybe less employable as someone who writes about this stuff full-time in a predictable way. But I really enjoy seeing the world through the lenses that Peter and Sonny helped me apply to all of this.Peter: And just to underline that really quickly, a little bit more. One of the things that brings all of us together is that we are all three people who moved to Washington to work in political journalism, to work in discourse about politics. We have very strongly held beliefs. At the same time, I think all three of us come to movies, to art and to culture thinking, “You know what, you can make good art. You can make a great movie that maybe I find doesn't in any way align with my beliefs, right?” It has nothing to do with my political world or is even critical of my political worldview, but it's still a great movie.And this is a thing that you see very rarely in Washington and political discussions of art and film, but also in criticism. You have so much criticism that is out there, especially in the movie criticism world, that is just straightforwardly, politically determined. I don't think that that is the best way to approach art and to live a life that is about art because. Of course, it engages with politics. And of course you have to talk about that. And of course, you have to deal with that, but it's not just politics. If what you want from a movie is for it to be an op-ed, then what you want isn't a movie, it's an op-ed.I think that's really interesting. And actually, let's dive into that real quick. We'll go around the horn, perhaps. Peter, you brought it up. What is an example of a film or a piece of media that maybe either subverts or goes upstream compared to your personal politics that you nevertheless enjoyed? Or you, nevertheless, in spite of where you were coming from on that, really tended to like?Peter: So we all had mixed reactions to Paul Anderson's, P.T. Anderson's One Battle After Another, which is quite a political film, just came out. All of us thought that on a micro level, scene by scene, as a piece of filmmaking, it's genius. But on a macro level, its big ideas are kind of a mess. I go back to another Paul Anderson film from the aughts, There Will Be Blood, which is fairly critical of capitalism and of the capitalist tendencies that are deeply rooted in America. And it's not just a polemic, just an op-ed. It's not something that you can sum up in a tweet. It is quite a complex film in so many ways. And I'm a capitalist. I am a libertarian. I am a markets guy. And it is, I love that movie.Sonny and I frequently have arguments over whether There Will Be Blood is the first or second best movie of the last 25 years or so. Sonny thinks it's maybe the best. I think it's the second best. This is a movie that I think offers a deep critique of my ideology and my political worldview. But it is so profound on an artistic character narrative, just deep engagement level. I could talk about it for a long time. It's a movie I really love that doesn't support what I believe about politics in the world.Yeah, Sonny, how about you?Sonny: Bernardo Bertolucci's The Last Emperor is commie agitprop, but it's also very good. It's one of those movies where the lesson of the movie is literally “The elite overclass needs to be taught how to pee correctly in a bucket, so as not to annoy the normals.” But it's a beautiful movie, including the bucket. You don't have to agree with a film's politics to recognize that it is a great movie. It certainly doesn't hurt. I flipped through my rankings, and a lot of it does line up.But another one is JFK. Oliver Stone's JFK is a movie that is nonsense as history. If you look at it as a history text, you are reading the film wrong. What it excels at and the way that it is great is that it's the absolute perfect distillation of sitting next to an insane conspiracy theorist and hearing them ramble. The way that Oliver Stone edits together all of these disparate ideas — the way he edits is like hearing a conspiracy theorist talk.The way a conspiracy theorist talks is that they overwhelm you with information. They will just throw out random things and be like, “And this is connected to this, and this is connected to this.” And you are not able to actually judge these things because you have no idea really what they're talking about. You're not steeped in this stuff like they are, but it all sounds right. And all of a sudden, yeah, I believe that the military industrial complex murdered JFK at the behest of a fascist homosexual conspiracy, which is just another amusing little element to JFK by Oliver Stone.Those would be two examples, I would say.I love that. Alyssa, how about you?Alyssa: I would say Dirty Harry. I did a huge project about 10 years ago on depictions of the police in pop culture. And the ways in which law enforcement, as an industry, has actually really shaped their depictions on film. And look, I don't think the police always get everything right. And I think that shooting people is not a viable solution to a crime, especially without a trial. But God damn, does Clint Eastwood make like a sweater and a blazer and a real big gun look awesome, right?Sonny: Those are things that look awesome. Of course, they look awesome on Clint Eastwood.Alyssa: Of course, they look awesome, but they look especially awesome on Clint Eastwood. And they look even more awesome when he's shooting a crazed hippie who has commandeered a busSonny: Full of children.Alyssa: Yes, a bus full of children. The evil hippie deserves to get shot, and Clint Eastwood is the man to set things right. The thing about aesthetics is that they can get you to set aside your politics momentarily in a theoretical way. But I also think that good movies can get you access to spaces and mindsets that you might not have access to otherwise.When you asked that question, the movie that I immediately thought of, not necessarily of challenging my politics, but like bringing me a place I can't go, is Alex Garland's Warfare from earlier this year. It is one of the best movies I've seen this year. And also a movie about (both as a social and cultural environment) an all-male combat unit in the US military and a situation (the war in Iraq) that I have no access to. I cannot go there. My being in the space would fundamentally transform the space. And that opening sequence with this platoon watching this music video in a weird, sexualized group bonding ritual, I just found fascinating and oddly touching in a way that I think is interesting to watch, especially if you're steeped in left-leaning critiques of traditional masculinity in all-male spaces.And I found that movie, despite how harrowing it was, kind of beautiful and tender to watch in a way. And I just felt very grateful for it.Awesome. Yeah, again, I really appreciate how much thought goes into viewing not only movies as cultural entities, but also their space in politics, but also how the culture can overwhelm that. I really think that you guys have such fun takes on this. I wanna back out a little bit and talk a little bit about this year and this moment. I think one thing I really enjoy about your show is that it's obvious how much you guys really enjoy going to the movies, enjoy consuming this stuff. I know that there's a lot of fairly understandable doom and gloom sometimes around the movie industry, around the exhibition industry. A lot of that, I think, comes from some of the more industry side of things and infects the viewing public's view.I'll just throw it to you. What is a trend or something going on these days within movies or Hollywood that you actually think is a good thing, that you're actually enjoying? Or a transitional moment that you think could be fun? I guess, Sunny, I'll start off with you. I don't know.Sonny: That's a hard question to answer because everything is bad right now.Alyssa: To be clear, this is Sonny's default position about all eras and all things. All things.Peter: He's a cheerful man.Sonny: All things, really. No, everything is bad. But if I were looking at a few green shoots, I like the rise of the draft house style theater, a combination of dining, bar, movie space. I know some people have issues with the waiters scurrying back and forth. And it's not my real cup of tea either, but that's all right. You mentioned this question right before we started taping. I was trying to sketch something out, so I didn't have nothing.But I do think the rise of the boutique Blu-ray and 4K UHD retailers has been a good thing. I don't know that it's enough to save physical media in the film context, but the rise of your Vinegar Syndromes. Criterion, of course, is the longest player in this space, and they've been doing it since the days of Laserdisc. They're very good at what they do, and they have a great catalog.But even smaller places, like your Vinegar Syndromes or your Shout Factory and your Scream Factory. The studios themselves are getting into it. Lionsgate has their Lionsgate limited thing that they do, which is just sucking money out of my pockets. A24 has also been good in this space. I like the idea that there is a small but committed cadre of collectors out there. And it's not just ownership for the sake of ownership. It's not the high fidelity, “the things you own matter. So you should show them off so everybody can see them and see how cool you are” kind of thing. There are actual quality differences to having a disc as opposed to a streaming service, which always come in at lower bit rates, and they look and sound worse.But this is so niche. Very few people who collect this stuff (Blu-rays, 4Ks, et cetera) really understand how niche they are.If you look at the monthly pie chart of sales of discs every month, it's still 50 percent DVD, 20 percent to 25 percent Blu-ray, and then 25 percent to 30 percent 4K, depending on what's out at any given time. But 50 percent of discs are still being bought by people browsing Walmart shelves, like “Ooh, I'll watch this new movie for $5. Sure, why not?”Yeah, having something for the sickos is always something viable, right? Peter, I'll throw it to you.Peter: So, on this podcast, I have probably been the biggest MCU, Marvel Movie Universe booster. What I think is a good thing that is happening right now is that the MCU is in a decline, or at least a reset period. It's not overwhelming Hollywood in the way that it was throughout the 2010s. It's hurting theaters and exhibition because those movies are not performing the way they used to, and that's a downside for real.But what it is doing is creating a space for young filmmakers and for young acting talent to rise up without having to immediately be sucked into the MCU or something comparable, like the DC movies that were trying to start up and never really got going. Now they've rebooted the DC universe with the James Gunn Superman film. But, it really felt like in the 2010s, anyone who was in their 20s or 30s and was a really promising actor or a really promising director was gonna make one or two movies. And then they were gonna get sucked into the Marvel or maybe the Star Wars machine, one of these big franchise things.It wasn't like even 25 years ago when Sam Raimi was making Spider-Man films, and they were very distinctly Sam Raimi films. I mean, you watch the Dr. Octopus POV sequence in Spider-Man 2, and it's the same thing he was doing in Evil Dead, except he had $150 million to make that movie, right?These weren't even altruistic superhero films. They were just being brought in to lend their names a small amount of flavor to whatever it was they were doing. And now, in an era in which the MCU is not gone, but is diminished, a lot of acting talent and a lot of directing talent are going to be free to spend that formative period of third, fourth, fifth, sixth movies to make the things that they wanna make and to experiment.Like I said, this does have downsides. This is not great for theatrical exhibitors who are suffering right now because there are fewer movies and because the big movies are not as big. But in that space, you get the opportunity to try new things. And I love seeing new things, and I love watching new talent develop.That is cool. I like that. Alyssa?Alyssa: I'm glad you said that, Peter, because what I was gonna say is I am delighted to see some of the directors who did time in the MCU or other franchises coming back and making original movies. Obviously, Sinners is one of the big success stories of the year. It's also a success story because Ryan Coogler is not only making franchise movies.I saw Seeing Fruitvale, which turned Fruitvale Station, at the Sundance Film Festival. It was like a seminal moment for me early in my career as a critic. I was like, “Holy God, this guy is great.” Even though I like what he did with the Rocky movies and I like the first Black Panther, I just felt this sense of profound regret for him getting diverted from telling these original stories. I'm really excited for Chloe Zhao's Hamnet. I expect to be emotionally incapacitated by that movie. Honestly, it is great for people who love movies that Immortals was just such a disaster.Peter: Eternals.Sonny: Eternals, that's how good it is we can't even remember the title.Alyssa: Yes, Destin Daniel Cretton is working on a Shang-Chi sequel, but he is also collaborating with Ryan Coogler on a project that I think is drawn from their childhoods.Sonny: He's directing a new Spider-Man movie right now.Alyssa: But there's other stuff coming. There's the possibility of life outside franchises. And, I'm excited to see what some of these folks do when they're not in front of a green screen and when they're telling stories about actual human beings. I am excited to just see more movies like Weapons, like Materialists, coming from younger directors who are still figuring things out, but have interesting things to say. And this year, at least, appears to be able to do okay at the box office.I love that. People are recovering from their exile in Atlanta and have a chance to make some cool movies. You guys have been so generous with your time. I do want to just finish on one last note: where do you assess Hollywood's position within the world to be?Obviously, in the States, they've had a lot of pressure from things like TikTok coming from below, things like the federal government coming from above. But even internationally and geopolitically, you've seen international players start to compete with Hollywood at the Oscars. For instance, in Best Animated Film last year, as well as some big markets shutting down for them, like China is not really doing anything. From a political perspective, where do you assess the state of Hollywood right now?Peter: From a political perspective, I think Hollywood is going to start producing movies that read less overtly liberal, less conventionally left-leaning. I think we're already seeing some of that. I don't mean that Hollywood is suddenly going to be MAGA, that it's suddenly gonna be like reading Buckley's National Review or anything like that. I just mean that at the margins, you're gonna see more movies that don't toe the line in the way that you saw movies before. There was a moment, especially right before and right after the pandemic, where it really felt like too many movies were towing a very predictable left-of-center political line. And it was obvious and there was no nuance to it.Again, I do not oppose movies that may have a different worldview than mine, but it felt like they were running scared in a lot of cases. I mean, in sports, if your team is behind, that's the time when you try new stuff. You don't use the same strategy if you are losing. Hollywood's losing right now. They're losing economically and they're losing as a cultural force. While that's in some ways not great for the art form, that is going to be good for experimentation. And that's gonna be formal and craft experimentation. That's going to be talent. We're going to see new and interesting people. And that's also going to be ideas both for stories and for politics and ideology.Sonny: A big question is what happens with the retrenchment of the global box office? Because I do think, for a long time, you could count on basically two-thirds of the box office of a major Hollywood release coming overseas and one-third coming domestically. And those numbers have, in some cases, inverted. It's closer to 50/50 for more of them. It's not universally true. F1 did more business overseas than domestically, which you might expect for something that's based on F1 racing. But the big question is what happens if the rest of the world is like, “We're not that interested in the big Hollywood blockbuster stuff that we have been eating up for the last 15 or 20 years”?This goes hand in hand with Alyssa's point about originals. That's probably a good thing, honestly. It's probably a good thing to get away from the theory of the movie industry being like, “We need to make things that appeal despite language barriers.” Language matters; words matter. And tailoring your words to the correct audience matters. American movie studio should tailor their stuff to American audiences.Alyssa: And also getting away from the idea of appealing to the Chinese censors who controlled which American movies got access to Chinese markets, which was not the same thing as appealing to Chinese audiences. But yeah, I totally agree.My father-in-law works in the foreign exchange industry, and he said something that I've been thinking about a lot. They're just seeing real declines in people who want to come here or feel comfortable coming here. Until July, I was the letters editor at The Washington Post, and it was astonishing to me just how much rage Canadians were feeling towards the United States. I don't know that these will translate into a rejection of American movies. American culture exports have been unbelievably strong for a long time.But I do see an opening for Korean pop culture, which has already been very popular abroad. I think there's a real chance that we will see a rejection of American culture in some ways. And, it will take Hollywood a while to respond to that. It always lags a little bit. But I do think it would be very interesting to see what more aggressively American movies look like. And I think that could take many forms.But scale is in many ways the enemy of interestingness. If there is not and opportunity to turn everything into a two billion dollar movie because you sell it overseas, what stories do you tell? What actors do you put on screen? What voices do you elevate? And I think the answers to those questions could be really interesting.Peter: I agree with all of this in the sense that I think it will be good for the art form, like I have been saying. But there's a cost to this that all of us should recognize. When budgets get smaller and the market shrinks, that is going to be bad for people who work in the industry. And in particular, it's going to be rough for the below-the-line talent, the people whose names you see at the end credits — when these credits now scroll for 10 minutes after a Marvel movie because they have employed hundreds, maybe even a thousand people.And there was a story in The Wall Street Journal just this summer. You mentioned the time in Atlanta about how Marvel has moved most of its production out of Atlanta. There are people there who had built lives, bought houses, had earned pretty good middle-class incomes, but weren't superstars by any means. Now they don't know what to do because they thought they were living in Hollywood East, and suddenly, Hollywood East doesn't exist anymore.We may be in a position where Hollywood West, as we have long know it, L.A., the film center, also doesn't exist anymore, at least or at least as much smaller, much less important and much less central to filmmaking than it has been for the last nearly 100 years. And again, as a critic, I like the new stuff. I often like the smaller stuff. I'm an American; I want movies made for me. But also, these are people with jobs and livelihoods, and it is going to be hard for them in many cases.Sonny: Oh, I'm glad to see the A.I. King over here take the side of the little guy who's losing out on his on his livelihood.Peter: I think A.I. is going to help the little guy. Small creators are going to have a leg up because of it.Sonny: Sure.All right. Well, I love some of those thoughts, love some of those lessons. Publicly traded companies are famously risk-taking, so we're going to be fine, definitely. Either way, I really do love the show. I really, really enjoy it. I think it's one of the best discussion shows, chat shows about any movie podcast out there. It is really, really fun. It is very cool to see you guys go independent.I just want to throw it to you a little bit. What is your pitch? What is the show? Where can they find it? What's the best way to support it? And where can they find you all?Sonny: The show's a lot like this, like what you just listened to.Alyssa: Peter has developed this catchphrase when Sonny asked him how he's doing to kick off the show, and he always says that he's excited to be talking about movies with friends. We want to be your movie friends. You should come hang out with us. Hopefully, we will be going live a little bit more, maybe meeting up in person some. I will hopefully be doing some writing for our sub stack, if you have missed my blatherings about movies and movie trends.But yeah, come hang out with us every week. We're fun.Sonny: Movieaisle.substack.com. That's where you should go. You should I'm I'm I'm sure I'm sure there will be a link to it or something. Movieaisle.substack.com is where it lives now. We'll have a proper URL at some point.Terrific. And wherever you get your podcasts?Sonny: And wherever you get your podcasts!That's great. Peter, Alyssa, Sonny, thank you so much. This is really, really fun. Again, I really dig the show so much. I'm very, very happy for you guys being able to spring out independent. So really, thanks for coming on.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.On the occasion of Paul Thomas Anderson's latest film One Battle After Anotherin theaters, we look back at the director's ambitious, unwieldy, and under-loved 1999 feature Magnolia starring a massive ensemble that includes returning PTA collaborators Julianne Moore, John C. Reilly, Melora Walters, Philip Seymour Hoffman, William H. Macy and Philip Baker Hall alongside a career-best Tom Cruise in a showstopper supporting turn that would net him his third (and, to date, last) Academy Award nomination for a performance. Still his longest, most sprawling effort, Magnolia is a definitively Paul Thomas Anderson picture in both milieu and concern setting its sights on flawed, idiosyncratic characters living in and around the San Fernando Valley. But Magnolia also represents a distinctive pivot in Andersons career, as he begins to operate in a decidedly more minor key that would come to define the second act of his career in the 21st century.We begin with a thorough examination of Paul Thomas Anderson as filmmaker, his strengths and his shortcomings. Then, we ask an obvious, but slyly difficult question - What exactly is Magnolia about? Finally, we discuss the film as it relates to Anderson's oeuvre, how it informs and supplements his later work and how its flaws become more apparent as his filmography evolves.Read Nick Pinkerton's piece The Master? at The Point....Our theme song is "Mirror" by Chris Fish

Two different portraits of obsession, compulsion and a critique of American capitalism. One film is set in the oil prospecting era, and the other, Wall Street. Today we're doing Mary Harron's American Psycho and P.T. Anderson's There Will Be Blood.

What is a gift without control or discipline, a skill without purpose or meaning? And is there a difference between a gift and luck? Wes & Erin continue their discussion of Paul Thomas Anderson's 2007 film "There Will Be Blood."

Apologies for the delay in upload! We're back with what many people believe is Paul Thomas Anderson's greatest work, the adaptation of Upton Sinclair's "Oil!" renamed There Will Be Blood. The film is renowned as one fo the best films of the century, but failed to win Best Picture. A trend worth watching while tracking One Battle After Another. Speaking of that film, that will be 2 episodes from now. Next up, The Master from 2012 starring the late great Phillip Seymour Hoffman. Then after that, One Battle After Another...finally!

Marty Solomon, Brent Billings, and Reed Dent talk about pride (or, rather, vainglory).The King of Comedy (1982 film) — LetterboxdWishful Thinking by Frederick BuechnerThere Will Be Blood (2007 film) — LetterboxdWhiplash (2014 film) — LetterboxdSoli Deo Gloria — WikipediaJohn Chrysostom — Wikipedia“This Is Water” by David Foster Wallace (YouTube)“This Is Water” by David Foster Wallace (Amazon)Glittering Vices by Rebecca Konyndyk DeYoungJesus and the Victory of God by N. T. WrightThe Weight of Glory by C. S. LewisRaiders of the Lost Ark (1981 film) — Letterboxd

The clash between Eli Sunday and Daniel Plainview, between religion and industry, steeple and oil derrick, might come down to something like the difference between a gift and a skill. Eli calls himself a son of the hills of Little Boston, an inheritor of land and legacy, a member of a family, and of a faith imagined as a family. Daniel calls himself an oil man, but only after reciting his resume as proof that he's earned the title. He tends flocks of derricks, not people, and he leases both land and family to strategic, rather than communal, ends. Yet ultimately, each lacks what the other has. What is a gift without control or discipline, a skill without purpose or meaning? And is there a difference between a gift and luck? Wes & Erin discuss Paul Thomas Anderson's 2007 film "There Will Be Blood."

The Cubs drop one today, but Joey is confident it will be the Cubs in five. #ThereWillBeBlood #mlbpostseason MVP Injury Law https://mvpinjurylaw.com/

Over the course of his three-decade career, the director Paul Thomas Anderson has dramatized the nineteen-seventies porn industry (“Boogie Nights”), the Californian oil boom (“There Will Be Blood”), and a mid-century London fashion house (“Phantom Thread”). Now he's trained his gaze on present-day America. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss Anderson's latest: the sprawling, surprisingly political blockbuster “One Battle After Another.” They contextualize the new work within his œuvre—and debate what his portrayal of militant left-wing activists and the white-supremacist right has to say about the state of the nation. “I think our present reality has far outstripped most depictions of it,” Schwartz says. “Slipping it into this kind of caper—is that delivering us to somewhere that gets people to think or to look or to feel?”Read, watch, and listen with the critics:“One Battle After Another” (2025)“Vineland,” by Thomas Pynchon“Inherent Vice” (2014)“Boogie Nights” (1997)“The Master” (2012)“Punch-Drunk Love” (2002)“There Will Be Blood” (2007)“Phantom Thread” (2017)“ ‘Eddington' and the American Berserk” (The New Yorker)Gil Scott-Heron's “The Revolution Will Not be Televised”New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

Kan Paul Thomas Andersons nyeste film måle sig med hans største klassikere?I denne episode af Betacritic har Jacob Ege Hinchely besøg af Claes Quaade, hvor de først dykker ned i One Battle After Another - Paul Thomas Andersons nyeste film, der blander sort komedie med eksplosive actionelementer. Filmen har et stjernespækket cast med Leonardo DiCaprio (The Revenant, Inception), Benicio Del Toro (Sicario, Traffic), Sean Penn (Mystic River, Milk), Regina Hall (Girls Trip, Scary Movie) og debutanten Chase Infinity, som Jacob er fuldstændig tryllebundet af. De diskuterer hvordan filmens vilde politiske temaer, mesterlige lyssætning og fremragende soundtrack løfter historien, men også hvordan Leonardo DiCaprios casting både fascinerer og skaber kontrovers.Herefter tager de fat på den ultimative udfordring: at rangere samtlige Paul Thomas Andersons 11 hovedværker. Fra Boogie Nights og Magnolia til There Will Be Blood og Licorice Pizza bliver både hans biografi, kunstneriske udvikling og tematiske univers foldet ud i dybden. Jacob og Claes er både enige og rygende uenige, hvilket skaber en passioneret debat om, hvor PTA's nye film placerer sig i rækken af mesterværker.Derudover deler de deres perspektiver på, hvorfor Paul Thomas Anderson fortsat er en af de mest markante instruktører i moderne amerikansk filmkunst.Tusind tak fordi du lytter med.

Het regent weer eens lovende kritieken voor een nieuwe film van There Will Be Blood- en Magnolia-regisseur Paul Thomas Anderson. Je zou er haast nog sceptisch van worden. En toch: ook de MovieInsiders vallen als een blok voor One Battle After Another, waarin een linksradicale activist (Leonardo DiCaprio) op zoek gaat naar zijn opgejaagde dochter. In een uitgebreide recensie, trekken Gudo, John én Coen deze satirische en opvallend politiek geladen actiekomedie helemaal binnenstebuiten. Waarom zou dit wel eens dé film van 2025 kunnen zijn?Support the show: https://www.patreon.com/movieinsidersSee omnystudio.com/listener for privacy information.

Join Andrew Bruce and Chris as they dive deep into the gritty, oil-soaked world of There Will Be Blood in this riveting episode of the Ten Point Podcast, Season 11 Episode 15. From Daniel Day-Lewis's towering performance to Paul Thomas Anderson's haunting direction, the duo breaks down the film's most iconic moments, themes of ambition and isolation, and the unforgettable score that fuels its intensity.Expect sharp banter, bold opinions, and a few laughs as Andrew and Chris dissect what makes this cinematic powerhouse a modern classic—and whether it earns a perfect ten. Whether you're a die-hard fan or watching for the first time, this episode is your ticket to the derrick.Spoilers, hot takes, and milkshake references guaranteed.

This week, the boys talk a lot about the day's events, including the $55B sale of EA, AI “actress” Tilly Norwood, and the incredible year 2002, before getting into our featured conversation about Paul Thomas Anderson's “Punch Drunk Love”. Check the show notes if you want to scoot ahead to any particular segment of the show!  linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 5:36:22 Gripes about EA, Tilly Norwood, and Toilets; 19:51 2002 Year in Review; 57:44 Films of 2002: “Punch Drunk Love”; 1:32:48 What You Been Watching?; 1:37:39 Next Week's Episode Teaser Additional Cast/Crew: Adam Sandler, Emily Watson, Phillip Seymour Hoffman, Luis Guzman, Robert Elswit. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations/TagsL  EA Tillly Norwood Toilets Downton Abbey Platonic Practical Magic Hulu Alien:Earth Peacemaker. Additional Tags: Boogie Nights, There Will Be Blood, Hard Eight, Daniel Day-Lewis, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.   

ONE BATTLE AFTER ANOTHER MOVIE REVIEW At Fantastic Fest every year they have a series of ‘secret screenings'. These can vary from tiny films you've never heard of to premieres of giant films. Way back when, the fest got on the map when they did the premiere of There Will Be Blood at a secret […]

ONE BATTLE AFTER ANOTHER MOVIE REVIEW At Fantastic Fest every year they have a series of ‘secret screenings'. These can vary from tiny films you've never heard of to premieres of giant films. Way back when, the fest got on the map when they did the premiere of There Will Be Blood at a secret […]

Max and Evan discuss the filmography of Paul Thomas Anderson. Before they go from Hard Eight to One Battle After Another, they talk about the latest in film and television. Jimmy Kimmel is back on air, a new Spaceballs 2 photo emerges, and The Social Network is getting a sequel.  Hard Eight (1996) Boogie Nights (1997) Magnolia (1999)  Punch-Drunk Love (2002) There Will Be Blood (2007) The Master (2012) Inherent Vice (2014) Phantom Thread (2017) Licorice Pizza (2021) One Battle After Another (2025)  Website: https://itsthepictures.libsyn.com/ itsthepictures.substack.com Download the episode today, and find us on Bluesky, Instagram, and Letterboxd.  Like the show? Review us on iTunes! We are also available on Stitcher, Spotify, and Letterboxd.  Opening: "The Fire" by Dan_Mantau (c) 2022 - http://ccmixter.org/files/Dan_Mantau/64603 Licensed under Creative Commons Attribution Noncommercial (3.0) Closing: Pixie Pixels (featuring Kara Square) by spinningmerkaba (c) copyright 2016 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/jlbrock44/53778  Additional comments? Email us: itsthepictures@gmail.com

We're closing out our Paul Thomas Anderson series with The Master, a haunting exploration of faith, control, and broken souls.From Joaquin Phoenix's raw and unhinged performance to Philip Seymour Hoffman's commanding presence and Amy Adams' chilling quiet power, we dive deep into why this film feels like one of PTA's most enigmatic and enduring works.As PTA month comes to an end, we reflect on the journey through his filmography—capped off with a film that lingers long after the credits roll.Intense, unsettling, and unforgettable—PTA at his most powerful.From the rise and fall of Boogie Nights to the sprawling chaos of Magnolia, from the quirky heart of Punch-Drunk Love to the operatic greed of There Will Be Blood, from the hometown pride of One Battle After Another to the haunting intensity of The Master—our month with Paul Thomas Anderson has been as bold, strange, and unforgettable as the films themselves. PTA Month may be ending, but the brilliance lingers long after the credits roll.

À l'occasion de la sortie du film UNE BATAILLE APRÈS L'AUTRE, on revient sur toute la carrière du cinéaste Paul Thomas Anderson. Réalisateur américain adulé par la critique, connu notamment pour ses films ambitieux comme THERE WILL BE BLOOD et MAGNOLIA, PTA (comme on le surnomme) s'est démarqué par sa maitrise et son caractère téméraire, qui lui ont permis de s'imposer comme un auteur aujourd'hui incontournable. Une émission animée par Thibaud Ducret, avec Alexandre Caporal et Florian Poupelin. TIME-CODES (00:02:56) Notre rapport à PTA ? (00:12:00) C'est qui PTA ? FILMS (00:19:43) HARD EIGHT (00:34:00) BOOGIE NIGHTS (53:40) MAGNOLIA (01:21:36) PUNCH DRUNK LOVE (01:38:48) THERE WILL BE BLOOD (02:11:50) THE MASTER (02:43:07) INHERENT VICE (02:59:55) PHANTOM THREAD (03:17:07) LICORICE PIZZA (03:35:33) UNE BATAILLE APRES L'AUTRE

Next week the San Diego City council will vote on a series of new water rate increases. But city hall is abuzz that they may not have the votes to pass them. If they don’t, we’re entering uncharted waters. We have an update on San Diego Unified School District’s decision to close the middle school portions of some K through 8 schools. They’ve already backtracked on one. And finally South Bay reporter Jim Hinch has a fascinating story out of National City. How a falling out between friends came to dominate small town politics. SHOW NOTES SEGMENT 1 - POLITIFEST Buy Your Tickets for Politifest 2025 Politifest is back on Oct. 4, and this won’t be our usual public affairs summit. This year, we’re bringing together community leaders to go head-to-head in our first ever Solutions Showdown. Hear their ideas and cast your vote on which proposals you think could solve the biggest issues facing San Diego. Save on tickets with early bird pricing at vosd.org/politifest SEGMENT 2 - LEONARDO DI CAPRIO WAS IN TOWN AND DIDN’T SAY HI County News Center - New Blockbuster Already a Big Hit in San Diego County It doesn’t arrive in theaters until Friday, but a new blockbuster movie generating Oscar buzz has already been a big financial hit for San Diego County. “One Battle After Another,” a new Warner Bros. movie starring Leonardo DiCaprio, Benicio del Toro, Sean Penn and others, spent about six weeks filming on location in San Diego County in 2024. And it pumped nearly $7 million into the local economy, according to Warner Bros. accounting. The movie was written and directed by Paul Thomas Anderson, best known for his 2007 film, “There Will Be Blood,” 2012’s “The Master,” and 2014’s “Inherent Vice.” His new movie stars DiCaprio as an aging, in-hiding, former revolutionary who is pushed into trying to save his teenage daughter by the return of an old enemy, Sean Penn’s “Col. Lockjaw.” SEGMENT 3 - MATT VESPI Port of San Diego - Matt Vespi Will Join the Port of San Diego as Chief Administrative Officer Port of San Diego President and CEO Scott Chadwick has appointed Matthew Vespi as the Port’s new chief administrative officer. Vespi has over 20 years of public sector experience including oversight of human resources, information technology, employee safety, labor standards and enforcement, performance and analytics, strategic planning, and more. SEGMENT 4 - MIDDLE SCHOOL San Diego Unified Superintendent Walks Back One of Four K-8 Middle School Closures After we reported San Diego Unified’s plan to cut middle school grades at four of its K-8 schools, district leaders have decided to keep one open. Still, three others are slated for closure. SEGMENT 5 - UNCHARTED WATERS City Staff Deflect Blame Away from Pure Water Before San Diego’s Big Water Rate Vote City staff dropped updated costs of a huge wastewater-to-drinking water recycling project showing that its water would be cheaper than buying from the Water Authority. Segment 6 - NATIONAL CITY TELENOVELAA Broken Friendship Is Breaking National City Hall A development dispute has spiraled into a months-long saga of corruption accusations, lawsuits, allegations of mishandled human remains, shouting matches at City Council meetings, a sexual harassment investigation and a claim against the city filed by the mayor’s executive assistant. Scott Lewis, CEO and editor in chief at Voice of San Diego. Andrea Lopez-Villafaña, managing editor Bella Ross, social media producer Jakob McWhinney, education reporter and theme music composer. Xavier Vasquez, podcast producer Journalism is integral to a healthy democracy: Support independent, investigative journalism in San Diego County. Become a Member: Voice Member BenefitsJoin today and receive insider access.See omnystudio.com/listener for privacy information.

On this week's Haven't Scene It, Tim & Tommy are joined by guest Sean Faust as they cover There Will Be Blood! This is Tommy's first time watching the film. Is this Paul Thomas Anderson's masterpiece? Is Daniel Plainview the greatest fictional film character of the 21st Century? All this and more on this week's Haven't Scene It!Follow us on Social Media:Twitter: @SceneItPodInstagram: @SceneItPodTiktok: @SceneItPodBluesky: ‪@podsceneit.bsky.social‬Follow Sean Faust on Twitter: @SeanFaustSean's Linktree: https://linktr.ee/seanfaustmusic

After the success of his second feature film, Boogie Nights, Paul Thomas Anderson was able to make whatever film he wanted to, and that was the film Magnolia; a story of a web of people in the San Fernando Valley on a rainy day. The film is widely hailed as one of the best of his career, but is that the case for us? Come back next episode as we discuss one of the great American films of the 21st Century, There Will Be Blood!

Ralph Compiano and Barter (Carter Ferryman) delve into the cinematic world of writer/director Paul Thomas Anderson before the release of his 10th feature film 'ONE BATTLE AFTER ANOTHER' starring Leonardo DiCaprio.They rank all 9 of PTA's films, discussing their personal experiences and insights on each one, from the debut feature 'HARD EIGHT' to the latest release 'LICORICE PIZZA'.They also discuss some of the best performances PTA has gotten out of actors including Adam Sandler, Tom Cruise, Joaquin Phoenix, Philip Seymour Hoffman, Julianne Moore, John C. Reilly, Burt Reynolds, Josh Brolin, and more.In this engaging conversation, the two explore the intricate themes of love, greed, and the human condition as depicted in 'THERE WILL BE BLOOD' and 'BOOGIE NIGHTS', the brilliance of Daniel Day-Lewis's performances, and the impact of cinematography and music in creating unforgettable cinematic experiences.The discussion highlights the significance of rewatching films to uncover deeper meanings and the joy of sharing these artistic treasures with others.

durée : 00:17:01 - Les Midis de Culture - par : Marie Labory - Avec "Une bataille après l'autre", Paul Thomas Anderson revisite l'univers de Thomas Pynchon en l'ancrant dans notre présent. Dix-huit ans après "There Will Be Blood", le cinéaste retrouve le désert californien pour livrer une fresque percutante. - réalisation : Laurence Malonda - invités : Murielle Joudet Critique cinéma française; Adrien Dénouette Critique de cinéma et enseignant

Wenn man an Filmschaffende denkt, die stets abliefern und kaum einen Stinker in der eigenen Vita haben, fällt einem der Name Paul Thomas Anderson ein. Der Regisseur, der mit Werken wie There Will Be Blood, The Master oder Punch-Drunk Love Kritiker wie Fans begeisterte, haut nun erneut einen heißen Kandidaten auf den Film des Jahres raus: One Battle After Another.Kenan und unser Gast, Trunk-Regisseur Marc Schießer, nehmen Andersons neuestes Werk genau unter die Lupe. Wie schlägt sich Leonardo DiCaprio als verzweifelter Freiheitskämpfer? Und wie viel aktuelle Weltpolitik steckt in One Battle After Another? Findet es heraus, in der neuen Episode unseres Filmpodcasts.---Instagram: https://www.instagram.com/filmfruehstueck/

One Battle After Another | Ein guter Film für eine schlechte Zeit Wenn Paul Thomas Anderson einen neuen Film ankündigt, erwartet die cinephile Bubble nicht weniger als ein Meisterwerk – kein Wunder, schließlich schuf der Regisseur mit Werken wie "Magnolia", "Boogie Nights" oder "There Will Be Blood" längst moderne Klassiker. Sein neuestes Werk "One Battle After Another", das am 25. September in die Kinos kommt, wurde nach der Premiere nicht nur wohlwollend, sondern teils geradezu euphorisch gefeiert. Im Mittelpunkt steht ein ehemaliger Revoluzzer (Leonardo DiCaprio), der alles daransetzt, seine jugendliche Tochter vor einem alten Widersacher (Sean Penn) zu beschützen – ein Stoff, den PTA-Anhänger Stu als „ein großes Stück Kino“ bezeichnet. Wie Niklas und PTA-Neuling Sam den Film einschätzen, erfahrt ihr im Podcast. Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Trailer Werdet Teil unserer Community und besucht unseren Discord-Server! Dort oder auch auf Instagram könnt ihr mit uns über Filme, Serien und vieles mehr sprechen. Wir liefern euch launige und knackige Filmkritiken, Analysen und Talks über Kino- und Streamingfilme und -serien - immer aktuell, informativ und mit der nötigen Prise Humor. Website | Youtube | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen - besser bekannt als die deutsche Synchronstimme Samuel L. Jackson! Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0)

Time on Screen returns this week with an all new episode about one of the most acclaimed movies of its era, Paul Thomas Anderson's There Will Be Blood. When it arrived in 2007, There Will Be Blood was hailed as a masterpiece almost immediately, and its stature has only grown since then. With a new PTA movie, One Battle After Another, now just days away from release, we thought now would be a great time to revisit his magnum opus. Zach Kazan is joined by Kat Shoulders and Liam O'Donnell for this episode, and together they discuss their initial reactions to the film when they first saw it, how they've grown with the movie over the years, and the complex themes and ideas that Anderson is playing with in TWBB. They also spend some time discussing the incredible Daniel Day-Lewis performance at the center of the film, and what makes him and this role in particular so special. Finally, Zach, Kat, and Liam each pick their personal top three PTA movies.To stay on top of all new episodes, you can subscribe to The Worn & Wound Podcast on all major platforms including Apple Podcasts, Stitcher, Spotify, and more. You can also find our RSS feed here.And if you like what you hear, then don't forget to leave us a review.If there's a question you want us to answer you can hit us up at info@wornandwound.com, and we'll put your question in the queue. Show Notes There Will Be Blood x “Born to Run”Men, women, and There Will Be Blood

Ade beratende Kommission, hello Schiedsgericht: Seit ein paar Tagen sind die Namen der 36 Frauen und Männer bekannt, die ab Dezember als Teil des neuen Schiedsgerichts über NS-Raubgut urteilen sollen. Knut Cordsen im Gespräch mit Magnus Brechtken, Historiker und Stellvertretender Direktor des Instituts für Zeitgeschichte in München / Ausnahme-Regisseur Paul Thomas Anderson (u.a. "There Will Be Blood", "Magnolia") bringt nach vierjähriger Leinwand-Abstinenz einen möglichen Oscar-Kandidaten ins Kino: "One Battle After Another", eine absurde Action-Komödie mit u.a. Leonardo DiCaprio, Sean Penn, Regina Hall und Teyana Taylor. Für Bettina Dunkel ist es der Film der Stunde / Ein Accessoire hat vermutlich jeder Wiesn-Besucher und jede Besucherin mit dabei: das Handy - u.a. für den "Ich-war-da-Foto-Beweis". Das Münchner Stadtmuseum zeigt derzeit im Museumszelt auf der Oidn Wiesn wie die Fotos Anno dazumal geschossen wurden: Axel Mölkner-Kappl hat die Schau gesehen.

Paul Thomas Anderson month continues with his follow-up to last week's film. After the critical acclaim There Will Be Blood received, anticipation for PTA's next film was high. In 2012, he gave us The Master. The film was visually accomplished, being the first fiction film shot on 65mm since 1996, and thematically dense, bringing a renewed sense of control to PTA's style. Received warmly by critics and at film festivals, the film has endured despite its box office failure. Featuring Joaquin Phoenix, Amy Adams, Laura Dern, and the final PTA-Phillip Seymour Hoffman collaboration, The Master is a thorny, provocative drama. Scott has been looking forward to a rewatch, but Christian didn't like it on his original viewing. Joined by old friend of the show Nick Vyner, we break down The Master and consider its place in PTA's filmography. Plus, our thoughts on TIFF's People's Choice Award, Demon Slayer, The Long Walk, and the passing of Robert Redford. What's your favorite PTA film? Let us know at cinemaontappodcast@gmail.com

I DRINK YOUR MILKSHAKE! 2025 is bringing us a new Paul Thomas Anderson movie, as well as a new Daniel Day-Lewis movie. In honor of the return to the big screen for the pair, the boys dive into the RCR Top 100 and look back at their first collaboration together: 'THERE WILL BE BLOOD'.

Our Paul Thomas Anderson series hits its towering centerpiece with There Will Be Blood—a ruthless tale of ambition, greed, and the cost of power.We break down Daniel Day-Lewis' legendary turn as Daniel Plainview, Paul Dano's dual role showdown, and PTA's epic vision of America built on oil and obsession. This is PTA at his most brutal and operatic—a film as vast and unforgiving as the land itself.All of this is part of our countdown to his newest film, One Battle After Another, shot right here in El Paso, TX.Greed, oil, religion—and one unforgettable milkshake.

Welcome back to Movie Boi! This podcast will feature discussions on movies, new and old alike, as well as some broader movie topics and conversations.In this episode:A solo deep dive on Paul Thomas Anderson's There Will Be Blood starring Daniel Day-Lewis and Paul Dano. This movie is topical because PTA's new movie, One Battle After Another, comes out at the end of the month and Daniel Day-Lewis is coming out of retirement for his son's film, Anemone, coming out this October. If you want to share your thoughts on the movie or send in a mailbag question, contact MovieBoyJack@gmail.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Paul Thomas Anderson month continues with the film that many consider to be his masterpiece: There Will Be Blood. PTA teamed up with DDL to tell the story of Daniel Plainview, a turn of the century oilman making his millions, perhaps selling his soul to do it. Acclaimed as one of the best films of 2007, of the 00s, and of the 21st century so far, There Will Be Blood has endured in the popular consciousness thanks to its glowing critical reception and its powerful lead performance (plus, some strangely memeable dialogue). With a film this acclaimed, will our hosts join the consensus? Or, is it time for a classic Cinema on Tap hot take? What do you think of TWBB? Let us know at cinemaontappodcast@gmail.com

(00:00-17:37) Strikeout Weave, World Series Baby. Let's not do that today, let's be better than that. Michael Hellman is on a terror with the Rangers. Is Hellman going to chase down Barry Bonds record? The Marlins of the West. Whoops, it's not the Diamondbacks, nevermind. A-Rod has the most career grand slams. Jackson needs to be studied. Hang in there, Keith, we'll get to you after the break.(17:45-32:56) This one is for Pops birthday. A Sadie Hawkins for Martin before onboarding. Let's go to Keith first. Keith and Tim share a birthday. He's called in 100 times in the last couple weeks to ask about knackwurst. Encased meats do a number on Jackson's esophagus. Audio of Joe Buck talking about his "fued" with SVP. Joe says he wants to do another 10-15 years. There Will Be Blood on Movie Boi. How many bed in the cabin?(33:06-44:39) Friend of the Show, Joey Vitale has popped into the studio. Joey is critical of Doug's hanky. Joey says Tim should take the family to the Zou for the South Carolina game. Not doing diapers at Faurot Field. Bed forts. Joey and Chairman are gonna do a cooking show.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's the 250th episode of the Bro Force Squad Podcast, and the guys break down their favorite movie moments of all time using the Bro Force Squad movie review criteria. Stuff discussed in this episode includes The Thin Red Line, There Will Be Blood, The Sandlot, This is the End, The Dark Knight, E.T., Pulp Fiction, Saw, Batman ‘89, 2001: A Space Odyssey, The Avengers, Star Wars A New Hope, The Lord of the Rings, Teenage Mutant Ninja Turtles Secret of the Ooze, Unknown Number the High School Catfish, Solo: A Star Wars StoryKeep up with the Bros at: https://broforcesquad.com/https://www.youtube.com/channel/UCCJML5XTKJl2OzGW5HWrJhwhttps://itunes.apple.com/us/podcast/bro-force-squad/id1158546516?mt=2https://twitter.com/BroForceSquad

Paul Thomas Anderson's One Battle After Another is hitting theaters in a few weeks and we are getting ready by reviewing 4 of his previous films before our week of release review of the new film! This episode we examine his second feature film, Boogie Nights, which has become a classic since its release. In the coming weeks we will be covering Magnolia, There Will Be Blood, The Master, and then finally One Battle After Another. Come back later this week as we catch up with Together!

On the two hundred and seventy-fifth episode of THE THIRD ACT PODCAST, the crew have a competition in them and want no one else to succeed.Christian, Jericho, and Armando look forward to the upcoming Paul Thomas Anderson film ONE BATTLE AFTER ANOTHER by glancing back with reviews of BOOGIE NIGHTS (1997), THERE WILL BE BLOOD (2007), and INHERENT VICE (2014) for a theme titled "PTA Meeting."They also discuss found family, father-son relationships, fruitful artistic collaborations, and Joaquin Phoenix pratfalls.Subscribe to Jericho's Substack: symbioticreviews.substack.comKeep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com    

Jim Meskimen is an American actor, comedian, and master impressionist whose career spans film, TV, animation and voiceover. His acting roles include the films Apollo 13, There Will Be Blood, The Grinch, Frost/Nixon and The Punisher, and on TV in Parks and Recreation, Friends, Whose Line is it Anyway? and Fresh Prince of Bel Air. His voice credits are just as impressive — from Justice League, Avatar: The Last Airbender, and Family Guy to video games like Call of Duty and Red Dead Redemption. Known for his jaw-dropping range of celebrity impressions, which has given Jim a huge social medias following and even took Jim to the final of America's Got Talent. He is the son of the actress Marion Ross, who played Mrs Cunningham in the classic TV show, Happy Days starring Ron Howard and Henry Winkler.Jim Meskimen is our guest in episode 523 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .For everything Jim Meskimen, visit - https://jimmeskimen.com .Follow Nick Helm on Instagram: @jimpressionsFollow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

We're wrapping up summer with the last day of summer camp at Camp Firewood! This cult classic comedy hadn't been seen by two of us, and we chat about how well this film's humor holds up today. We will be back next episode with the start of our series covering 5 of Paul Thomas Anderson's films leading up to One Battle After Another! Boogie Nights kicks us off next week (followed by Magnolia, There Will Be Blood, and then The Master), and hopefully we will get our review of Together out soon as well.

This week, Eric and Josh discuss: Shook, the Dartmouth Comic Arts Festival, My Little Pony, Archie Comics, Drawing Blood, novelizations, 613flea, Adam Sandler's Netflix career, Saturday Night Sinema, Odd Burger, and more! They also mention the movies screening the week of Friday August 22 - Thursday August 28: Souleymane's Story, There Will Be Blood, The Last Class, Some Like It Hot, Manhunter, and The Room! They neglect to mention F1, which got booked after the podcast recording. You can always check current and coming soon listings at mayfairtheatre.ca!

One of the most exciting things about the idea of discussing Fascism in Cinema is how fluidly the ideas of authoritarianism have been adapted, and sometimes skewered, by filmmakers over the years. In the third episode of this series, we are looking at films that look at matters of faith, and how corrupted they can be by mankind. Since we are discussing religion, it would be wrong to have any other guest but return guest Stuart Delony from Snarky Faith. Listen as we discuss the state of religion in both the US, and the world, through the lens of Carl Theodor Dreyer's "The Passion of Joan of Arc", Monty Python's "Life of Brian", and Paul Thomas Anderson's "There Will Be Blood". I hope you enjoy!You can read my blog outlining my thoughts after the 2024 election here.Stuart wrote about a lot of the ideas we discuss about "There Will Be Blood" on his blog here.Fascism in Cinema SeriesEpisode 162 - Resistance to Fascism in CinemaEpisode 166 - Fascism in Cinema: Copaganda

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: What was the license plate on the Delorean in Back To The Future? Question 2: A German tradition is to hide a certain food in a Christmas tree, and the first one to find it gets a special gift. What is the food they hide? Question 3: Released in 2022, which TV show depicts a world where people undergo a procedure to split their mind into two so that they can enjoy life without work? Question 4: Which medical TV drama is set in a Seattle hospital? Question 5: Name the movie that matches the following plot summary: 'A small-time boxer gets a chance to fight the world heavyweight champion.' Question 6: Which actor has featured in films including Arrested Development and Donnie Darko? Question 7: What is the plot of the movie There Will Be Blood? Question 8: On the TV show Friends, which characters do Courtney Cox and David Schwimmer play? Question 9: What do people mean when type the letters 'IDK' in a message on the internet? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Pappy, Stevie, Josh, Brett, Korey and Mikey review milkshake classic: There Will Be Blood! Ruthless silver miner, turned oil prospector, Daniel Plainview moves to oil-rich California. Using his adopted son HW to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday suspects Plainviews motives and intentions, starting a slow-burning feud that threatens both their lives. Release date: December 26, 2007 (USA) Director: Paul Thomas Anderson Awards: Academy Award for Best Actor in a Leading Role · See more Story by: Upton Sinclair Adapted from: Oil! Running time: 2h 38m *Note Pappy is happily hosting for Steive but for record purposes this was Stevie's pick Korey's Podcast: https://www.youtube.com/@BigDumbMovie/videos PLEASE leave us a review! https://www.patreon.com/spoilerspodcast podcastspoilers@gmail.com

This week we are so excited to check out Paul Thomas Anderson's 5th feature film: 2007's There Will Be Blood. We chat about the shift in PTA's films, our love for the complex character that is Daniel Plainview, and more! Support us on Patreon: https://www.patreon.com/doofmedia Follow us on Twitter: @doofmedia See all of our podcasts and more at doofmedia.com! Show Notes: Just There Will Be Blood this week. 

This week, the boys go treasure hunting with John Huston's 1948 masterpiece “The Treasure of the Sierra Madre”. Dave and Jeff hadn't seen it before, John has seen it several times because he's a fancy film school nerd bro, so we grab a few whiskeys and beers and talk about it! We also catch up on the California tax credit news for film and entertainment, John gives some spoiler-free mini-reviews of “28 Years Later” and “F1”, and we fill you in on all the happenings of 1948 to add context to our feature conversation, which may help you understand why the movie was not a financial hit… at first. Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro + News; 10:02 John's mini-reviews of “28 Years Later” and “F1”; 16:14 Gripes; 17:30 1948 Year in Review; 35:28 Films of 1948: “The Treasure of the Sierra Madre”; 1:13:13 What You Been Watching?; 1:20:27 Next Week's Episode Teaser Additional Cast/Crew: John Huston, Walter Huston, Humphrey Bogart, Tim Holt, B. Travern, Brube Bennett, Alfonso Bedoya, Jose Torvay, Barton MacLane, Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, Cillian Murphy, Danny Boyle, Alex Garland, Anthony Dodd Mantle, Joseph Kosinski, Ehren Kruger, Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Tobias Menzies, Lewis Hamilton. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Bogie, Gold, California Tax Incentive, Italy, Tuscany, Cheese, Bread, Wine Tasting, Chianti, Rosé, There Will Be Blood, Paul Thomas Anderson, Poop Cruise, Toronto Mayor Rob Ford, Netflix, Apple Film, Times Square, Formula 1, British Grand Prix at Silverstone, Austrian Grand Prix, Lando Norris, Charles Leclerc, Oscar Piastri, Shane, Stick, Peter Pan, Roman Holiday, Mission: Impossible, submarine, nuclear weapons, Top Gun: Maverick, Ben Mendelsohn, French Accents, Tom Cruise, George Clooney, The Stock Market Crash, Bear Market, Trains, Locomotions, Museums, Nazis, WWII movies, WWI Shows, Plastic ExplosivesThe Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellen Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Your Friends and Neighbors, The Canadian Grand Prix.  

Meet my friends, Clay Travis and Buck Sexton! If you love Verdict, the Clay Travis and Buck Sexton Show might also be in your audio wheelhouse. Politics, news analysis, and some pop culture and comedy thrown in too. Here’s a sample episode recapping four Tuesday takeaways. Give the guys a listen and then follow and subscribe wherever you get your podcasts. Senate Passes Big, Beautiful Bill In Hour 1 of the Clay Travis and Buck Sexton Show, the hosts deliver a dynamic and timely breakdown of the Senate’s passage of the “Big Beautiful Bill”, a sweeping legislative package poised to reshape the political and economic landscape. Passed by a narrow 51-50 margin with Vice President JD Vance casting the tie-breaking vote, the bill now awaits President Donald Trump’s signature, expected by July 4th. This hour dives deep into the bill’s key provisions, including a $5 trillion debt ceiling increase, hundreds of billions allocated for border security and national defense, and a projected $3.3 trillion budget deficit increase through 2034. The hosts analyze the political drama surrounding the bill’s passage, highlighting opposition from Republican Senators Rand Paul, Tom Tillis, and Susan Collins, and the expected reconciliation process in the House. Lefty Language Games Analysis of the Senate’s passage of the “big, beautiful bill,” a major piece of legislation expected to stimulate economic growth, provide tax certainty, and enhance border security. The hosts emphasize the bill’s imperfections but argue its net benefits outweigh its flaws, especially in the context of a government that often lacks the political will to reduce spending. A significant portion of the hour is dedicated to the unsustainable trajectory of federal spending, with references to past efforts by figures like Ross Perot, Senator Ron Johnson, and Senator Rand Paul. The hosts critique both parties for failing to curb entitlement growth and highlight how slowing the rate of spending increases is misleadingly labeled as “cuts.” They also explore how artificial intelligence and productivity gains could potentially offset fiscal challenges, offering a rare optimistic note on economic innovation. The Art of the Possible The Big Beautiful Bill now heads back to the House, where the Freedom Caucus may voice opposition, but it’s expected to reach President Donald Trump’s desk for signature before the July 4th holiday. A major highlight of the hour is President Trump’s visit to “Alligator Alcatraz” in Ochopee, Florida, a remote airstrip facility intended for detaining and deporting illegal immigrants. Trump’s remarks emphasized deterrence, warning migrants against fleeing into the Everglades. The segment underscores the administration’s tough stance on immigration and sanctuary cities, with speculation that legal challenges may arise from cities defying federal deportation orders. Best Movie of the 21st Century? Clay and Buck debate the best movies of the 21st century, referencing a recent New York Times list. Films like The Dark Knight, There Will Be Blood, No Country for Old Men, and The Pianist are discussed, with particular praise for Heath Ledger’s iconic performance as the Joker. The conversation also includes listener favorites and humorous disagreements over ice cream flavors—particularly pistachio—and nostalgic TV shows like Knight Rider and The Dukes of Hazzard. Make sure you never miss a second of the show by subscribing to the Clay Travis & Buck Sexton show podcast wherever you get your podcasts! ihr.fm/3InlkL8 For the latest updates from Clay and Buck: https://www.clayandbuck.com/ Connect with Clay Travis and Buck Sexton on Social Media: X - https://x.com/clayandbuck FB - https://www.facebook.com/ClayandBuck/ IG - https://www.instagram.com/clayandbuck/ YouTube - https://www.youtube.com/c/clayandbuck Rumble - https://rumble.com/c/ClayandBuck TikTok - https://www.tiktok.com/@clayandbuck YouTube: https://www.youtube.com/@VerdictwithTedCruzSee omnystudio.com/listener for privacy information.