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The recommended suspension for Te Pāti Māori MPs, Debbie Ngarewa-Packer, Rawiri Waititi, and Hana Rawhiti Maipi-Clarke, over the MP's haka in Parliament during the first reading of the Treaty Principles Bill last year. Co-leaders Ngarewa-Packer and Waititi will be suspended from the House for 21-days, with Maipi-Clarke facing a seven day suspension. This is Parliament's harshest sanctions in the country's history. Prior to this, the longest suspension an MP had faced in Parliament was three days. The debate had previously been delayed so that the MPs could participate in the Budget debate — however, both co-leaders were not present at the debate. During the debate MP Tākuta Ferris said that the debate was not about the haka, but at the heart, it was the House continuing to ignore Te Tiriti o Waitangi and Māori sovereignty, and that the “racism” in the House is hardly being hidden. For our weekly catch-up, News and Editorial Director and Monday Wire Host, Joel, spoke to Te Pāti Māori's Takutai Kemp about the suspension, and what's next for the party. They also discussed NZ First Party Leader Winston Peters' comments regarding Waititi's moko, referring to the MPs moko kanohi as “scribbles”. He was asked to apologise by the Speaker, which he did. But first, they discussed the suspension of the MPs.
This week on the Monday Wire: For our weekly catch up with Te Pāti Māori's Takutai Kemp, News and Editorial and Monday Wire Host Joel speaks to her about the proposed suspension of Te Pāti Māori MPs Debbie Ngarewa-Packer, Rawiri Waititi, and Hana Rāwhiti Maipi-Clarke standing, and NZ First Party Leader, Winston Peters' comments about Waititi's moko kanohi during the debate. For our weekly catch up with the ACT Party's Simon Court, they speak to him about David Seymour being sworn in as Deputy Prime Minister, Seymour's claims that bots drove fake submissions against the Regulatory Standards Bill, and the proposed suspension of Te Pāti Māori MPs being held. They speak to Margaret Mutu — a Professor of Māori Studies at the University of Auckland about the suspension of Te Pāti Māori MPs and her concerns around the ruling. Joel speaks to Michael Swanson — a PhD Candidate in New Zealand Politics at the University of Otago, about ACT Party leader, David Seymour, about being sworn in as Deputy Prime Minister, and if this will impact how the current government operates. And Producer Samantha speaks to Renee Hosking, the lead medical student researcher at the University of Otago about a study showing that a large proportion of vape juice packaging misstates the nicotine content present. Whakarongo mai
Te Pāti Māori MPs, Debbie Ngarewa-Packer, Rawiri Waititi, and Hana Rāwhiti Maipi-Clarke have been suspended in Parliament. Co-leaders Ngarewa-Packer and Waititi faced a suspension of 21-days, with Maipi-Clarke facing a suspension of seven days, over their haka in Parliament during the first reading of the Treaty Principles Bill last year. News and Editorial Director and Monday Wire Host, Joel, spoke to Margaret Mutu, a Māori Studies Professor at the University of Auckland about the ruling, and what impact this will have on the party heading forward.
Well that was as chaotic as you'd expect. I caught the first half of Parliament's debate on the haka-gate: Winston Peters went full attack dog, Willie Jackson fought back, Waititi brought a noose into the chamber, and Adrian Rurawhe, former Speaker and Labour MP, had the most sensible and respectable take of the debate. I've had the pleasure of interviewing him a few times. He's a humble, quiet and observant sort of guy. He's quick to a smile and enjoys a good argument. Not that you could hear it in the House yesterday. Loads of interjecting. Lots of noise. Adrian gets respect because he shushed his own Labour colleagues while he was up on his feet. He made two decent points. 1. The Privileges Committee is meant to be bipartisan. The fact this punishment was not, is a bad thing. Why? Because now it's open season, governments —of any persuasion— can weaponize its punishments against their political opponents. This is not a good thing. As he points out, this was the government punishing MPs, not the Parliament. Which it ought to be. Herein lies the problem with Parliament these days - there is no agreed standard of behaviours that's universal to all MPs. Getting physically up in somebody's grill is considered okay by some. The House is meant to be about what comes out of your mouth, not how close another MP is to it. 2. Rurawhe scolded the Māori Party for not apologising for their bad behaviour. He spoke of his cousin Dame Tariana Turia. She never skipped a vote, worked hard for her people and spoke on every bill before the House. The question really is whether Te Pati Māori actually wants to be in Parliament or whether it wants a separate one. If it wants the latter, which its website says it does, and doesn't turn up half the time or gets suspended for breaking rules, you've got to ask yourself why they're there in the first place. All in all, aside from Adrian's wise words, there's a few hours wasted the House won't get back. See omnystudio.com/listener for privacy information.
Last week, Finance Minister, Nicola Willis, announced her ‘growth' Budget for 2025. In the Budget, multiple initiatives received a boost in funding. Operational funding and capital funding for Māori education received a $54 million boost and $50 million boost respectively for Māori learner success, with a $14 million injection for Māori wardens, Pacific wardens, and the Māori women's welfare league. However, a variety of Māori initiatives have faced substantial cuts. The Māori Development Fund has had $20 million cut over four years, $32.5 million has been cut from Māori housing initiatives, and $375.5 million cut to the Kāhui Ako programme. Labour's Māori Development spokesperson, Willie Jackson, claims that overall, in Budget 2025, Māori initiatives are seeing cuts of roughly $750 million. For our weekly catchup, News and Editorial Director and Monday Wire Host, Joel, spoke to Te Pāti Māori's Takutai Kemp about Budget 2025 and it's impacts on Māori initiatives. They also spoke about the debate on the potential suspension of Te Pāti Māori co-leaders, Rawiri Waititi, and Debbie Ngarewa-Packer, and MP Hana Rawhiti Maipi-Clarke, being pushed back prior to the Budget debate. As well as this, notably, during the Budget debate itself, both Waititi and Ngarewa-Packer were absent. However, they first discussed the 2025 Budget and Māori initiatives
Thor: Ragnarok gets its due here as one of the all-time greats of the MCU, and for making everybody learn how to pronounce ‘Taika Waititi'. Verily, ‘tis a worthy inclusion indeed to the Five Bucket List! #thorragnarok #thor #ragnarok #marvel #mcu #taikawaititi #chrishemsworth #hulk #markruffalo
Get ready for a unique blend of humor, heart, and history as the podcast dives into Jojo Rabbit! Taika Waititi's bold satire takes us into the imaginative world of a young boy whose life is hilariously and heartbreakingly upended during WWII. With standout performances by Roman Griffin Davis, Scarlett Johansson, and Waititi himself as an absurd version of Hitler, this film masterfully balances comedy and emotion. We'll explore its quirky storytelling, touching themes of love and acceptance, and its Oscar-winning script. Join us for a thoughtful and entertaining review of this unforgettable cinematic gem!
In this week's episode of Bingeworthy, our TV and streaming podcast host Mike DeAngelo gets stuck in the background while discussing “Interior Chinatown.” The Hulu series follows a waiter stuck in the background of a crime procedural show who dreams of being in the spotlight. The series stars Jimmy O. Yang, Ronny Chieng, Chloe Bennett, Lisa Gilroy, Sullivan Jones, Diana Lin, Tzi Ma and more. READ MORE: ‘The Penguin': Showrunner Lauren LeFranc Talks About Working With Colin Farrell, Season 2 & More [Bingeworthy Podcast] Joining Bingeworthy to discuss the series is producer/director Taika Waititi, author of the book the show is based on, and producer and showrunner Charles Yu. While it's become more common to see Authors come on to adapt their own stories for television, it's not so common to have an Oscar winner offer to direct. During the interview, Waititi discussed being instantly taken by the story and the unique world Wu created. --- Support this podcast: https://podcasters.spotify.com/pod/show/theplaylist/support
Democracy is a delicate and fragile thing, and yesterday's protest was a good example of it working. People oppose something, they protest peacefully, respectfully, they present a petition, they go home. The bill, by the way, that they don't like, well, it's not becoming law. You don't have to look far this morning for examples of things going tits up in a big way, and quickly. We've basically farewelled freedom in Hong Kong, 45 activists sentenced to long-term prison sentences overnight, kids in the West Bank being killed. You've got a tyrant in Putin lowering the bar for the use of nuclear weapons, plus you've got US made long range missiles firing on Russia. But here, we have a functioning democracy. Now the hīkoi is over, Rawiri Waititi wants to go further. He wants a separate Māori parliament. He wants two systems. He references on his website the Irish, Welsh, and Scottish systems. The latter of which controls its own justice, education, tax systems. How would that work here? Who would fund such a parliament? Who would fall under the Māori parliament, given 75% of Māori didn't vote for Rawiri's lot at the last election? How would you build a nation within a nation, separated not by borders, but ethnicity? Serious question. You see, democracy works when we're all in it and we're all in it equally. It's true that not every group will get the same outcomes from that system, but that's no reason to throw the system away entirely. What it is, sure, is a call to better use that system to effect change through strong and pragmatic leadership, the likes of which Te Pāti Māori has been known for in the past. Whether you'll get that leadership from Debbie and Waititi... well, we'll have to wait and see. See omnystudio.com/listener for privacy information.
These are the political winners and losers from a bombastic day in the House yesterday: Labour: loser. Willie Jackson did his best to take the headlines, didn't he? But Te Pāti Māori's choreographed stage production well and truly stole his thunder and with it, they've probably stolen any hope of Labour regaining the Māori seats they lost at the last election. Why would you vote for Te Pāti Māori-lite in Labour, when you can have the real deal? It's highly unlikely Labour will need to lead the next government for a number of reasons, which we've canvassed on this program many times, so why wouldn't you protest vote Te Pāti Māori in 2026? Despite Willie's protestations about the Nats supporting ACT's bill in the first reading, Casey Costello made a really interesting point in the debate about Labour's own track record on Treaty principles. They did a deal with New Zealand First, the Treaty Principles Deletion Bill, back in 2005 on first reading and then later voted it down. Does that sound familiar? Yes, that's because it is. It's because the same thing is happening now on the right. Te Pāti Māori, they are a winner. They have shrewdly led this debate for their base from premeditated, dramatic Instagram ops in the House, to fronting the party adjacent led protest across the Harbour bridge, to encouraging voters to sign up to the Māori roll during Waititi's speech against the bill yesterday. They have outmanoeuvred and outgunned Labour on all fronts, and they won't care what Middle New Zealand's reaction is to the antics in the House. Therefore, politically, it's a win. Luxon: winner, of sorts. Flying the coop to Peru and avoiding all this chaos turned out to berpobably the best idea he's had in a little while. Seymour: winner, for his base who support this bill the result speaks for itself. It passed, even if only the first reading. The biggest loser: Parliament and decorum. Barry Soper, on with Heather yesterday, said this was an unholy mess, the likes of which he had not seen in the House before. It's hard to argue with that. The question now is whether the same antics will be used to disrupt the Justice Select Committee. And if so what, if anything, will and can be done about it. See omnystudio.com/listener for privacy information.
Back to the review of the last election result we mentioned this week from the political brains trust at Victoria University. Just to remind you, they analysed our votes, our issues, and our voting intentions and, and as a result, what sort of mandate they thought the current Government has. My point was they overthought the whole thing, given we only have one vote and it doesn't specifically buy a lot, or guarantee any sort of outcome, or even influence. So it is on that note I pose this very simple premise - if and when Labour get back to power, they are going to need most likely not just the Greens, but the Māori Party too. It's the Māori Party that will potentially lead to a flurry of analysis and a lot of hard questions that I'm not sure anyone has even thought about yet. The Māori Party are radicals. When the police raided the Mongrel Mob the other day in Opotiki, Rawiri Waititi called it "state sponsored terrorism" driven by a race agenda. How do the Labour Party live with that? How do they explain it? How do they justify being in Government with that? To their credit, the Māori Party I think are long-termers, given Waititi seems to have a lock on his seat and that is far more reliable than 5%, which they will never get because they are radicals. They are single issue zealots. But democracy allows this if you can find 5% to agree with you, or a seat where that sort of rhetoric sells. Waititi has that seat. So when you vote for Labour or for the Greens do you think about a Government grouping that has the Māori Party radical element in it and, if you do, what do you think that will lead to? What if the Māori Party have the NZ First card, i.e. the balance of power where you can't form a Government without them? What do you think their price for that will be? How radical do you think that will be? When the political wonks at Victoria University get to analyse that, their heads will explode. What you thought you were voting for and what you got, will be unrecognisable. And yet in 2026 it's possible. In 2029 it might even be likely. See omnystudio.com/listener for privacy information.
In episode two of our Manhunt series, we explore two international films. From South Korea, New World (2013), a topsy-turvy crime drama. From New Zealand, the playful and whimsical, Hunt for the Wilderpeople (2016).Crime dramas have been a staple of cinema since its inception. We find comfort in categorizing characters as good or evil. It provides order in a convoluted world. Actual morality is often murky and challenging to decipher. New World offers a crystal clear reflection of how the world truly operates, rather than a saccharine imagined one. Deep Loyalty and petty betrayal are commonplace, and the lines between good and evil blur, like a spinning merry-go-round. Taika Waititi's distinctive style is evident throughout Hunt for the Wilderpeople (2016). This is both a pleasure and a frustration. While the story of two unlikely companions going on the run in the Kiwi woods is delightful, the narrative often seems to lose its way despite the simplicity of the story. The plot path is clearly laid out, but Waititi can't resist taking detours down every zany spur, leaving little room for emotional resistance and refinement. Nevertheless, it remains an entertaining joy ride with a quaint conclusion.
Brenna and Joe close out a month of New Zealand programming with a look at Barry Crump's 1986 novel Wild Pork and Watercress, as well as Taika Waititi's long-in-development adaptation from 2016.We're talking about how prolific Crump is, Waititi's humour, and the depiction of Māori youth across several texts.Plus: montages, survivalism, tanks, and justice for Aunt Bella!Wanna connect with the show? Follow us on Twitter, Instagram and BlueSky @HKHSPod or use the hashtag #HKHSPod:> Brenna: @brennacgray (BlueSky/Instagram)> Joe: @bstolemyremote (Twitter/Instagram) or @joelipsett (BlueSky)Have a mail bag question? Email us at hkhspod@gmail.com Theme music: Ben Fox "Think About the Lights" Hosted on Acast. See acast.com/privacy for more information.
In something of a return to the sort of film that made his name, Taika Waititi co-writes and directs a quirky, charming comedy-drama set in Polynesia. Next Goal Wins adapts the true story of the American Samoan football team (and the 2014 documentary about it that gives this film its title), famously one of the worst teams on the planet, who begin the film in despair following their 31-0 world-record international defeat to Australia. Seeking new inspiration, they recruit Thomas Rongen, a Dutch-American coach with a reputation for losing his temper and getting sacked, to lead them in their quest for World Cup qualification. We discuss Waititi's comedic style, to what extent the film requires knowledge of the culture and sport it shows, the complexities of Rongen's history and relationship with his ex-wife, and how Fassbender, not known for his work in comedy, fits uncomfortably into such a role, but what he brings to it dramatically that you wouldn't typically expect. Most of all - we have fun! Next Goal Wins is an immensely likeable and charming film and it's Christmas, after all. Or at least it was when we saw it. Recorded on 27th December 2023.
Join us for an exciting Review Roundup episode of "Genre of Your Life," where Doug takes the mic to deliver captivating reviews of two must-watch films: David Fincher's intense thriller "The Killer" and Taika Waititi's heartwarming sports drama "Next Goal Wins."Doug dives into the dark and suspenseful world crafted by the masterful David Fincher in "The Killer." Unravel the layers of this psychological thriller as Doug shares his insights on the gripping storyline, stellar performances, and the Fincher signature that keeps audiences on the edge of their seats.Switching gears to a tale of resilience and triumph, Doug shifts his focus to Taika Waititi's "Next Goal Wins." Explore the heartwarming journey of a soccer team aiming for redemption under Waititi's direction. Doug breaks down the film's unique blend of humor, emotion, and inspiring narrative.Whether you're a fan of intense psychological dramas or uplifting sports stories, this episode has something for everyone. Grab your popcorn, tune in, and let Doug guide you through the cinematic worlds of "The Killer" and "Next Goal Wins."The Genre of Your Life is available on all your favorite podcast platforms and with a new episode every Friday. Don't forget to subscribe and leave a review to never miss an episode!Links to our Social Media & WebsiteLinks to our Social Media & Website
Midway Avenue Productions Presents, The Genre of Your Life Podcast!Episode #35 | Join hosts Doug and Nick in this week's thrilling episode of "The Genre of Your Life." Nick kicks things off with a rapid-fire review of 'The Hunger Games: Ballad of Songbirds & Snakes,' sharing his thoughts on the latest installment in the iconic series. Brace yourself for a deep dive into the movie's spoilers as Doug and Nick engage in a lively discussion.Next up, Doug presents his highly-anticipated review of 'Dream Scenario,' the latest cinematic venture starring Nicolas Cage and produced by A24. Get ready for insights, critiques, and a passionate exploration of why this film has been on Doug's radar all fall.The episode doesn't stop there! Doug and Nick turn their attention to the versatile filmmaker Taika Waititi, dissecting his hits and misses in an engaging conversation. From the whimsical to the thought-provoking, they navigate through Waititi's unique filmography, offering their take on what makes him a standout creator.But that's not all—tune in for much more as Doug and Nick unravel the world of cinema, delivering a podcast episode filled with reviews, discussions, and insights that will leave you craving your next movie night.Remember to subscribe, leave a review, and share the podcast with your fellow movie enthusiasts. As always, we'll see you at the movies!ABOUT The Genre of Your Life:Ever wondered if your life was a movie or a tv show what genre would it be? Do you have a show or movie that defines who you are? The Genre Of Your Life is a podcast about the movies and shows that define us as individuals! Why do certain movies and shows hit us differently than others? If your life was a library full of movies and shows what would the catalog be? Tune in every week to hear us discuss the genres of our lives!Hosted by:Doug Jones | Producer & EditorNicholas "Nick" Johnson | Executive ProducerMoses Lawi | Executive ProducerJoel Kindelan | Executive ProducerLinks to our Social Media & WebsiteWebsite: https://www.midwayavenueproductions.com/Follow us on Social Media!Instagram: @midwayavenueproductionsTikTok: @midwayavenueproductionsMusic by Genx Beats from Pixabay
Protestors have made their way to Parliament during the National Action Day. Te Pāti Māori co-leader Rawiri Waititi spoke to Corin Dann.
Een hele goede zondagmorgen deze morgen met aflevering 137 van Nerd Culture. Hierin bespreken we onder andere Blue Eye Samurai, RoboCop Prime Directives en Lang Leve de Liefde. Ook hebben we groot nieuws over Disney, checken we de eerste beelden van Fallout en de trailer van Mad Max Furiosa Disney: 'Focus op entertainment, niet messaging' Er lijken grote veranderingen aanstaande bij Disney. Onlangs liet Bob Iger weten dat het bedrijf zich meer gaat richten op het entertainen en minder op 'the message'. Volgens de CEO zijn positieve berichten in film en TV belangrijk maar moeten deze niet op de kijker geforceerd worden. Iger liet weten dat Disney vooral ontspoord is nadat hij tijdelijk vertrokken is geweest. Daar bleef het niet bij wat betreft de uitspraken van Iger. Nadat hij nogmaals eens benadrukte deed hij ook een boekje open over Marvel in het bijzonder. Volgens Bob Iger heeft dit merk verreweg het meest geleden onder het kwantiteit over kwaliteit principe. Vanaf heden zal kwaliteit weer leading zijn en zal Disney niet langer sequels eruit blijven pompen tenzij daar een goed idee of aanleiding voor is. Waititi wilde helemaal geen Marvel films maken Taika Waititi maakte zich deze week niet bepaald geliefd bij Marvel fans. De opmerkelijke regisseur werd eerder nog op handen gedragen voor zijn Thor Ragnarok maar gooide al deze goodwill opzij met Thor Love and Thunder. Deze week liet hij weten nooit geen interesse te hebben gehad in het maken van een Marvel film en al helemaal niet met het karakter Thor wat hij maar een idioot personage vindt. Het is wellicht een van de redenen waarom hij niet het bronmateriaal heeft gelezen voor de film. Hoe dan ook Waititi deed het naar eigen zeggen puur voor het geld en het veiligstellen van de toekomst van zijn kinderen. Nieuwe spin-off in de maak genaamd The Boys Mexico Werden we daar eerder deze week nog verwend met een eerste blik op The Boys seizoen 4, hebben we nu nieuws over een spin-off serie. Na Gen V lijkt de volgende spin-off The Boys: Mexico te gaan heten. De serie zou zich in dit geval afspelen in Latijns Amerika en zal geproduceerd worden door onder andere Diego Luna en Gael Garcia Bernal. Beide heren zouden ook open staan voor een rol in de serie, al zal dit geen van de leading characters betreffen. Timestamps: 00:00:00 Intro 00:04:05 Wat hebben we gekeken / gelezen / geluisterd? 00:20:00 Reviews 00:23:04 Volgende week op streaming / bioscoop? 00:32:28 Trailer: Furiosa 00:42:52 4 Bob Iger: Disney stopt met het forceren van ‘the message' 00:55:00 Bob Iger: Marvel heeft flink geleden door kwantiteit over kwaliteit 01:00:26 Wyatt Russell: Thunderbolts gaat geen typische Marvel film worden 01:03:13 Thor 5 moet meer een duistere toon krijgen 01:05:35 Taika Waititi deed Thor puur en alleen voor het geld 01:10:41 Trailer: Ted 01:13:05 Sebastian Stan gaat Donald Trump spelen in The Apprentice 01:15:36 Een eerste blik op Amazon's Fallout TV serie 01:20:17 The Boys Mexico spin-off in de maak 01:23:21 Christopher Nolan over Watchmen 01:30:59 Het cancelen van Batgirl vereiste moed 01:38:58 Trailer: The Book of Clarence
On today's episode, Brian and Mandy review the latest geek headlines, discussing 'Next Goal Wins', a heartwarming Taika Waititi film. Mandy reviews the film in depth, while Brian muses over recent comments from Waititi about exiting directing. They analyze Disney's projected box office underperformance and discuss how movies and television shows are now perceived to be sending messages through their entertainment. The pair then grapple with the problematic nature of AI, as shown in recent controversies involving Sports Illustrated's use of AI-written articles. The hosts round off the episode with an excited discussion about the return of Doctor Who, sharing their love for the recent Star Beast special and speculating about upcoming episodes. 00:00 Introduction and Welcome 00:38 Movie Review: Next Goal Wins 01:53 Discussion on Taika Waititi's Career 03:10 Disney's Current Situation and Future Predictions 11:12 The Continuing Impact of AI in Media 12:52 Doctor Who Returns: Initial Reactions 15:21 Deep Dive into Doctor Who's New Episode 26:14 Predictions and Expectations for Upcoming Doctor Who Episodes 29:08 Conclusion and Farewell
In this episode, we speak with Hollywood director, actor, screenwriter and producer Taika Waititi. The Kiwi filmmaker is the man behind New Zealand films, Boy and Hunt for the Wilderpeople, as well as global blockbusters like Thor: Love and Thunder, and critically acclaimed Holocaust dramedy JoJo Rabbit. Hosting the conversation about his latest movie, Next Goal Wins starring Michael Fassbender, and how Waititi has been, for the past 22 years, flying to NZ from wherever he is in the world to play rugby every Saturday (kidding!), is Good Weekend senior writer, Konrad Marshall. See omnystudio.com/listener for privacy information.
Anya Taylor-Joy of The Queen's Gambit and Last Night in Soho fame, is potentially going to fill a major role for Matt Shakman's upcoming Fantastic Four movie. Marvel is reportedly looking to do a gender-swap with Taylor-Joy for the Silver Surfer. In comics, the character is usually connected with the planet-eating maniac Galactus, and serves as his herald to the planets he's about to decimate. Many news outlets are calling the character a villain, do we think any of this is true? We won't see Christopher Nolan heading up any James Bond movies in the near future. When the director was reportedly attached to a project in July, many fans were thrilled by the news for the famed filmmaker to take on Britain's greatest agent with a license to kill. While promoting Oppenheimer, Nolan confirmed that the rumors had no legs, “unfortunately” in his words. Who would be a good choice to pick up the 007 world after Daniel Craig's epic run? During his recent appearance on the Smartless podcast, director Taika Waititi mentioned that he was not originally interested in doing any Marvel movie, but ended up doing so for the money and to “feed his kids.” When he was approached by Marvel Studios, Waititi said he felt they were combing “the bottom of the barrel,” but that he was “poor” and needed the money. Waititi made Thor: Ragnarok - arguably a favorite in the MCU - and Thor: Love and Thunder, which was widely panned by audiences and critics alike. How do we feel about his comments about the thunder god's franchise? The Hunger Games: The Ballad of Songbirds and Snakes took the number one spot at the box office over Thanksgiving weekend, earning $42 million dollars over the five-day run. Napoleon and Disney's 100th film Wish took a close second and third, with Napoleon earning $32.5 million dollars domestically and $78.8 million dollars worldwide and Wish taking home $31.7 million dollars domestically and $49 million dollars worldwide. Overall ticket sales for the Thanksgiving holiday came in at an estimated $173.9 million, which is the best post-pandemic for the holiday, besting 2022's $134 million, but still far off from pre-pandemic Thanksgiving moviegoing with 2019 having racked up $263.4 million. Seems like audiences were hungry for the box office this Thanksgiving, right?
In this one the dudes talk the newest Waititi film! Long time coming
Editor - Tom Eagles ACE NEXT GOAL WINS editor Tom Eagles ACE first made a name for himself with his ACE Eddie-winning work on JOJO RABBIT (2019). That film would also get Tom an Oscar® nomination for Best Film Editing. With NEXT GOAL WINS, Eagles once again is found in the cutting room of a Taika Waititi film. Tom joined editors Nat Sanders ACE, Nick Monsour and Yana Gorskaya ACE for the "sports comedy with a heart". Based on the 2014 documentary of the same name by Mike Brett and Steve Jamison, NEXT GOAL WINS is about Dutch American coach, Thomas Rongen's efforts to lead the American Samoa national football team, considered one of the weakest football teams in the world, to qualification for the 2014 FIFA World Cup. The storyline also includes fa'afafine player Jaiyah Saelua, who was the first transgender player ever to compete in a World Cup game. TOM EAGLES ACE Back in his home country of New Zealand, Tom Eagles built his career on a foundation of work with director Taika Waititi; including films such as WHAT WE DO IN THE SHADOWS (2014), HUNT FOR THE WILDERPEOPLE (2016), the TV series WELLINGTON PARANORMAL (2018) and their critically acclaimed film, JOJO RABBIT (2019). Looking to expand his career and broaden the scope of the work he could choose from, Tom moved his family from New Zealand to Los Angeles. Aside from his work with Waititi, Eagles has also worked with director Jeymes "The Bullitts" Samuel on his first feature, THEY HARDER THEY FALL (2022), and their upcoming effort, THE BOOK OF CLARENCE (2024). Editing Next Goal Wins In our discussion with NEXT GOAL WINS editor Tom Eagles, we talk about: Adding a character to give the film character Coming and going on the cutting crew Needle dropping Dolly The dailies delights of improv Taika Waititi - couch surfer The Credits Visit ExtremeMusic for all your production audio needs Keep an eye on Holiday season "Special Offers" for Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
Celebrated New Zealand filmmaker, actor, and comedian Taika Waititi is known for his quirky, heartwarming, and often absurd comedic sensibilities. His films, such as "What We Do in the Shadows," "Hunt for the Wilderpeople," and "Thor: Ragnarok," have garnered critical acclaim and commercial success. Waititi's unique blend of humor, heart, and creativity has made him one of the most sought-after filmmakers in the industry.For the episode, Consequence UNCUT Senior Entertainment Editor, Liz Shannon Miller speaks to Waititi about how got involved in his latest film Next Goal Wins, an American biographical sports comedy-drama film directed, which tells the story of the American Samoa national football team.Listen to the full interview with Taika Waititinow and you can read the full article on Consequence.net.This month, we're on a mission to spread the word about Consequence UNCUT far and wide, and you're our secret weapon. If you love our show as much as we like bringing it to you, we need you to hop over to Apple Podcasts, hit the follow button, and leave us a review. Not only is it a quick and easy way to show your support, but it'll also give you the chance to win some exclusive Consequence merch. Just follow this link to our Google Form and submit your info along with a screenshot of your review. We'll be shouting out our winners in December, so make sure to follow and review soon. Thank you for all your support and for helping Consequence UNCUT grow. Lastly, please don't forget to like, review, and subscribe wherever you get your podcasts so you don't miss a single episode and more people can enjoy this content.Check out HelloFresh and use my code uncutfree for a great deal: https://www.hellofresh.com/Our Sponsors:* Check out Green Chef and use my code 60uncut for a great deal: https://www.greenchef.com/ * Check out HelloFresh and use my code uncutfree for a great deal: https://www.hellofresh.com/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In a surprising turn of events for Marvel Cinematic Universe (MCU) fans, director Taika Waititi has confirmed he will not be involved in the upcoming Thor 5. This news marks a significant shift in the franchise's direction, as Waititi has been a key figure in redefining Thor's character in recent films. Taika Waititi, the acclaimed director behind “Thor: Ragnarok” and “Thor: Love and Thunder,” recently announced he would not be directing the next Thor movie. Speaking with Business Insider, Waititi cited his busy schedule, which includes a Star Wars project and the Akira adaptation, as the primary reason for stepping away from the MCU for now. Despite his departure, Waititi maintains a positive relationship with Marvel, humorously describing it as an “open relationship” and expressing his willingness to collaborate again in the future. Waititi's influence on the Thor series has been notable, especially in introducing a more humorous and quirky take on the character. His thoughts on the direction of Thor 5, particularly regarding the villain, suggest a desire for a more formidable adversary than Hela, the antagonist from “Thor: Ragnarok.” However, with his departure, the actual direction the film will take remains uncertain. Chris Hemsworth, who portrays Thor, has expressed his views on the character's future. In the “Happy, Sad, Confused” podcast, Hemsworth spoke about the need for another reinvention of Thor, hinting at a possible departure from the comedic tone that characterized Waititi's films. He emphasized the importance of evolving the character to keep both the audience and himself engaged, suggesting a potential shift in tone and direction for Thor 5.
With the Taika Waititi directed film "Next Goal Wins" coming out on 11/17 the hosts talk to Jaiyah Saelua who is the focus of the film. Originally the story was told in a 2004 documentary about Jaiyah and now the Waititi directed film puts her story on the silver screen. Jaiyah talks about her athletic journey as well as her being the first trans woman to play in a FIFA sanctioned match.
On this week's episode, I discuss the differences between writing for TV versus film and the differences in the development phases. We also go into ways to create your own material and what to really focus on. Tune in for much more!Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:If you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it because what's in it for them other than bad footage that they can't use? It'sListening to Screenwriters. Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear this. I'm here with Phil Hudson again. Hello, Phil.Phil Hudson:Hey everybody. Good to be back.Michael Jamin:Hello, everybody. Today we're going to talk about something, well, something I think is very important. How about that? The question is, should you write for film or tv? I think a lot of people, at least from social media when they leave comments, I think a lot of people really aspire to be film writers because they have their story and maybe they think it's more prestigious. Maybe they like the idea of going to walking down a red carpet and seeing their work on a large screen. And so I just thought I talked to you about my feelings about film versus TV and why I greatly prefer working in television. And I think anybody who works in film is crazy. So it's not that they're crazy, but it's just like, wow. I see a lot of advantages for working in film. And to be clear, I am a TV writer, but I have sold a couple of movies and after selling those movies I was like, I don't want to do that again. I'd rather work in television, but I definitely see the appeal that people have. So I thought I may shed a little light on what my perspective is. That sounds good with you, Phil.Phil Hudson:I think this is an exciting topic and we were just talking before we started recording, the industry's changed even since I started studying this craft. Seriously, back then there was a viable feature market and it seems like it's gone the wayside, and I've seen the transition over the last decade with filmmakers and screenwriters coming into tv. I think because the money's better, there's more work, there's more creative freedom, and I'm sure you'll talk about it, but there's that saying of the director runs the film set and the writer runs the TV set.Michael Jamin:Yeah, if you want creative control, we have lots to talk about, but if it's creative control that you want, then you want to be in TV because the writer's in charge. If you want to be in charge in a film, then the director's in charge. Often the writer's not even invited to set. The writer has no say that will be rewritten. The director might hire multiple writers to rewrite. So if you think if it's about your vision, unless you are shooting yourself, forget it. You are really an afterthought. And like you said, they are making far fewer movies now than they were even 15, 20 years ago, probably a third as many. And when you look at the titles being released, you got a lot of remakes. You got a lot of sequels, you got a lot of reboots. Yeah, I mean, so they're makingPhil Hudson:Another, it's largely IP based material too. So it's other books that have blown up and they buy the rights to that. They then make that.Michael Jamin:So it is because they're easier to market, which is why you have Fast and The Furious 13, everyone knows that and it's why you have it, Indiana Jones five, because everyone knows it's just easier to market. And even Barbie, I don't know if it's Greta Go's Dream to make, when she was approached to write Barbie, she's probably Barbie, do I have to Barbie? What about my original idea? So obviously she wrote the Barbie movie and turned it into something very unique and special. But I can't imagine as a child, she grew up thinking, I want to write a movie about Barbie. They came to her with an offer and she turned into something unique and creative, but I don't think she came, maybe I shouldn't speak, but I can't imagine she brought the Barbie idea to them. I think they had to move the ip and yeah,Phil Hudson:I'm certain that's the case, but even then because of the success of Barbie, now Mattel is talking about creating their own cinematic universe,Michael Jamin:Right? Right. So get ready for more gi whatever it is. I don't know. Is that your dream? Now, indie filmmaking, by the way, is a completely different topic. Maybe we can brush on it a little. My area of expertise is definitely not independent filmmaking, but that's a whole different,Phil Hudson:But that's what I went to film school for and that's the Sundance world that I kind of been in. So I'm familiar with that. And there's a bit of a merge there. And we can talk about tko. Waititi is a really great example of that because he came out of the indie film world. He was a Sundance kid, and then he started doing more prolific stuff. And while I was touring for quasi handling social media for the broken lizard guys, that's one of the conversations we had with their, one of the Searchlight VPs of publicity. And she was like, yeah, Tika, he does one for us, we do one for him. You do Thor, you want to do Thor? Awesome. We'll make invisible Hitler. And it's a way for them to incentivize. But I would say Clin Eastwood, I would say even look at Christopher Nolan, that's the way it works. You get this deal at these big studios, I'll make your billion dollar film, and then they let you make the film you want to make, and one is going to make a ton of money, may win some awards, the other one's going to win some awards because they have the talent.Michael Jamin:So if it's your aspiration for me, just the thought of working film, you go, okay, I'll write a film and maybe I can sell it. But then, okay, then how many times are you going to sell a, it is hard to sustain that career. Whereas in television, oh, I know there's a TV show and maybe they have whatever, 10 or 13 episodes a season that sounds like you can make a living that sounds like you're working more steadily. And when I broke in, by the way, it's 22 episodes, so I was like, oh, okay, these people work all the time. And for 10 seasons, that sounds to me that was the lure of a steady paycheck was in television, maybe less so today, but certainly more so than being a filmmaker.Phil Hudson:Yeah, that's fascinating. One thing that's standing out to me from this conversation really just echoes what you've been saying throughout the history of the podcast, and we're approaching two years of this podcast, and that is you have to get out and do it yourself. Nobody's going to do it for you. You can't rely on anybody else. You have to get up and do it. And even the gre Gerwig, the Tiger Boy, tee Tees, they had a name for themselves as filmmakers before the big studio came with the big bag of money. They were the value, and that's where they came to take advantage of them, right? Yeah. Greta Gerwig has the way to make her film stand out in her way and her style, and that's why it's a big hit. I don't think it's largely because it's Barbie, it's because of what she did with Barbie that made it work. But that's something she has honed and developed over years and years and years of hard work before she hit it big.Michael Jamin:And also my friend Chrissy Stratton, who I'm going to have back on the podcast at some point, we had her run before. So I met her on King of the Hill. She's a writer on King of the Hill. But then she went on to a very long career, almost as long as mine, working in various TV shows. She might be just one or two years behind me, pretty much equal. And she works all the time in tv, but she had this film that she's been dreaming about for whatever, 10 or 15 years and then decided, you know what? I'm just going to make a short. And so on her own dime. And she raised the money. She's a successful TV writer, but in film, she's the no one. So she started from scratch and she called in a lot of favors and shot a movie on by raising her own money, real low budget.And we'll talk more about this journey and why she's doing it, but it's not like, even though she's big in tv, she's a no one in film. So it's kind of a level playing field. And one of the thing, well, I know I'm jumping around, but I just so you're aware, as I mentioned about creative control in film, well, lemme tell you about the experiences that I went through. So my writing partner and I, we wrote a writing sample, a feature sample. I was dreaming it was going to get sold, but he was like, it's not going to get sold, whatever. But I was like, maybe it will. We wrote a sample, our agent shopped it around, no one bought it as predicted, but there was a producer who was very interested in working. He's like, this is great. We can't it, but let's try coming up with some ideas together and sell those.And so we worked with this producer and we wound up selling two more ideas, but every step of the way, it was kind of exhausting. We're coming up with ideas, we're writing drafts, we're giving it to him. He's got notes we're not getting, and you're doing, it's called free revisions. You're doing notes after notes. We sold it to the studio, but the producer is basically the gate. So until the producer's happy with the draft, the studio will never see it. And so this is what free revisions is. So you're doing constant rewrites for the producer.Phil Hudson:This is a big deal for the W G A, by the way. It's a very big deal. It's part of the strike too.Michael Jamin:Yeah. I don't know what's going to obviously happen with it. And you're doing a lot of free work, which you're not getting paid obviously, and the studio's not seeing any of it. And then you get finally the producer's happy, you give it to the studio and then the studio has notes and then, okay, now you're again. So they say, do a revision. And again, you go back, you start doing the revision, you've turned into the producer and the producer's like, eh, I don't think it's good enough fellas. I need to do more work and more work. And then finally you turn that revision to the studio. I was at one point producer who I liked quite a bit, really good guy, but he also had development people working under him. So at one point his development person left, he brought in a new one, and now this new person has a new direction that we're going, oh my God.It was like, this is a never ending hell. That's how I felt. It's just a never ending hell because you have to please them. And I understand this is how the game is played, but I was like in tv, it doesn't work this way in tv, if I'm a writer on staff, I turn in my draft to the showrunner. If I'm not the showrunner, the showrunner has notes, great. Turn in another draft, we're done. Shoot, we're going to shoot it. And of course the network will have notes, but it's so much more streamlined because you have a timetable, we have to shoot this thing on Friday, so you can't keep this up in development hell for a year, which is what happens if you're doing film. You could be in hell forever on this. I was like, work done. And that'sPhil Hudson:The term too. It's development health, what you said. That's an industry term for what that is.Michael Jamin:And the money, in terms of the money, I got paid way more in TV than I do in film. SoPhil Hudson:That's what I was about to say. I just said, we talked about the podcast, that experience I had where that guy signed the script, signed the contract to write a script for that thing, and it kind of fizzled out, but the numbers on it were, it's like $160,000 to write a screenplay. Well, the average I understand is about six months to go through the whole process to write a script more than that. But then you have the notes and you have the feedback and you got all that stuff. So you're going to do one, maybe two of those a year. Well, you can go get an M B A and then go get a six figure paycheck that's going to pay you more than that. AndMichael Jamin:Just so you know, the movie's not getting made and it has nothing to do with you or it's just like it's a miracle movies. It's a miracle when a movie gets made. So if you want to see your work on the screen, even if it's been rewritten to death, forget it. Most movies just do not get made. So you're okay, but you used to make a good living writing movies that never got made. Maybe it's less so now because they're making because they're buying fewer. But back in the day, you could be a very successful screenwriter and never have a word of yours onscreen. But in TV it's different.Phil Hudson:One question that comes to mind for me, Michael, when you talk about free revisions and development, hell, you also advocate that writers write and they write for free. And if you don't want to write for free, don't do this because that's what this job looks like.Michael Jamin:Yeah.Phil Hudson:Right. What's the difference between the experience with the free revisions and the notes with the producer versus your definition of free writing?Michael Jamin:I mean, we're talking about two things. We're talking about improving your craft to write, to learn how to write. And so a lot of people just write one script and they think, well, I'm going to sell it and I'm done. Give me a paycheck. And my point is then you put it down and write another one and then write another one. And you'll notice that script number five is vastly better than script number one simply because you're getting better at writing. But the free revisions I'm talking about for these producers, when you become a professional at some point, I got to take home money. This is not a hobby for me. This is how I make my living. So I just didn't enjoy the process. I just thought like, ugh, it is no fun. It takes the joy out of it.Phil Hudson:Yeah, no kidding. So we have to write. We have to write. That's part of writing. Being a writer is writing. But what the WGA is fighting for is that writers should be paid for all of the professional rioting where other people are making money off of the sweat of their back. They're taking advantage of that situation because a bit of a power dynamic there where the producer has control and obviously they want to maintain their relationship and they want to make it as good as they can be. So I'm not saying it's a negative or a nefarious approach to it, but it's still a writers are sitting there not getting paid.Michael Jamin:I understand the producers are protecting their brand and they have a closer relationship with the studio. I get it. But they're not the ones doing all that work for free. So I just like, this is not appealing to me. I'd much rather work in television. Like I said, you have more creative control. You're onset. And again, in features, what would've happened had these two features of ours been made. It didn't come to this and I didn't expect it to, but we sold two features and at both times we're finally done. We give both final drafts to the studio. The studio is happy with it. The studio executive were working with happy. They'd given all our notes and revisions. They were very happy with the script. Now they give it to their boss who has the green light, they have the power to green light. And the boss reads it over the weekend, not interested.It was like, it's over. It's it. It was almost on a whim. Nah, what else you got? And it's like there's no argument. There's no more convincing them, it's dead because they just don't want to make that movie. And often they don't want to make that movie simply because the movie that did well that weekend was an action movie and your movie's a comedy and they want to make more action movies now, or it's as simple as that. Or someone put out a comedy movie that weekend that bombed and forget it. We're not doing comedies anymore. And so it could have nothing to do with the quality of what you wrote. This is what the marketplace suddenly changed and now it's dead. So this is how it is.Unless you are making your own movie. And if you make your own movie, that's great, but do it on a dime. On a dime. I say I had a nice conversation with someone, someone asked me to, it was a couple of days ago, they wanted to book some time with me for a consultation, which I occasionally do. And he really nice guy, but he had self-financed some projects and I was like, you spent too much money on that. Don't put so much money into your own projects in the beginning until you really get spend a couple thousand. That's what you can do it on. That's what I recommend.Phil Hudson:And in the indie film side of things, the goal is to not spend your money. It is actually to find investors. And the question is, why would people invest in an indie film maker who's made no money? A lot of people are looking for tax write-offs and they want to be involved in Hollywood. They want to feel like they are producing being part of that because they probably have that desire, that dream, and they chased the paycheck rather than their art. And so now that they've got the money, they would rather invest in another artist to be a part of that. And so my friend's dad is just this awesome guy, and he just texted me out of the blue two years ago and he had a bunch of stocks vest and he cashed out and he was like, Hey man, if you ever have something you want to make, let me know. I've got some cash lying around. I'd love to put towards that.Michael Jamin:Oh wow.Phil Hudson:But that comes out of a relationship of trust that I have with the guy. It alsoMichael Jamin:Is, and it might come with strings attached. It mayPhil Hudson:Be, and it probably will,Michael Jamin:It may be, and this is not how it works in TV and tv. So in film you might have a ton of executive producers because they help chip in for 5,000 bucks. You can become an executive producer of my movie. People do that and TV doesn't work that way. Tv, that's all financed by the studio. So it's not that kind of model. But in film, you write a check for 5,000, or if you write a bigger check for 50,000 and the person says, I'll give you 50,000 if you cast my daughter as the lead, or if you make these changes to the script, do you want to do it or not? That's up to you. How much do you want that money?Phil Hudson:I think that's really where the question of art versus craft comes into play, because in that situation it might be a little bit more art, it might be a little bit more of your decision. Well, that's going to ruin my vision for what I have or destroy the theme of this piece, and I'm doing it myself because it is an expression of myself, and that is art. And you might turn down the money out of integrity for the art there, but you might also take the paycheck because you've got kids who need diapers,Michael Jamin:Right? And so some people, sometimes people are very naive about the whole thing and they're like, you writers suck, or This is the garbage. Do you know how hard it's to get something made? And do you understand that I also need to make money?Phil Hudson:Oh man, we do the webinars every month and we do, we started to do this v i p q and A after, and we were testing it out, but we had a member of your group she joined and she was telling us about how she has made two or three indie films and she had put up this money and she was going to shoot it in the forest. And the film, the films that got shut down because of wildcat or a cougar, like a mountain lion or something, came in and ruined the whole thing. None of the actors want to come back. And she knew this was a thing that could happen. And so she was asking the question about hobbling together, her footage to make something producible. And it's just heartbreaking because a good story, you can't really do that. The story should mean something.And that's someone who's in there doing it. I think they're doing it on their own dime, and that's just heartbreaking to hear. But I've got other experience where my buddy Rich, he's produced a bunch of any stuff. He's done stuff with Michael Madson, done some stuff with major players, knows a bunch of people, and he was telling me about this film that he was working on for years and years and years. And they shot the whole film and then it got locked down in post because one of the executive producers who wrote the check wouldn't sign off on the final cut. And so it could getMichael Jamin:Final cutPhil Hudson:And it got stuck and they were arguments and they had to work through and it was like five years. And the end result they got out of it was a worst film because the producer had too much say and wanted edits. So understanding story structure, you look at it, it is a hobbled together piece of crap that has a couple big names in it,Michael Jamin:Right? Yeah. I don't even think you need, well, I don't want to talk about big names, but, and I felt bad for this woman in the v I b talk. But here's the thing, I also think you need to figure, be cautious on how producible is this movie you want to make. You didn't have to do a movie, write a movie that take place in the mountains. You could have written a movie that takes place in someone's apartment, and if you think I'm nuts, go watch the whale, which takes place in someone's crappy apartment and was amazing and beautiful because their writing was beautiful and the acting matched it, but the set was ugly. And anyone could have shot that in their own apartment. And that's on you as the writer is like, you don't have to write a movie. I would be cautious about writing anything with kids, because kids are really hard to have on set first of legally. You need to have tutors, you want to bend the rules. Kids can only work a certain amount of hours. And what you do on your independent film, that's your business, but to be up and up, that's the truth. And kids, they get tired, they lose focus, and they want to horse around. So I would be careful about having kids. I'd be careful about doing anything that requires characters getting wet because costume changes are bitch, when you're wet and at exterior locations, the same thing. Back noise, street noise, people being disruptive, a leaf blower.But you can write something very compelling in a controlled set where you don't have to worry about any of this stuff as long as the writing is good. It's all about the writing.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:I'm having a flashback. So my thesis film that I did, I took a crew, we rented a van, we took our equipment, we drove to Utah, negotiated all these things because of relationships. I had to get it cheap, shooting in friends' houses, borrowing a friend's truck, doing all of these things. Flew in a couple of indie actors from LA to be in my project. And while we were going through, you just start getting hit with every single thing you have planned, start shifting based off of, there's cloud cover now because you're outside, it's starting to snow. Lots of beautiful things happen. Like we're shooting on a pump jack, which an oil deck, an oil derrick is, what you think about 'em is pump jacks that big swinging arm pump. It's a training school that agreed to let us shoot on theirs that was donated. And there's moving in the background, makes the production value go through the roof, what we had.But then at the same time, while we're driving, a deer jumps out and my friend's truck when my actor's driving hits the deer, and then we're driving the next day to go to the set to shoot the exteriors. And we need that truck. And then it blows part of the engine and we can't use the truck anymore. And I'm rewriting on the fly and my friend's daughter is casting this role using their house, and she's just this sweet little girl and she has two lines and she gets stage fright and she can't do it. And so we have to put her sister in who's too young. And so I have to scrap those lines and rethink how do I get this emotional moment across? And then at the end, when we're done filming, the little girl comes up and says, I'm ready now.Michael Jamin:Yeah, great.Phil Hudson:And they're heartbreaking. Heartbreaking because we're done.Michael Jamin:And that said, whatever, I would take inventory if you decide to do this Indio thing, because as a way of getting discovered, as a way of breaking in, which is great. I would just take inventory of what you have that's in your control. If you're a truck driver and you have a Mack truck, alright, maybe you're shooting the truck. I mean, that's an interesting set.Phil Hudson:Well, it's your life that ties in the right what you know, you can add reality veracity to that.Michael Jamin:If you have a storage locker, the same thing. If you're allowed to shoot there, you're probably not. But what little you have could be interesting. You don't think it's interesting because it's your life, but we think it's interesting. We don't live your life.Phil Hudson:While you were talking, I was just thinking of Robert Rodriguez, who's arguably one of the biggest directors on the planet. And he came from this in world where he did on mariachi. He documents all of this in a great book, the Rebel Without a Crew. And he donated his body to science to fund it. And he went to the small town in Mexico. He went in for clinical trials for a, to get the money, borrowed a camera that didn't have audio. Went to a town in Mexico where he would summer, borrowed friends and family and a best friend to play the roles, did the whole thing. And then stayed up at night in an editing bay at a local TV station to edit his film and did it and blew up because he thought, and all he wanted to do was to sell it to a Spanish language channel and ended up selling it to Sony or whoever, Sony Columbia or something.Michael Jamin:And now you can make it for a fraction. You could edit it all on your laptop, you canPhil Hudson:Edit it on your phone. You shoot the whole thing on yourMichael Jamin:Phone.Phil Hudson:But the story was good. Why did it sell? Why was it a big deal? It's because he knew how to tell a compelling story, and he just used what he had to do thatMichael Jamin:Job. So we're in agreement here. If you want to do an indie film, great. Just don't spend a lot of money. Also, you don't have, if you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it, because what's in it for them other than bad footage that they can't use?Phil Hudson:I dove headfirst into this stuff when I was first starting, and I would write a script, do one version of it, one draft, and then I would shoot it, do a casting call. People would show up, they'd want to be in it. We'd be on set. And they'd very quickly realized I had no idea what I was doing and I didn't, but I just had the gumption to make it happen. And I remember my lead calling me out one time or shooting this shot, and he's like, dude, what are you doing? We're here. You're not even using light to help add subtext and value. And he's talking about how when you're walking up the stairs, well, if you shot it this way through here, there's a cage and a shadow being cast on my face and emotionally, my character's going through this inner turmoil with his relationship and there's all this.And I was like, I have no idea what you're talking about, because I had no clue. And I wasted time and energy and money doing it, and I was a valuable learning experience for me, and I got that lesson out of it. So yeah, your point, do it as cheap as you can because learning, you're just learning. And that is the school of hard knocks, not the school of theory and philosophy. It's get it done. You're going to learn. You're going to make a lot of mistakes. You're not going to sell the first thing. It's probably not going to win any awards. And if you do, awesome, you did it now, but you're most likely not. And that's okay. It's reps, reps, reps, reps.Michael Jamin:Yes. And I have a lot of respect for people who do it. And even if they come up with something terrible and crappy, well, guess what? They did it. Guess what? They put a lot of energy and work into something and their next piece will hopefully be better. And most people just dream of it. And most people will just say, here's my script. Make my dream come true. But the other people say, here's my script. I'm going to make my dream come true. And it may take long, a long process, but it's putting the work in so good for them.Phil Hudson:Yeah. My first class I went in, I had some credit transfer credits from when I was first in college. So when I went to film school, I was up, maybe I was basically a year ahead when I got there, and I had to take a couple of freshmen film classes because they were requirements. And I remember intro to film, film 1 0 1, we're in this big IMAX theater on our campus, and Peter Grendel, our professor my age is teaching. And his big point from the first lesson was the percentage of people who say they want to be filmmakers versus the people who make films is very different. It's like 0.0001% make a film. He said, so even if you put in all the time, energy, and effort needed to make an indie film that does nothing goes nowhere, you have still done something most people will never do. But most people talk about doing, and that's something to take pride in.Michael Jamin:My daughter shot a little scene in college. She got a scene, a little film that someone wrote, and it was just two people. It was short. It was like three minutes of a young woman. She was the girl and a boy sitting on a staircase talking about something, and it was too short to go anywhere. But I was like, that's interesting. You could have done something. It's easy to shoot. You're just two angles and a master on a staircase. If they had spent a little more time with the script, I go, there's something there for sure. It's something compelling about a boy and a girl who are dating and whatever they were talking about. I was like, it's something small. And the writing, it's about the writing. It's not about anything else as far as, and the acting. But yeah, I mean, just as an experiment, can I write something compelling about two people on a staircase talking about something? And we've seen this stuff. Here's a good one. Mount is a good example, but in Pulp Fiction, when Samuel Jackson and Travolta in that car are talking aboutPhil Hudson:The crown royale with cheese,Michael Jamin:That's interesting. That's interesting. Fun dialogue. You still need a story on top of that. But it's rich, and we all remember it because, or the scene or that small little scene, if you had shot that small scene where Samuel Jackson's talking about, he's in that guy's, there's young guy's house. He breaks the first scene where there's five college kids or whatever that they're threatening. They owe them money. And Samuel Jackson's talking about he's clearly a killer, but he's reformed. He's found Jesus, and he's struggling though. He's struggling to do the right thing. If you shot that one scene and it's an apartment building, that's it. You have a couple guy on a couch and a guy and two guys holding fake guns, that one scene is very interesting and compelling. If that's your movie you made, I want to see more. And it doesn't cost a fortune to write that scene. There's no special effects, I guess in the end had some fake bullets or whatever. But that's it, that that's all you need, A thug, a street thug who's a murderer, but he found Jesus and he's trying to do the right thing. Yeah.Phil Hudson:Yeah. That's great. That whole scene is fascinating. And that's for anybody listening, wanting to learn how to write great dialogue or understand characters. The fact that what's so interesting about that cheeseburger conversation is they are killers, and they're not talking about when we get there, we're going to shoot 'em in the face, or here's how we're going to dispose the body. They've done this so many times that this just, we can talk about why they put cheese on a burger. It's stabs quo. And the story's there because they're talking about the wife and the foot massage and all that stuff as they're standing in the hallway and it just happens and they kick the door and they know let's beat thugs. Right? ButMichael Jamin:How easy are both those scenes? I mean, the first one's a little harder in a car, but they're both very easy in terms of shooting, that wouldn't cost neither one of those scenes cost a fortune. It's all about the writing and the acting will support the writing.Phil Hudson:Yeah. I mean, that's Tarantino like Reservoir Dogs. It's a warehouse. It's a warehouse with some flashbacks outside. The whole thing takes you in one room,Michael Jamin:But even let's say reservoir drugs, which obviously was the one that really made him. But the point I'm trying to make is just write, because you don't have to write a whole movie, just write one compelling scene that promises something really on its own. You're like, I'm hooked. And maybe there's more to it.Phil Hudson:That ties back to your fractals podcast too, which has really stuck with me. And I think about it every time I sit down to write, when I'm structuring scenes and acts and I'm structuring my story, if you can't do a scene, well, how could you do a short, well, if you can't do a short, well, how could you do a full blown act or a TV pilot if you can't do that? Well, how can you do a two hour feature?Michael Jamin:We shot that episode, that podcast episode a long time, probably over a year ago, but it was called something about fractals. I think it wasPhil Hudson:Just called fractals.Michael Jamin:Yeah. And the point I was making is anybody who knows anything about fractals, they're patterns that repeat nature. So if you see a tree, it has a trunk in branches, but if you look at the leaf on the tree, the leaf has a trunk in branches, and then if you look at the cells, so it's about these repeating patterns. And so my point is, for movie, you have to want to write a compelling movie, right? But break down the movie into acts, and each act has to be compelling. Then break down each act into scenes, and each scene is compelling. And then each line has to be compelling. And so you're really just repeating patterns over and over, but on a larger scale. And so if you point out, if you can't write a compelling act, if you can write a compelling scene, how are you going to write a compelling act? Just start with writing a scene. That'sPhil Hudson:It. Yeah. Write the scene, write the scene, write the scene over and over and over again. You can churn out scenes. Even if you just took a week and just focused on one scene, how much better is that going to be than taking a week and powering through 50 pages?And I'm not advocating by the way that you shift your writing style, and it's not necessarily what you teach as the process that we do in Hollywood, and we've seen in TV rooms. What I'm saying is as a writing exercise, getting in your reps to practice the craft of writing, you're going to get faster return. Drilling. This thing, and I talk about this all the time, it's Josh Watkin's making bigger, small circles bigger. So how do you pull back and zoom in on something and focus on the detail work inside of that thing? And in Jujitsu's transitions in this, it's how do I get into a scene fast? How to get out of a scene fast? How do I display things through subtext? How do I have people say things without saying things? What's the thematic thing? What's the energy coming in? And the energy come out? That's all the detail. That's just a film condense. So focus, just do that while you're doing the other stuff.Michael Jamin:That's a good point. And I was going to also say, I'm guilty of this too. When I'm writing my, well, I finished my book, but when I was writing it, I'd have a scene in my mind. I wanted to get to the next scene where also some great stuff was going to happen. And then I kind of just got a little lazy in my transitions. And then when I'd read it again, I'm like, what's going on in this transition? Can I make this transition interesting? Do I have to be lazy and sloppy? Is there a goal to be found in the transition? And then I'd realize, oh, that's kind of where there's some interesting stuff is, so I'm guilty of it too. But you have to be aware. It's not just about a race, and you're not just racing to get to the next scene you are whenPhil Hudson:We talk about enjoy the journey and enjoy the process. This is what we're talking about. You have to love doing this because it ends up getting you somewhere better than where you were before. And the other quote, I believe I've said on the podcast who really stood out to me was an interview with Kobe Bryant, and he just said that nothing he does on the court, he hasn't practiced a thousand times, right? So he's in there practicing, practicing, practicing. He shows up, and you hear this all the time in interviews with other players from the Lakers, they say that they would show up their first day and they'd want to show up early to put in the work. And Kobe Bryant was already there practicing free throws, practicing free throws.Michael Jamin:You're talking about the greatest player or one of the greatest players in the N B A hasty was already there, was acting as if he was a rookie who had never taken a shot in a basketball court.Phil Hudson:All the money, all the skills, all the fame, known name, 70 hour work weeks, just putting in the work.Michael Jamin:If the greatest player has to do it, why do you think you don't have to do it?Phil Hudson:LeBron James, he makes what? A hundred million a year off of all of his endorsement deals. I read, I think in Sports Illustrated, it's like 9 million a year goes into taking care of his body just in trainers massage therapy.Michael Jamin:Wow.Phil Hudson:Why? Because that's his tool. That's his instrument. Your tool is your keyboard or your typewriter, your pad and paper and pen, and you don't need, here's the cool thing. You can write a lot of things without needing a fancy computer or fancy software. You can just sit down and practice this with a pad of paper and a Panama napkin.Michael Jamin:What's your commitment to getting better at the craft? And I get why people just want to, they want fast results, but it's not a fast result kind of game. I don't know how we got here from, should you be a TV writer or a film writer?Phil Hudson:Well, I think we're talking about indie film, we're talking about the process of indie film versus features, but all of this relates it's skillset. And I know you talked about for you, you liked TV writing, and I think with the time we have left, I'd love to hear what are the benefits that you found in TV writing? And I think they tie directly into this, which is there's more work, there's more time to sit, and you do this more than writingMichael Jamin:A feature. But not only that, I feel like TV writing, being a TV writer has helped me improve my writing all around because every week, including writing novels. Including writing films, because every week you have to come up with a new story, and it's the repetitiveness, the repetition of, okay, let's break a story. This week we got to break a story. Next week, we got to break a north story next week. And constantly coming up with new stories, even though they're half hour as opposed to an hour and a half. It's that repetition that really makes you really good. And that's why I feel, and I'm not the only one who thinks this way, if you want to watch a really good comedy, you watch tv, you don't turn to film, although there are some really funny films, pound for pound, you go back to tv.It's that action. That's where the good writers really get good. I'll see a comedy. I don't even know how many come. I tried watching one of these streamers, I'm like, oh, comedy, I'll watch this. And it's terrible. This is terrible. From some unknown, have they spent some time in a TV writer's room? They would know, no, this is not acceptable dialogue. That's not an acceptable joke. You just learn so much by being in television, I feel. And then you could go to TV or a film if you have an opportunity. But the learning ground, I feel, is in tv.Phil Hudson:Yeah. Have you seen The Bear?Michael Jamin:I saw the Pilot. I haven't watched the Rest. DudePhil Hudson:Blew my mind, and it feels like one of the most dramatic films, TV shows I've ever seen. It's short form. It's a comedy, it's a sitcom. It's got all the enemies for these comedy, and it makes you laugh, it makes you cry. It's all those notes, and you just look at it, and I looked up the creator and it's like, man, this guy has produced some of the greatest standup comedians in history. Chris Rock, just tons of people. And it's like, yeah, you're learning this from being around and doing the work. And then that translate into what I think is one of the best comedies on tv,Michael Jamin:AndPhil Hudson:It's great.Michael Jamin:I got to watch it. The problem is Cynthia's already seen it, and so I got to watch it alone, make time to watch it alone.Phil Hudson:I get it. I'm married. I understand.Michael Jamin:Yeah. But there it is. I hope that helps. Yeah.Phil Hudson:One thing I just wanted to add to this conversation was when I first got into this, the advice was really centered around, is this a TV IT idea or a film idea? Not necessarily are you a film writer or a TV writer? And I just wanted to get your thoughts on this. I hear this advice all over the place. The question was, is this something that could end or is this something that could continue? Is this the kind of idea that there's a clear defined ending to this, right?Michael Jamin:I feel likePhil Hudson:TV might've changed that now with our long form, eight to 10 minute, like a TV series ends up being a longer form film. But at the same time, I think there's some weight in that, which is something you tie back to in comedy. Your character doesn't really change at the end. They reset. I'd love your on that.Michael Jamin:Yeah. So if you're coming with a film, is this a TV idea or a film idea? If the character goes on a complete journey, Rocky and Rocky finally wins or goes the distance. It's not a TV show because he's not going to go. It's not a fight of the week. It's just like you take a street bum and you turn into, he went the distance, so it's done. That's it. They made sequels. Sure. Each sequel is basically a remake of the first one, and none of them are as good as the first one because you took a character. The only reason they did sequels is because they, Hey, we can squeeze some more money out of this. The story was over, I'm sorry, the story was over. It was a beautiful story, but it's not like a world of Rocky and Nikki and the gang hanging out that would be hanging out at the training facility at the boxing club. That would be sunny. It's always sunny in Philadelphia, which is fine. That's a TV series. They're just hanging out, people hanging out. So is it a world you're creating, or are you taking a character on a full emotional journey?Phil Hudson:Yeah, and that's an interesting, John Wick one is just great. It's great. It's a great film. John Wick two, I kind of like more than John Wick one because we get into the world, but I wouldn't want John Wick two if I hadn't seen John Wick one and felt like it was satisfying at the end, and you're kind of bummed. The other thing, this is just my thing as a writer, I really hate when characters suffer to the nth degree of suffering and just wrecking, this guy just got his life back and now you're going to ruin his life in the second film. It's a bit of a bummer.Michael Jamin:Yeah. But yeah, so that's what I ask, Yousef, are you creating a world, especially in sitcoms, this is your family. I think of it as, cheers. Do I want to hang out with these people week in and week out? Do I want to let them into my living room? Is that what it is? Because I certainly don't want to let some movies, no. Some movies, no, I don't want to The quiet place quiet. I don't don't want to let them into my living room week after week. That's unsettling to me. Great movie, not a TV show.Phil Hudson:Children are men. Children are men. One of the most impactful films I've ever seen. Haven't watched it again, so many,Michael Jamin:Right? It's enough. Right, right, right. GotPhil Hudson:The lesson. Move on.Michael Jamin:Right. Yeah.Phil Hudson:Great answer, Michael. Thank you. Bye. It was great.Michael Jamin:Alright, everyone, thank you so much. Phil and I have more to talk about. We have some exciting stuff to talk about coming up in future episodes, but thank you so much and for what are we going to talk about, Phil? We got to promote, we have a watch list, our newsletter,Phil Hudson:We got all about it. So you can go to michaeljamin.com/newsletter to join the watch list. You can also go to /watchlist. A lot of people know that one, but you've got that. It's a weekly newsletter. You've got the free lesson. It's the first full free lesson. You've broken into three parts. AMichael Jamin:Screenwriting lesson,Phil Hudson:Right? A screenwriting lesson. If you want to learn more about the very first lesson you ever taught me as a mentor about screenwriting, which I think you were taught, and I think you've taught lots of other people, is what is the definition of a story. So go get that michael jamin.com/free. I think we get three to 500 people a week sign up forMichael Jamin:That thing. Oh wow. That's crazy. We also have, we've been doing free webinars and now right now the schedule's up. We're doing it every three weeks instead of every four weeks. So you can come to that michaeljamin.com/webinar and it's free. Come sit in and thenPhil Hudson:Touring for a P orchestra. That's going to be coming up, I think, at some point, right?Michael Jamin:Yeah, hopefully. But we're hoping that our book, my book is going to drop. I'm really happy with the way it's coming up, but we're doing the audio book now, and so maybe we'll talk a little bit more about that. Maybe we will talk more about that in a different episode. Yeah, if you want to come see me on tour or be notified when my book drops as an audio audiobook as well, Michaeljamin.com/upcoming, and the audiobook is really nice. It's really because I got some music. I have a composer on it. We'll talk about it now. I guess. Anthony Rizzo, who is the composer on Maron, well, I'll talk about it in the next episode. We'll open up, talk about that. So go there, michaeljamin.com/upcoming if you want to see me on tour or be notified me the bookPhil Hudson:Drop. And for everybody watching this, this is going to be a bit out of order, so it'll be the next episode that I'm in. Right? Because the next one, I think you got Steve Lemi comingMichael Jamin:Up. Yeah, Lemi is coming up for episode 100 from Broken Lizard. Alright, everyone, thank you so much. Until next time, keep writing. Thank you, Phil.Phil Hudson:Thank you.This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing.
We review Episode 5 (Shadow Warrior) of Ahsoka. Topics include: Hayden's hair and lightsaber prowess Is this the World Between Worlds, a vision in Ahsoka's head or something else? Ahsoka must've found some weed in those white robes Teva is the king of the one-liners What if the next episode is about Din Djarin? :) In our Question of the Week, we share your thoughts on a possible Sabine-Ezra romance. In news, we provide a quick update on Taika Waititi and Shawn Levy projects. We answer all of your Maul Bag questions, play your FACPA Answering Machine messages and more! Episode Time Stamps: 02:16 - Question of the Week - An Ezra/Sabine romance? 10:33 - Waititi and Levy on their Star Wars projects 13:29 - Ahsoka Episode 5 (Shadow Warrior) Review 55:35 - Maul Bag 60:02 - FACPA Answering Machine Please subscribe, rate and review our show and chat us up on Twitter or in email. Twitter: @facpapod Web site: http://FromACertainPointAskew.com Merch store: https://teespring.com/stores/facpapod Podawan Podcast Network: @podawans Intro/Outro - Galactic by Seb Jaeger (via https://filmstro.com/music)
The 2023 General Election will be held on Saturday 14 October 2023 - We wanted to learn a little bit about some of the people and the parties they represent.We appreciate that politics ain't for everyone... We also understand how important it is to know even just a little bit about those who may be running our country.We hope we did enough to keep the chats entertaining and informative.... whilst giving you a chance to relate or perhaps not to their views on our future.(None of this is paid for) if you haven't enrolled to vote - check out "vote.nz"
MPs Ginny Andersen and Mark Mitchell joined the Mike Hosking Breakfast to wrap the week's political news. LISTEN ABOVESee omnystudio.com/listener for privacy information.
Parliament is checking what it can do about MPs who appear to reference court cases with suppression orders under cover of Parliamentary Privilege. Te Pāti Māori co-leader Rawiri Waititi was suspended for 24 hours yesterday for the conduct the Speaker labelled grossly disorderly. Electoral Law Expert Graeme Edgeler told Mike Hosking the precedent is being considered. He says the speaker sent it to the Privileges committee to ask what should happen in these situations in future. LISTEN ABOVE See omnystudio.com/listener for privacy information.
It's time for the Comic Talk Headlines with Generally Nerdy! Shortened episode this week because I have too much ADHD for my own good. Some interesting rumors to talk about, along with some updates we just COULDN'T ignore.Tune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content. BitsPhysical Release - Disney is releasing Mandalorian, Loki, and WandaVision on physical media. • 'Loki' S1 — Sept. 26• 'WandaVision' — Nov. 28• 'The Mandalorian' S1 & S2 — Dec. 12Mario Retires - Charles Martinet retires from voicing the iconic character.Upload - Season 3 announced for Oct. 20th on Prime. 2 eps at a time once a week.Canceled - Peripheral and a League of Their Own both canceled after having already been announced for renewal. Prime blames the strikes.Warrior Nun - Saved by the fans for 3 movie events.New Music/VideoOliver Anthony - Take Me Home https://youtu.be/xB9n0XA8dks Kim Dracula - Superhero https://youtu.be/wSkTmLe5kRQ King 810 - Holy War https://youtu.be/EQ-m1BnGi5A Hank Hill - Richmen north of Richmond (ai cover) https://youtu.be/dkYN8bQo8Kc TrailersMK1 - Rulers of Outworld https://youtu.be/jz1QaJhupuI Rebel Moon - https://youtu.be/_rHLOXbFZtI Good Burger 2 - https://youtu.be/61I6LORlyBg fallFrasier - https://youtu.be/ytRUZi9geSE Oct 12 ParamountTMNT: Shredder's Revenge - Dimension Shellshock DLC - https://youtu.be/RNwMlhGUzM0 aug 31Scott Pilgrim Anime - https://youtu.be/dkYN8bQo8Kc Nov 17Cyberpunk 2077: Phantom Liberty - https://youtu.be/zBrkG3aeWCc Sept 29Rumor MillNew RumorsThor 5 - Rumored to be in the works at Marvel. Taika Waititi said to be returning. The leaker does make it a point to specify that it is NOT a done deal though, and Variety has said they have no knowledge of such a movie in development.~ALSO~Another rumor is saying that Taika WON'T be directing this time. With that rumor going on to say that Bob Iger is now possibly going to be pulling the plug on Waititi's Star Wars movie.Ghost Rider - Said to be in the early stages of development pre-strike. And is now also said to be a for sure moving forward post-strike.Marvel Reboot - Feige said to be rebooting the MCU with Secret Wars..Rapunzel - Florence Pugh said to be leading choice for the title role.Ghost Rider - Avengers Secret Wars will possibly bring back Nic Cage as a version of Ghost Rider.Brave and the Bold - John Krasinski rumored for Bats??You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.
It's time for the Comic Talk Headlines with Generally Nerdy! Shortened episode this week because I have too much ADHD for my own good. Some interesting rumors to talk about, along with some updates we just COULDN'T ignore.Tune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content. BitsPhysical Release - Disney is releasing Mandalorian, Loki, and WandaVision on physical media. • 'Loki' S1 — Sept. 26• 'WandaVision' — Nov. 28• 'The Mandalorian' S1 & S2 — Dec. 12Mario Retires - Charles Martinet retires from voicing the iconic character.Upload - Season 3 announced for Oct. 20th on Prime. 2 eps at a time once a week.Canceled - Peripheral and a League of Their Own both canceled after having already been announced for renewal. Prime blames the strikes.Warrior Nun - Saved by the fans for 3 movie events.New Music/VideoOliver Anthony - Take Me Home https://youtu.be/xB9n0XA8dks Kim Dracula - Superhero https://youtu.be/wSkTmLe5kRQ King 810 - Holy War https://youtu.be/EQ-m1BnGi5A Hank Hill - Richmen north of Richmond (ai cover) https://youtu.be/dkYN8bQo8Kc TrailersMK1 - Rulers of Outworld https://youtu.be/jz1QaJhupuI Rebel Moon - https://youtu.be/_rHLOXbFZtI Good Burger 2 - https://youtu.be/61I6LORlyBg fallFrasier - https://youtu.be/ytRUZi9geSE Oct 12 ParamountTMNT: Shredder's Revenge - Dimension Shellshock DLC - https://youtu.be/RNwMlhGUzM0 aug 31Scott Pilgrim Anime - https://youtu.be/dkYN8bQo8Kc Nov 17Cyberpunk 2077: Phantom Liberty - https://youtu.be/zBrkG3aeWCc Sept 29Rumor MillNew RumorsThor 5 - Rumored to be in the works at Marvel. Taika Waititi said to be returning. The leaker does make it a point to specify that it is NOT a done deal though, and Variety has said they have no knowledge of such a movie in development.~ALSO~Another rumor is saying that Taika WON'T be directing this time. With that rumor going on to say that Bob Iger is now possibly going to be pulling the plug on Waititi's Star Wars movie.Ghost Rider - Said to be in the early stages of development pre-strike. And is now also said to be a for sure moving forward post-strike.Marvel Reboot - Feige said to be rebooting the MCU with Secret Wars..Rapunzel - Florence Pugh said to be leading choice for the title role.Ghost Rider - Avengers Secret Wars will possibly bring back Nic Cage as a version of Ghost Rider.Brave and the Bold - John Krasinski rumored for Bats??You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.
Taika Waititi and Rita Ora have been spotted getting a matching tattoo which made us ask, do you regret your matching tattoo? And what pastry did Waititi and Ora get? And when talking about a woman who has left 7 cats, $1,000,000 each we introduce Kate to The Kifness (just between us, I think he has a new fan). And Kate shares an overseas plastic surgery horror story... As always, somewhere in this podcast we've dropped a secret password - listen closely and enter the password you hear into the question box on our Instagram story for your chance to win stacks of prizes! Head over to @fitzywippakate. Fitzy & Wippa with Kate Ritchie are on break for the next 2 weeks and will be back July 10th, enjoy the carefully curated best moments from the year so far!See omnystudio.com/listener for privacy information.
Arena comics Muggins and Cream forget their roots and pick holes in their accolade moments after reaching those heights. Daniel goes wine tasting in a man's garage and Kai gets lost in the streets of Melbourne at a crucial moment in the festival.
Crosshair finally finds his breaking point, but with his decision comes a heavy price. Join Albert & Jonesy as they breakdown perhaps the best Bad Batch episode to date, "The Outpost". News Discussed Patty Jenkins and Kevin Feige Star Wars projects shelved; Waititi still in early development Bob Iger comments about The Acolyte Star Wars Celebration Europe Panel Official Schedule Highlights Feedback and Promotion Subscribe on YouTube: Cantina Cast Send feedback and comments to hellothere@cantinacast.com Follow us on Twitter @TheCantinaCast Like us on Facebook: The Cantina Cast Follow us on Instagram: The Cantina Cast Follow us on Tumblr: Cantina Cast Discord Channel: Cantina Cast Channel Cantina Cast: Web Site Pandora Link: Pandora Call or Text the Cantina Cast: 803-717-CAST Show Support Cantina Cast Patreon page TeePublic Store
“It’s done with emotion even though it’s stupid” is kinda Waititi’s whole thing and he does it perfectly. It’s why we love him. Full Spoilers for Thor: Love and Thunder Pitch Meeting for Thor: Love & Thunder Pitch Meeting – Avatar retrospective Guns N Roses – November Rain video Eneasz’s… Continue reading
April 2022. Four women set out to record the season finale of their dirty podcast. Things do not go as planned. Last week, the Kinky Ladies empty set sail on the river of girl cum that is Priceless: A Dark College Romance by Miranda Silver.Join the book club with our Facebook Group, and follow us on Facebook, Twitter, and Instagram. Don't forget to check out our website or rate and review us on Apple podcasts. Oh, and have a hot read? Email us at kinkyladiespodcast@gmail.com. We adore your feedback and suggestions, but please, no dick pics.
It's been a long, strange year. Again. So how is our popular culture dealing with it all? The Nose is thinking about a few things. Our shared monoculture. Is there such a thing anymore? All the -verses. The MCU-verse. The DCEU-verse. The Star Wars-verse. The Sheridan-verse. The Waititi-verse. And all the -assances. The Jennifer Coolidge-assance. The Will Smith-assance? The Top Gun-assance. The Avatar-assance. The Brendan Fraser-assance. The Bennifer-assance. Beyoncé's Renaissance. The renaissance-assance. Some other stuff that happened this week, give or take: The biggest pop culture moments of 2022 The face-offs (both fictional and real), celebrity deaths, interviews, and other entertainment stories that dominated headlines this year. The 41 Most Defining Memes Of 2022 Lea Michele, if you can read this, you're #8. What Did Being Online Look Like for You in 2022? It's High Noon in America In our popular culture and in our politics, we're returning to the Old West. This Was the Year of the Prequel Once in short supply, the indispensable prequel dominated screens both big and small in 2022, transcending the genre's spotty track record and giving sequels a run for their money as conversation drivers Are Cracks Beginning to Emerge in the Superhero Era? After 20 years and billions in box office earnings, early signs suggest that the tides are turning against superheroes as the most dominant force in pop culture It's Time to Accept That Millennials and Gen Z Are the Same Generation Though discourse in 2021 tried to deepen the distinctions, it's clear that young people today are forged from the same digital monoculture Waking Up From the American Dream How the TV of 2022 depicted the weird, warping pressures of work and ambition in a boom-and-bust economy. What Did We Get Stuck In Our Rectums Last Year? Bill Cosby Considering Return to Touring in 2023 Getting back on the comedy stage would follow Cosby's sexual assault conviction being overturned by the Pennsylvania Supreme Court. The 10 most bizarre celebrity apologies of 2022 GUESTS: Raquel Benedict: The most dangerous woman in speculative fiction, and she's the host of the Rite Gud podcast Rebecca Castellani: Co-founder of Quiet Corner Communications and a freelance writer Jim Chapdelaine: An Emmy-winning musician and a patient advocate for people with rare cancers Taneisha Duggan: Associate producer at Octopus Theatricals Sam Hadelman: Works in music public relations and hosts The Sam Hadelman Show at Radio Free Brooklyn Rich Hollant: Principal at CO:LAB, founder of Free Center, and commissioner on cultural affairs for the city of Hartford Shawn Murray: A stand-up comedian, writer, and the host of the Nobody Asked Shawn podcast Carolyn Paine: An actress, comedian, and dancer; she is founder, director, and choreographer of CONNetic Dance Bill Yousman: Professor of Media Studies at Sacred Heart University The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe, Eugene Amatruda, and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
[School of Movies 2022] Back when this was announced there was all kinds of excitement. Thor, much like his buddy Hulk was a character it seemed like Marvel took a while to get a handle on, relative to the duo of immediate home runs with Iron man and Captain America. The first film was a relative success, he contributed greatly to the chemistry of The Avengers, but then underwhelmed in The Dark World and felt vestigial in Age of Ultron. But Taika Waititi and Chris Hemsworth's 2017 Ragnarok reinvention revealed a hilarious and savvy rogue still with his roots in the earnest early performances. This was followed by two wildly popular Avengers outings which harnessed a palpable rage and grief (though not without a problematic amount of fat-shaming). This evolving dimensionality made it seem like it was worth a victory lap, bringing Waititi back in. The spotlighting of Jane Foster and Natalie Portman's unexpected returned to the series adapting Jason Aaron's recent comic run. It seemed very likely we would get an evolution of what the world saw Thor as. Especially considering the villain this time was largely sympathetic, as a simple man entirely let down by a pantheon of absurdly privileged complacent gods... And then we watched the movie. Guests: Nama Chibitty @namathenerd Austin Wilden @WC_WIT of Wits-Writing
In episode 1299, Miles and guest co-host Joelle Monique are joined by comedian and the latest contributor to Clown Parade, Martin Urbano, to discuss… Shattered Man wants to prove he is MAN, Marvel Movies Are Hell To Work On According To VFX Artists, GameStop Is The Latest Nostalgic Brand To Pivot To NFTs (And It Isn't Going Well) and more! Shattered Man wants to prove he is MAN Marvel Movies Are Hell To Work On, According To VFX Artists Natalie Portman Says ‘Thor: Love and Thunder' Shot Its Most Beautiful Scene in a Best Buy Parking Lot VFX Artist Calls Marvel 'Horrible' To Work For as Taika Waititi Mocks CGI Hollywood has gone home. Why are so many visual effects artists going into work? VFX Unionization Effort Struggles to Gain Traction GameStop Is The Latest Nostalgic Brand To Pivot To NFTs (And It Isn't Going Well) GameStop Boss Celebrates NFT Marketplace Days After Laying People Off GameStop's NFT Marketplace Is Here And It Is Bleak GameStop 9/11 NFT Pulled After Selling Dozens Of Times No, RadioShack's Twitter wasn't hacked. It sells cryptocurrency now. LISTEN: I'm That Girl by BeyoncéSee omnystudio.com/listener for privacy information.
Episode 15. Christian gets a surprise. Mike, Christian and Julia talk Thor, Love & Thunder. Stash Stuff, including Secret Stash Press news, Clerks 3 movie news and SModCastle Film Festival News. As always, Mike's Top 5 for NEW COMICS DAY.
The Superhero Show Show #437Ms. Marvel It's the Ms. Marvel finale, plus a review of Thor: Love and Thunder, and The Boys finale, on an all-new Superhero Show Show! On an all-new, all-different episode of The Superhero Show Show, Cassie and the Boys are wrapping up their coverage of Ms. Marvel! The Clan Destine is taken care of, so now the only thing left for Kamala and the gang to take care of is Damage Control! Will the gang be able to beat up a government funded police force? Or will the cops move in to the high school that the kids are hiding in and kill them! Also, it's a finale, so does that mean we're going to get Easter Eggs, To be Continueds, and cameos? Probably! Before they get to that, though, Mike and Ryan sit down to discuss Thor: Love and Thunder! They talk about how it compares to Ragnorak, and address whether or not Marvel has a problem with Phase Four. Also, how is everyone's Waititi-meter doing? Then, they dive into the pull list with discussions and reviews of all of the other shows. Mike and Ryan break down the season finale of The Boys, Ryan explains the witchery on Riverdale, and Mike and Katelynn catch every one up on episodes six and seven of The Umbrella Academy. It's too much show! TV EPISODES DISCUSSED:THE BOYS #308https://www.amazon.com/The-Boys-Season-1/dp/B0875THX53 (Watch The Boys on Amazon Prime) Calling all patriots! Let's show Homelander we've got his back and we're not going to let Starlight and her House of Horrors get away with trafficking children and drinking their adrenaline! It's time for real Americans to fight back! Join the Hometeamers and Stormchasers tomorrow at Vought Square! Stand back and stand by! MS. MARVEL #106https://www.disneyplus.com/welcome/ms-marvel?&cid=DSS-Search-Google-71700000091784672-&s_kwcid=AL!8468!3!602490043401!b!!g!!new%20movie&gclid=CjwKCAjwqauVBhBGEiwAXOepkQ4BYZsZ4zNVsiJ8hMm6eYVSFdGy11I6b78jW_4q7hufzxBuoI_7QhoCZl0QAvD_BwE&gclsrc=aw.ds (Watch Ms. Marvel on Disney Plus) Back in Jersey, Kamala finds Kamran and protects him from Damage Control who will stop at nothing to take him in. RIVERDALE #619https://www.cwtv.com/shows/riverdale/view-in-app/ (Watch Riverdale on The CW) "Chapter One Hundred and Fourteen: The Witches of Riverdale" - (8:00-9:00 p.m. ET) (TV-14, LV) (HDTV) SABRINA SPELLMAN (GUEST STAR KIERNAN SHIPKA) COMES TO TOWN - When several of their own fall prey to Percival's (guest star Chris O'Shea) latest plan, Cheryl (Madelaine Petsch) calls upon fellow witch Sabrina Spellman (guest star Kiernan Shipka) for help. Elsewhere, Percival gives Reggie (Charles Melton) an ultimatum. KJ Apa, Lili Reinhart, Camila Mendes, Cole Sprouse, Mädchen Amick, Casey Cott, Vanessa Morgan, Erinn Westbrook and Drew Ray Tanner. Alex Pillai directed the episode written by Roberto Aguirre-Sacasa & Chrissy Maroon (#619). Original airdate 7/10/2022. THOR: LOVE AND THUNDERhttps://www.fandango.com/thor-love-and-thunder-2022-226754/movie-overview (Get tickets for Thor: Love and Thunder on Fandango) Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct. THE UMBRELLA ACADEMY #306https://www.netflix.com/title/80186863 (Watch The Umbrella Academy on Netflix) Five chases down Pogo, Viktor and Harlan attempt a transfer of powers, and Diego and Lila venture beyond the wall of the White Buffalo Suite. THE UMBRELLA ACADEMY #307https://www.netflix.com/title/80186863 (Watch The Umbrella Academy on Netflix) In 1989, Lila digs up one of her mother's secrets. The families join forces to fight the Kugelblitz. Reginald teaches Klaus to harness his powers. Also, don't forget to: https://popfilter.co/ (Visit Us!) https://popfilter.co/amazon (Shop With Us On Amazon!) http://facebook.com/yourpopfilter (Like Us!)...
The Geek Buddies with John Rocha, Michael Vogel and Shannon McClung
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Taika Waititi helming another Thor movie was always going to mean a great deal of silliness along with whatever planetary crisis the MCU brain trust cooked up, but with THOR: LOVE & THUNDER, the question has become: how much silliness is too much? Put another way: how many goats is too many goats? Adam defends his 1-star Letterboxd review and Josh (sort of ) defends Waititi. With its two movie Chrises (Hemsworth and Pratt), "Love and Thunder" also gives us an opportunity to revisit 2018's TOP 5 CHRIS POWER RANKING, with Adam and Josh offering their revised rankings at the end of the show. Plus Josh shares thoughts on the new GKids feature THE DEER KING and has a Golden Brick-spotting review of Saul Williams and Anisia Uzeyman's NEPTUNE FROST. 0:00 - Billboard 1:19 - Review: "Thor: Love & Thunder" Saul Williams, "Binary Stars" 29:10 - Golden Brickspotting (JL): "Neptune Frost" 33:10 - Review (JL): "The Deer King" 35:52 - Notes / Polls 48:04 - Top 5: Chris Power Rankings (2018) 1:26:39 - Chris Power Rankings Redux (2022) 1:39:48 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices
Following his massive success with Thor: Ragnarok, Taika Waititi returns to direct (and voice the character of Korg) in Thor: Love and Thunder. But has pop culture's Waititi-fication gone too far? Check out Secret Lab at https://lmg.gg/SecretLabTJM Get your Vessi shoes today at: http://vessi.com/TJM The next episode will be: Get Out (2017), because we didn't know Nope releases on July 22nd WHOOPS
Director: Taika Waititi Screenwriter: Taika Waititi, Jennifer Kaytin Robinson Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe Runtime: 2 hour 5 minutes Synopsis: Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct. Kriss, Ro and Brandon are back to talk the fourth Thor film in the MCU, Thor Love and Thunder. This film is very much a product of its director Taika Waititi. If you had a problem with Thor Ragnorok then you'll probably have a problem with this film and how it blends humor with some really dark themes. Waititi's take on Thor has been to take the God of Thunder and show how much tragedy he's gone through and frame it in humor on the surface and pain and sadness underneath. Christian Bale's Gorr is straight out of a horror film and also is a character built off of sadness and tragedy. Listen as we talk about what works and what doesn't work for this latest MCU film. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Taika Waititi Screenwriter: Taika Waititi, Jennifer Kaytin Robinson Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe Runtime: 2 hour 5 minutes Synopsis: Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct. Kriss, Ro and Brandon are back to talk the fourth Thor film in the MCU, Thor Love and Thunder. This film is very much a product of its director Taika Waititi. If you had a problem with Thor Ragnorok then you'll probably have a problem with this film and how it blends humor with some really dark themes. Waititi's take on Thor has been to take the God of Thunder and show how much tragedy he's gone through and frame it in humor on the surface and pain and sadness underneath. Christian Bale's Gorr is straight out of a horror film and also is a character built off of sadness and tragedy. Listen as we talk about what works and what doesn't work for this latest MCU film. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Three conversations with giants in their respective fields. Carmichael discusses the seismic impact of his comedy special Rothaniel and how he's spending Pride month; Waititi explains why Our Flag Means Death rekindled his love of acting, and what he hopes comes next in season 2; and Howard discusses his pivot into documentary filmmaking— and how his approach to making movies lines up with what's in his dreams. Rothaniel and Our Flag Means Death are both available to stream on HBO Max; We Feed People is on Disney+. Sign up to receive texts from us at Subtext. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Follow on Twitter Kristian Harloff https://bit.ly/31PePMD Learn more about your ad choices. Visit megaphone.fm/adchoices
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