Podcast appearances and mentions of tim brayton

Editor's note: apologies to Mandy for bumping this episode by a week to make room for our Oscar special. Starting in April, Your Movie Rocks will be back to its usual spot on the first Tuesday of the month. Welcome to Your Movie Rocks, an Alternate Ending podcast hosted by Mandy Albert.  For every episode, Mandy will watch a movie assigned by her guest host, followed by a lively discussion.  There's only one rule: no matter what the movie does to her, Mandy is only allowed to love it. On Episode 1, Mandy and AE horrormeister Brennan Klein think and speak at length about The Bye Bye Man, a movie whose previous claim to fame was inspiring one of the all-time great Tim Brayton review lines.  Tune in to find out how far Mandy's unconditional love for Doug Jones can carry her, and why Brennan is still thinking about it (and saying it) eight years after its release.

Join us for a commentary on the 1960 horror classic The City of the Dead aka Horror Hotel. Mike starts off by telling us about a recent trip to the Post Punk and Industrial Museum and we discuss some trivia before getting into the film. Sources for this episode include The City of the Dead (1960) Amicus Horror: All of Them Witches by Tim Brayton at Alternate Ending, Film Review – The City of the Dead (1960) by Brandon Stanwyck at Fearsome Queer, The City of the Dead (1960) – Tuesday's Overlooked Film by Cavershamragu at Tipping My Fedora, and The City of the Dead (1960) Witch Movie Review | Real World Lore, History & Witchcraft by Witch Way on YouTube, IMDb, and various Wikipedia articles. Send us an email at ⁠lastthreerowsofhorror@gmail.com⁠. Follow and drop us a line on the most evil ⁠Instagram⁠ and ⁠Facebook⁠. Like, subscribe, and leave us a comment on ⁠YouTube⁠! Thank you for watching/listening and supporting LAST THREE ROWS OF HORROR! CHAPTERS 0:00 - Introduction 0:36 - Welcome to the Last Three Rows of Horror! 2:01 - Mike's Trip to the Post Punk and Industrial Museum 11:03 - Getting Into The City of the Dead 13:21 - 1960s Horror Classics 19:20 - The Plot 19:55 - Writer George Baxt 23:09 - Producers Milton Subotsky and Max Rosenberg 23:43 - Amicus Productions 26:29 - Milton Subotsky's Stephen King Adaptations 30:48 - Vulcan Films and Shepperton Studios 31:22 - Director John Llewellyn Moxey 33:30 - US Censorship 34:39 - The City of the Dead 1:53:00 - Wrapping Up 1:53:21 - Credits 1:53:46 - Post-Credits 1:54:30 - Object Deleted - Church 2:02:04 - Object Deleted - Unholy Terror

[Due to our last-minute addition of two episodes, the podcast feed mistakenly had S5E09a queued here for a few hours this morning - it should now be fixed!] How Would Lubitsch Do It comes to a close with a grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Harlow Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Harlow Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

How Would Lubitsch Do It comes to a close with our grand finale. Tim Brayton returns to discuss Cluny Brown and look back on both Ernst Lubitsch's career and the past five seasons of this show. First, we discuss everything Cluny Brown: the film's generosity and humanism, its commentary on British class society, its relationship with the second world war, its full-throated embrace of absurdism, the title character's magnetism, Adam Belinski's status as a revision on a stock villain, and the film's somewhat autobiographical and wonderfully optimistic ending. Second, we close out the show with a look back: we debate our respective rankings (Tim, Devan) of Lubitsch's filmography, highlight our favourite cast members, crew members and collaborators, discuss subsequent filmmakers who bear distinct marks of Lubitsch's influence, discuss whether or not the show's structure accurately reflects the ebbs and flows and our subject's career, and answer the key questions: why Lubitsch? Why a podcast? Edited by Griffin Sheel. A Thanks I started this quixotic project two years ago with the hope of making something that spoke to me and, if anyone else was interested, so be it. Turns out some other people were interested, and if you're reading this now, that's probably you. My endless and sincere thanks for sticking it through. Thanks to the many guests who lent their time and support throughout the show: Lauren Faulkner Rossi, Fran Hoepfner, Bram Ruiter, Luci Marzola, Jaime Rebenal, Maddie Whittle, Paul Cuff, Kristin Thompson, Stefan Droissler, Molly Rasberry, Sarah Shachat, James Penco, Dave Kehr, Julia Sirmons, David Neary, Patrick Keating, Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Lea Jacobs, Tanya Goldman, Krin Gabbard, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey, Scott Eyman, Imogen Sarah Smith, Chris Cassingham, Olympia Kiriakou, Griffin Newman, Kevin Bahr, Whit Stillman, Adrian Martin, Jose Arroyo, Lance St. Laurent, Tim Brayton, William Paul, Dara Jaffe, Gary Jaffe, Peter Labuza, Willa Ross, Eloise Ross, David Cairns, Noah Isenberg, Matt Severson, Mateusz Pacewicz, and Charlotte Garson. Our editors: Griffin Sheel, Gloria Mercer, Willa Ross, Sophia Yoon, Rylee Cronin, Brennen King, & Eden Cote-Foster Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: the Margaret Herrick Library, the Museum of Modern Art, the Academy Museum of Motion Pictures and most of all to Ernst Lubitsch, who taught me more than it could possibly take the sixty-eight episodes of this podcast to describe. This entire experience - hundreds of hours of research, recording, and editing - has been among the great pleasures of my life, and everyone's contributions have meant a great deal to me. Onwards to whatever's next!

Cahiers du Cinéma deputy editor Charlotte Garson joins us for a wide-ranging discussion that takes a look back at the past five seasons of the podcast and our subject's career: among other things, we cover Lubitsch's treatment of unconventional relationships, feminine sexuality and gender fluidity, his treatment of theatricality, his influence upon the critics of Cahiers and other filmmakers, and more doors. Edited by Griffin Sheel. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: It's the end! The grand finale! Tim Brayton returns to discuss Cluny Brown and to help wrap up the whole show with a look back at everything we've spent the past two years covering. For information as to where to find this film, check out our resources page. WORKS CITED: Ernst Lubitsch (1985) - Cahiers du Cinéma Charlotte's introductions, delivered at the Centre Des Arts Cinema, for: To Be Or Not To Be Ninotchka I Don't Want To Be a Man & The Oyster Princess Charlotte's analysis of Bluebeard's Eighth Wife

In tribute to the passing of site cofounder and top 5 aficionado Rob Jarosinski, co-hosts Tim Brayton, Brennan Klein, and Mandy Albert share their picks for the best films from the IMDb Top 250, the list that Rob embodied best.

Tim Brayton returns to discuss noted Lubitsch fan and disciple Preston Sturges and his 1941 meta-comedy SULLIVAN'S TRAVELS. We cover Sturges' immense admiration of Lubitsch, the film's immensely fascinating but perhaps frustrating relationship with its own status as a satire of its own form, Sturges' political beliefs and moral compass, the value of communal viewings to comedic cinema, and much more. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT WEEK: We're taking a little break! See you in a few weeks for the last eleven episodes of Season 5, the end of our story. WORKS CITED: Romantic Comedy in Hollywood: From Lubitsch to Sturges and The Lady Eve (The Current) by James Harvey Pursuits of Happiness: A Reading of the lady Eve by Stanley Cavell Fast Talk: Preston Sturges and the Speed of Sound by Joe McElhaney Preston Sturges: Success in the Movies by Manny Farber and W.S. Poster Christmas in July (Review) by Adrian Martin

It's our season finale, and the end of the pre-code era! To celebrate, Tim Brayton returns to discuss THE MERRY WIDOW. We effuse about the film's infectious energy, the many incredible ‘Lubitsch Touch' moments and gestures, discuss Lubitsch's extremely loose adaptation of the Lehar operetta, the French-language version, Edward Everett Horton's greatest role, the film's relationship with love and death, the more “conservative” nature of the film's resolution, and much more! With that, Season 4 of HOW WOULD LUBITSCH DO IT comes to a close, and with it the pre-code era. Oh how we'll miss you, lax Hays office overseers. Thanks to the guests who lent their time and support to this season: Jennifer Fleeger, Katharine Coldiron, Jonathan Mackris, Will Sloan, Matt Severson, Lea Jacobs, Tanya Goldman, Willa Ross, Krin Gabbard, Molly Rasberry, Jordan Fish, Ray Tintori, Z Behl, Eric Dienstfrey and Tim Brayton. Our editors: Gloria Mercer, Griffin Sheel, Sophia Yoon, & Rylee Cronin. Our location sound engineer, Anna Citak-Scott. And others who lent valuable counsel and support: Peter Labuza, Jose Arroyo, the Margaret Herrick Library, Dave Kehr and the Museum of Modern Art, Dara Jaffe and the Academy Museum of Motion Pictures, Patrick Keating, Scott Eyman, Paul Cuff, David Cairns, and all the members of our Discord. We have a Discord! Listen on: Apple Podcasts | Spotify NEXT SEASON: The censor's hammer falls, and Lubitsch's career comes to a close in grand fashion in Season 5. WORKS CITED: MPAA Production Code Administration Records for THE MERRY WIDOW The Merry Widow Blog Entry by Jose Arroyo

In our Season 3 finale, returning guest Bram Ruiter joins us to discuss the final film Ernst Lubitsch ever directed that didn't involved on-set sound recording: ETERNAL LOVE! We discuss the film's unusual status as a hybrid silent/sound picture, the strange story of how this film was lost and then discovered, John Barrymore's dipsomaniacal tendencies, and the film's terrific ending amidst long tangents in which break down how, exactly, one might deign to fix this rickety screenplay. Edited by Will Ross. Thanks to the guests who lent their time and support to this season: Peter Labuza, Tim Brayton, Molly Rasberry, Sarah Shachat, James Penco, Will Ross, Dave Kehr, Julia Sirmons, David Neary, David Cairns, and Bram Ruiter. Our editors, Griffin Sheel, Gloria Mercer, and Will Ross, and our sound recordist, Anna Citak-Scott. And others who lent valuable counsel and support: William Paul, the MOMA, Jose Arroyo, Matt Severson, the Margaret Herrick Library, Dara Jaffe, Scott Eyman, Patrick Keating, Paul Cuff, and many others. We have a Discord! NEXT SEASON: We return on October 31st with Season 4, in which the movies begin to talk! Yes, we're entering the sound era as well as the height of Lubitsch's influence in Hollywood!

Critic and friend of the show Tim Brayton returns to discuss Lubitsch's first American silent film, ROSITA. We discuss Lubitsch's artistic evolution upon leaving Berlin and entering Hollywood, his struggles with Merry Pickford, the film's recent MOMA restoration, Lubitsch's newfound mastery of tone, this film's status as a ‘transitional work', the typical Hollywood artistic and industrial processes circa 1923, Lubitsch's career goals, and historical determinism. Come join our Discord! NEXT WEEK: Margaret "Molly" Rasberry joins us to discuss Charlie Chaplin's A WOMAN OF PARIS. For details as to where to find this film, check out our resources page.

We're back, and Ernst Lubitsch is now in Hollywood! It's been an exciting time for the podcast: we've traveled around the world or, more specifically, to Los Angeles and New York City, to record the next few seasons. We begin at the Margaret Herrick Library at Beverly Hills, in conversation with Peter Labuza as we discuss the history of early Hollywood, wherein Ernst Lubitsch is about to begin the second phase of his career. In this episode, we cover the landscape and economics of the studio system circa the 1920s, 1930s, and 1940s including studios such as MGM, 20th Century, Universal, Paramount, and RKO, the interplay between capital and labor in this industry, the impact of synchronized sound, the great depression, the Hays code, JEWEL ROBBERY, and much more! Anna Citak-Scott was our recording engineer for this episode. Thanks to Matt Severson and the Margaret Herrick Library for letting us record in the Karl Malden room. We have a Discord! NEXT WEEK: Critic and friend of the show Tim Brayton returns to discuss Lubitsch's first American silent film, ROSITA. For details as to where to find this film, check out our resources page. WORKS CITED: Hard, Fast, and Brokerage: Irving H. Levin, the Filmmakers, and the Birth of Conglomerate in Hollywood by Peter Labuza For The Maintenance of the System: Institutional and Cultural Change within the Motion Picture Producers and Distributors of America, 1922-1945 by Paul MacLusky Moticone The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 by Bordwell, Thompson, and Staiger. Making Cinelandia: American Films and Mexican Film Culture by Laura Isabel Serna An Empire of Their Own by Niel Gabler Film Rhythm after Sound by Lea Jacobs Working in Hollywood by Ronnie Regev YOU MUST REMEMBER THIS: KAY FRANCIS

Critic and friend of the show Tim Brayton returns to discuss Lubitsch's lo-fi comic masterpiece THE DOLL. Much enthusiasm for this completely iconoclastic curio of a film is shared as we discuss the nature of artifice, history's least-convincing fake horses, the mysterious circumstances under which this film's release was botched, Lubitsch's not-all-that-scathing satire of organized religion, and unacceptably bad silent film scores. Griffin Sheel was our dialogue editor for this episode. NEXT WEEK: Filmmaker, critic, and academic David Cairns joins us to discuss KOHLHEISEL'S DAUGHTERS, Lubitsch's bizarre Bavarian take on Shakespeare's ‘The Taming of the Shrew'.

Critic Jaime Rebanal joins us to discuss MADAME DUBARRY, Lubitsch's highly celebrated international breakthrough. What are we to make of it aesthetically circa 2023? How do we interface with 104-year-old blockbusters? Are biopics inherently broken? Who is Emil Subich? We cover all this and more, plus John Ford! NEXT WEEK: Critic and friend of the show Tim Brayton returns to discuss Lubitsch's lo-fi comic masterpiece THE DOLL.. For details on where to find this film, check out our resources page. WORKS CITED: FROM CALIGARI TO HITLER by Siegfried Kracauer

Season One draws to a close in maximalist style as experimental filmmaker Bram Ruiter us for a particularly exuberant episode in which we discuss Lubitsch's grand Ruritanian comic epic THE OYSTER PRINCESS. Our discussion is wide-ranging and a little giddy due to our excitement at discussing such a thrilling and hilarious mini-epic, so prepare for a slightly looser episode than usual! Lubitsch's growth as an artist, Ossi Oswalda's indomitability, and a long digression about Berlin's film museum are all on the table. Immense to everyone that made this season possible: All of our guests: Lauren Faulker Rossi, Will Ross, Dara Jaffe, Matt Severson, Peter Labuza, Tim Brayton, Jose Arroyo, Fran Hoepfner, and Bram Ruiter. Everyone who provided invaluable content, helped find guests, or otherwise graciously lent their valuable counsel and support: Anna Citak-Scott, Dave Kehr, David Cairns, Kristin Thompson, Paul Cuff, Luci Marzola, Stefan Drössler, the MOMA, all of our soon-to-be-announced future guests, and many others. And, of course, to anyone who's listened to our show and is reading this right now: thanks for surviving the most comically esoteric season of film podcasts imaginable. NEXT SEASON: We're taking a month off! Join us in March as we enter our second season in which we'll cover the final stretch of Lubitsch's career in Berlin. If you're curious as to which films we'll be covering, check out our Season 2 Resources page. If you'd like to get a head start, check out Kristin Thompson's essential book HERR LUBITSCH GOES TO HOLLYWOOD, available here.

Film critic, podcaster, PHD candidate at the University of Wisconsin-Madison, and former guest Tim Brayton joins us to discuss THE EYES OF THE MUMMY MA, Lubitsch's oldest surviving drama. In this episode, we discuss the momentous arrival of Emil Jannings and Pola Negri to the stock company, the rather troubling orientalist aspects of the film, and the ethics and economics of film preservation. NEXT WEEK: Jose Arroyo joins us to discuss CARMEN. For details on where to find this film, check out our resources page. WORKS CITED: THE EYES OF THE MUMMY MA - Blog entry by Jose Arroyo's website “Notes On Film”.

The great Tim Brayton comes back to talk about Bela Lugosi and Boris Karloff together in the Universal Horror classic The Black Cat! Follow us on itunes and leave you ratings and reviews: https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Follow our twitter at https://twitter.com/criterionpod Find out more about Tim and his work: https://www.alternateending.com/ Follow Conrado's blog cocohitsny.wordpress.com/ Follow Conrado on twitter @CocoHitsNY Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Listen to Conrado's new podcast Foreign Invader: https://podcasts.apple.com/us/podcast/foreign-invader/id1552560225 Follow Rachel's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Listen to Rachel's Reviews on Itunes: https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Listen to Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id1296728288 Our intro is written by Michael Lloret: https://www.michael-lloret.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

Hello and welcome to the official first main feed episode of Bride of Alternate Ending! We are the horror spinoff show hosted by Brennan Klein and Tim Brayton, and we've graduated from Patreon to the main feed this month! These episodes will be coming the 2nd and 4th Friday of every month! For spooky season, we've decided to gift each other with horror classics that the other hasn't seen. First up is Tim, who is showing Brennan the 1973 Nicholas Roeg classic DON'T LOOK NOW for the very first time!

Adapting literary works to the screen involves a certain amount of translation. There are certain things that are easily conveyed in writing that cannot be conveyed in a straightforward way onscreen; likewise, there are elements of cinematic language that open up new routes to expression. John Le Carre’s Tinker Tailor Soldier Spy is a useful case study in this regard: it has been the subject of two acclaimed adaptations that could not be more distinct in the toolkit each uses to translate book to screen. We’ve invited Tim Brayton, film critic at Alternate Ending, to discuss both the 1979 John Irving adaptation as well as Tomas Alfredson’s 2011 take. In this episode, we discuss: Literary accuracy versus formal expressiveness in adaptation. Focal lengths, zoom lenses, and the observational mode. 1970s BBC television house style: is it any good? Narrative obscurity. John Le Carre’s stylistic toolit as a writer and the challenges it poses for adaptations. The construction of performances through lighting and framing. Mark Strong: MVP? If you’d like to support the show, here’s a link to our Patreon. Works discussed during this episode: The Spy Who Came in From the Cold (1965) Tinker Tailor Soldier Spy (1979) Smiley’s People (1982) The Little Drummer Girl (1984) The Tailor Of Panama (2001) Tinker Tailor Soldier Spy (2011) A Most Wanted Man (2014)

Today we have guest critic and podcaster Tim Brayton with us to talk about the 2006 hit film by director Bong Joon-ho THE HOST Follow Alternate Ending on twitter https://twitter.com/alternateendng?lang=en Follow Tim at https://www.alternateending.com/ Please follow us on itunes and leave you ratings and reviews https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Please follow our twitter at https://twitter.com/criterionpod Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Our intro is written by Michael Lloret. Please use him for all your music needs https://www.michael-lloret.com/ Listen to Rachel's Reviews on Itunes https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Follow Conrado's blog cocohitsny.wordpress.com/ Follow Conrado on twitter @CocoHitsNewYork Follow Rache's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel on facebook www.facebook.com/smilingldsgirlreviews Listen to Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id1296728288 --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

Lady P makes a bid for a late-career resurgence as Flixwise host. She is joined by fellow UW-Madison grad students Megan Boyd and Tim Brayton to discuss the legacy of the 127th film on the Sight and Sound International Critics Poll, Pulp Fiction (Tarantino, 1994). With the recent release of Once Upon a Time... in Hollywood, director Quentin Tarantino has indulged a nostalgic remembrance of movies past. This episode follows his lead by revisiting Pulp Fiction, one his best known and most influential works. While the film remains a crowd pleaser among cinephiles and casual moviegoers alike, there are elements of the fractured narrative that may have played better to a mid-1990s crowd. The panel discusses the ways in which the radical structure enhances some elements of the story while doing a disservice to others. They also take time to lament how this film's legacy is in some ways tainted by its association with a subset of overeager film bros. Along the way, the panels veers into conversations about the film's melange of pop-culture references including the various music drops and the puzzling wig selection. For more podcasts with Tim check out our Hunchback of Notre Dame and Best of 2018 episodes. Also you can listen to him on the regular at his podcast, Alternate Ending.

The Academy Award nominees were announced a week ago today, so theoretically we should have had a sufficient amount of time to mull over the various categories. However, this podcast offers something of a collective scratching of the heads at the hodgepodge of different Best Picture nominees. Host, Lady P, is joined by Oscar enthusiasts, and fellow UW-Madison Graduate Students, J.J. Bersch and Tim Brayton, to help sort through the good, the bad, and the Green Book of this year's contenders. Together they suggest reasons why there is so much incongruity in the major categories and discuss their favorites among the contenders.  Plus, since we never got around to it last year, we are finally doing an abbreviated year-in-review show wherein we chat about A Story is Born, Spike Lee, Minding the Gap, and of course, Miss Weisz.   If you want to hear more movie talk from Tim, here's a link to his regular podcasting gig, Alternate Ending. Also, he made a previous appearance on Flixwise for our Oliver & Company/The Hunchback of Notre Dame episode.  And if you want a change of pace from movies, click here to listen to J.J's fantastic music playlists. 

Shin Godzilla level patron Mando (from Thematic Elements!) joins us to talk about two of his favorite 90s creature features - Anaconda and Deep Rising! We had a great time with Mando and really unearthed some of the deeper themes of these movies.  Are all snakes in love with JLo?  Is the Converse/sock combination the worst footwear choice for a boat?  What was Roger Ebert's criteria for determining whether a giant monster movie is good or bad in the 90s?  Listen to find out! Anaconda (1997) Sources "Anaconda (1997)", And You Call Yourself a Scientist?   Deep Rising (1998) Sources: "Deep Rising (1998)" by Tim Brayton, Alternate Ending   Find Armando Online: @blinkbomber - Twitter & Instagram Thematic Elements @themelementspod - Twitter facebook.com/themelementspod - Facebook Listen on iTunes, Stitcher, and Google Play Music!

We at Flixwise believe that it is important that we concern ourselves with whether a film's reputation is earned or simply accepted as common wisdom. That it is important to care enough about the art of filmmaking to pause and reflect on even the most common or woeful of motion pictures. And really, what's more woeful than being given the boot from "The Happiest Place on Earth?" With that in mind, we ever so humbly present a Flixwise Favorites face-off featuring two films that have long been relegated to the Disney Corporation deep-freeze. On today's show, the all-but-forgotten 1988 Disney Animated Film, Oliver and Company (Scribner), squares off against the film that rang the death knell for the Disney Renaissance, The Hunchback of Notre Dame (Trousdale and Wise, 1996), to determine which movie is the most deserving of a spot on the Flixwise Favorites list. To weigh on which film is the more worthy selection, Lady P is joined by two of her fellow UW-Madison graduate students. Taking the Oliver side is Matt St. John who contends that Dodger (voiced by Billy Joel) remains one of the coolest, most aspirational, figures in the Disney pantheon. Then, on the Hunchback side is Disney scholar, and fellow podcaster, Tim Brayton, who steps the listeners through the historical significance of both films but remains squarely on the side of Hunchback as the true masterpiece. Listen up to hear Lady P's verdict as to which picture deserves "some more" love.

In honor of Martin Luther King Jr. Day, Carrie and Rob go through their top 5 movies about racial unity. In addition, this episode marks a new day in Alternate Ending as we relaunch the website and are joined by film critic Tim Brayton making his first of many appearances.