Podcast appearances and mentions of Wes Anderson

The Wes Anderson debate on this show has become divisive in recent years. So while Govier was relying on questionable audio in Denver, he figured it was time to fire up the debate once more with Anderson's supposedly less successful venture from 2007. It's time to find out if The Darjeeling Limited (2007) holds up or not. We have another round of Joe Lowry's fun segment of Guess That Character Actor trivia! As always the fellas offer their latest movie thoughts during quarantine viewing picks. Please sub our YouTube where you can watch all of our episodes instead of just listening. We post the video version of each episode over there every week. Also, you can give us a 5 star review on your podcast platform of choice. Do it right now! It takes 30 seconds. Thank you! If anything from this episode strikes you, email the show cinema9pod@gmail.com

Gray hosts Jeopardy as Bear v. Big A. v. Dub, who will take the title? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Jeremy brings a new gameshow for the pod to try. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

It's officially Director's Month and we have ourselves a tie! This month we'll be discussing Wes Anderson's & Rob Reiner's films. We're kicking off the month with Wes Anderson's The Grand Budapest Hotel. We run through the laundry list of nominations and wins. It's a great start to the month! Instagram: @heyitstwogirls, @classicSTINA @daniellecobianchiTwitter: @heyitstwogirls, @classicSTINA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Two Girls Drink Beer Youtub⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠e

In deze aflevering bespreken we het werk van Erwin Olaf aan de hand van zijn overzichtstentoonstelling in het Stedelijk Museum...Gast: Lara Verheijdenhttps://www.instagram.com/laraverheijden/?hl=nl***Steun Open Geesten / Zomergeesten / Boze Geesten Podcast

Benvenuti in un cinema fatto di personaggi tragicomici, famiglie disastrate, morte e rinnovamento. Tutti elementi che compongono il colorato e stralunato mondo di Wes Anderson.Nuovo secolo e nuove opportunità per il nostro Anderson che centra definitivamente il bersaglio con il suo capolavoro "I Tenenbaum", summa di tutta la sua poetica e tecnica. Nonché tragicomico ritratto di un'assurda famiglia alle prese con le loro nevrosi e il loro scomodo passato.

Bear, Gray, Dub, Jeremy, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs?  Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

In this special bonus episode of the Anglotopia Podcast, Jonathan Thomas launches an experimental new monthly format: a London events guide covering what's actually on in the city this month. June is arguably London's finest month — 16 to 17 hours of daylight, the longest evenings of the year, and an events calendar absolutely bursting at the seams. Jonathan walks through everything worth knowing about June in London: the major royal events including Trooping the Colour and Royal Ascot, the blockbuster summer exhibitions at Tate Modern, Tate Britain, the Royal Academy, the National Portrait Gallery, the V&A, and more, plus what's on in London theater from Shakespeare's Globe to the West End, live music at Wembley and the Roundhouse, and practical tips for surviving — and thriving in — a London heat wave. If this episode proves popular, Jonathan will make it a monthly fixture. Let him know what you think in the comments. Links Royal Events ~Trooping the Colour — Official Info~ ~Royal Ascot~ ~Wimbledon Tickets & Ballot~ ⠀Exhibitions — Book Ahead ~Frida Kahlo at Tate Modern~ ~Royal Academy Summer Exhibition (opens June 16)~ ~Anish Kapoor Retrospective at Hayward Gallery (opens June 16)~ ~Marilyn Monroe at National Portrait Gallery~ ~Barbara Hepworth at the Courtauld Gallery (from June 1)~ ~Schiaparelli: Fashion Becomes Art at the V&A~ ~Wes Anderson Exhibition at the Design Museum~ ~James McNeill Whistler Retrospective at Tate Britain~ ~The Queen's Fashion at The King's Gallery~ (sold out through 2026 — book 2027 dates now) ~Inside Aardman: Wallace & Gromit at Young V&A~ ~Hokusai: 36 Views of Mount Fuji at Dulwich Picture Gallery~ (closes June 30) ⠀Theater ~A Midsummer Night's Dream at Regent's Park Open Air Theatre (from June 20)~ ~Much Ado About Nothing at Shakespeare's Globe (from June 11)~ ~To Kill a Mockingbird — New West End Adaptation (opens June 25)~ ~Cyrano de Bergerac — West End (opens June 13)~ ~Buy West End Tickets via Anglotopia's Link~ (supports Anglotopia) ~TKTS Booth at Leicester Square — Half-Price Day Tickets~ ⠀Long-Running West End Shows The Lion King Hamilton Wicked Les Misérables Matilda Mamma Mia Six Harry Potter and the Cursed Child (almost always sold out — book well ahead) Sinatra — The Musical ⠀Live Music Harry Styles at Wembley Stadium (from June 12) Olivia Dean at the O2 (from June 12) Orville Peck at the Roundhouse, Camden ⠀Practical Resources ~National Gallery Extended Summer Hours (from July 1)~ ~Londontopia London Events Calendar~ ~Argos UK — Buy a Fan on Arrival~ ~Anglotopia June London Events Article~ (link to article) ~Friends of Anglotopia Club~ ⠀ Takeaways June is arguably London's best month to visit — 16 to 17 hours of daylight, reliably pleasant weather, and the richest events calendar of the year, though it is also peak tourist season with hotel prices running 20 to 40 percent above spring rates. Trooping the Colour — the monarch's official birthday parade — is the major royal event of the year in 2026. Even without a ballot ticket to Horse Guards Parade, you can experience the procession on the Mall and the balcony appearance at Buckingham Palace by arriving very early and staking out a good spot. Every major summer blockbuster exhibition in London requires advance booking — some, like The Queen's Fashion at The King's Gallery, are already sold out through 2026. Book tickets as soon as you finish listening, even if your trip dates aren't confirmed yet. The Frida Kahlo survey at Tate Modern, the James McNeill Whistler retrospective at Tate Britain, and the Marilyn Monroe exhibition at the National Portrait Gallery are Jonathan's top three must-book exhibition picks for the month. The Royal Academy Summer Exhibition — the world's largest open submission art show, running since 1769 — is a uniquely chaotic, democratic, and wonderful experience where everything on the walls is for sale and any artist can enter. Shakespeare's Globe is staging Much Ado About Nothing from June 11, and Regent's Park Open Air Theatre opens A Midsummer Night's Dream on June 20 — watching Shakespeare outdoors on a long June evening is one of the quintessential London summer experiences. London generally does not have air conditioning in older buildings, hotel rooms, or most tube lines. The first thing you should do after arriving in summer is buy a fan — Jonathan recommends going straight to Argos, Britain's version of a catalog store, for an affordable one. The tube's older lines (Central, Piccadilly) get brutally hot in summer due to London clay absorbing and retaining heat underground. The Elizabeth line is fully air conditioned and runs east-west across the city — use it as much as possible in a heat wave. The National Gallery is experimenting with extended summer evening hours, staying open until 7 PM most evenings and until 9 PM on Fridays from July 1 — Jonathan's suggestion: have an early dinner, then walk over for a free evening of world-class art. Don't try to pack too much in. Pick three or four things you genuinely care about, build your days around those, and leave time to wander, sit in Green Park with a deck chair, or walk along the Thames in the long evening light. June in London is as much about the atmosphere as the attractions. ⠀ Soundbites "The light is the headline for June. You get sixteen to seventeen hours of daylight. Twilight stretches from around eight PM to nearly ten PM. You can have a full day of exploring, sit down for dinner, and still walk home along the Thames and have some daylight." — Jonathan on why June is London's best month. "If you've ever wondered what the best month to visit London is, a lot of people will quietly tell you it's this one." — Jonathan on June in London. Plan your day around it. Get up stupidly early — three, four, five in the morning — get your spot on the Mall and soak up the atmosphere. It'll be like a party atmosphere." — Jonathan on how to experience Trooping the Colour without a ticket. "The Queen's Fashion at The King's Gallery is sold out for the rest of the year, and I know a lot of people are gonna be really disappointed when they try to get tickets and they simply can't." — Jonathan's warning on the most in-demand exhibition of the summer. "The walls are packed from floor to ceiling and everything is for sale. It's chaotic and wonderful. And it's a great way to see up-and-coming artists and established artists side by side." — Jonathan on the Royal Academy Summer Exhibition. "Shakespeare under the open sky in one of London's loveliest parks on a warm June evening — it doesn't get dark till ten PM anyway. Enjoy some champagne, enjoy some theater out in the green. That's my top theater pick for the month." — Jonathan on Regent's Park Open Air Theatre. "The first thing you should do after you land is go to what the British call an ironmonger — a hardware store — and buy a fan. Don't skimp. It is essential for Americans traveling in Europe." — Jonathan's number one summer travel tip. "The London clay is a heat sink. It absorbs heat and then it doesn't let it back out. So the tube gets really hot in the summer. If you are prone to heat issues, avoid the tube except the Elizabeth line, which is fully air conditioned." — Jonathan on navigating London in a heat wave. "I sat there in the rain in the 40s, got soaking wet. And I — not exaggerating — almost got hypothermia. It was July. I could not warm up when I got back to the hotel because the heating wasn't on and there weren't enough blankets because it was July." — Jonathan's cautionary tale about British summer weather. "Argos is exactly like Service Merchandise — you go in, there's a big catalog, you pick your thing, and it comes out on a conveyor belt. Get a fan. Don't even look at the weather forecast first. Just trust me — you're going to need a fan." — Jonathan's most practical London summer tip. ⠀ Chapters 00:21 Introduction — Jonathan launches the experimental monthly London events format 01:15 The Feel of June in London — Long days, the light, and why June is special 02:20 June Weather — What to expect, heat waves, and the maritime humidity problem 03:45 Peak Tourist Season — Crowds, hotel prices, and why June still beats July 05:00 Trooping the Colour — What it is, how to see it without a ticket, and Jonathan's tips for getting a good spot 08:30 Royal Ascot — Fascinators on the tube, the royal procession, and how to get tickets 10:00 Wimbledon — The ballot, resale tickets, strawberries and cream, and what to do if you can't get in 11:30 How to Book Exhibitions — Why advance booking is non-negotiable and the Queen's Fashion sellout warning 13:00 Frida Kahlo at Tate Modern — Jonathan's pick and why Tate Modern is worth seeing for the building alone 14:30 Royal Academy Summer Exhibition (June 16) — The world's largest open submission art show 15:30 Anish Kapoor at the Hayward Gallery (June 16) — The Cloud Gate connection and why it's worth seeing 16:15 Marilyn Monroe at the National Portrait Gallery — Just opened, book fast 17:00 Barbara Hepworth at the Courtauld Gallery — And why Somerset House is worth a visit anyway 17:45 Schiaparelli at the V&A — Fashion exhibitions and why the V&A excels at them 18:15 Wes Anderson at the Design Museum — A treat for film fans 18:45 James McNeill Whistler at Tate Britain — A sellout show, book immediately 19:30 Wallace & Gromit at Young V&A — The Aardman exhibition Jonathan is hoping to catch in August 20:15 Closing This Month — Mikalojus Čiurlionis at the Royal Academy (closes June 21) and Hokusai at Dulwich (closes June 30) 21:00 Theater — Why June is the best time for London theater 21:30 Regent's Park Open Air Theatre — A Midsummer Night's Dream, Jonathan's top pick of the month 22:00 Shakespeare's Globe — Much Ado About Nothing from June 11 22:30 New West End Openings — To Kill a Mockingbird (June 25) and Cyrano de Bergerac (June 13) 23:00 Long-Running Shows — Lion King, Hamilton, Wicked, Six, Les Mis, and how to get discount tickets 24:00 Live Music — Harry Styles at Wembley, Olivia Dean at the O2, Orville Peck at the Roundhouse 25:00 Practical Tips: Heat — Does London have air conditioning? (Mostly no) 26:30 The Fan Imperative — Buy one at Argos, the British Service Merchandise 28:30 Pack for All Weathers — The July outdoor concert near-hypothermia story 30:00 Humidity and Heat — Why British summer heat hits differently than dry American heat 31:00 Use the Long Days — 17 hours of light, late museum hours, rooftop bars, evening walks 32:00 National Gallery Extended Hours — Stay open till 7 PM, Fridays till 9 PM from July 1 33:00 Don't Overpack Your Itinerary — Pick three or four things, leave time to wander 34:00 Wrap-Up — Londontopia events calendar, listener feedback request, Friends of Anglotopia Video Version

En este episodio hablamos de las funas del pendejo de Chumel Torres, el actor de doblaje que ya no nos acordamos como se llama y Rober acepta que si fuera por Wes Anderson se chutaria una peli de miembros masculinos. La ajolotización de la ciudad de México y lo gay que es comprar el album del mundial.

From a 24-hour hangover and the pure joy of a clean garage to campaigning for the return of the mixtape (Spotify playlists just aren't the same), Wells is showing his age again in today's episode. And after weeks of YFTers begging, Brandi FINALLY started Off Campus! The excitement continues as Wells shares that he got to film his golf show with the legendary Luke Wilson, where he discovers Luke's favorite Wes Anderson movie (not the one you'd expect) but somehow forgets to ask about The Family Stone. A devastating fumble. Meanwhile, Brandi spends her week h anging with all the dogs at Wags & Walks and accidentally spills the tea on a secret Cyrus family pet (and it's not the tortoise or the ducks!). Plus, they discuss the deeply upsetting Netflix documentary The Crash, the never-ending Murdoch family drama, and a book recommendation featuring aliens and a cat named Princess Donut. Please keep those DMs coming because we love hearing from you! Favorite Things: (18:37) Off Campus (22:38) The Crash (25:32) Instadocs: Alex Murdaugh, Unconvicted, (26:24) Dutton Ranch (SPOILERS) (27:01) Dungeon Crawler Carl by Matt Dinniman (Book)(29:42) Ladies First (33:14) The Burroughs (34:21) Four Seasons Thank you to our awesome sponsors: Article: Article is offering our listeners $50 off your first purchase of $100 or more. Visit article.com/discount/yft and the discount will be automatically applied at checkout. BetterHelp: You don't have to say yes to everything this summer. Find support in therapy. Sign up and get 10% off at BetterHelp.com/yft. First Leaf: Stop settling for wines that don't quite hit the mark. Head to TryFirstleaf.com/YFT to sign up and you'll get 50% OFF your first box PLUS free shipping for an entire year. Hers: Ready to reach your goals? Visit forhers.com/yft to get personalized, affordable care that gets you. Quince: Go to Quince.com/yft for free shipping on your order and 365-day returns. Now available in Canada, too! Zazzle: Right now, save 25% on your first order at Zazzle.com. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This Postmodern Realities episode is a conversation with JOURNAL author Philp Tallon about his article, “The Life Metamodern with Wes Anderson”. https://www.equip.org/articles/the-life-metamodern-with-wes-anderson/This is also our 500th episode and Philp was our very first guest on Episode 001 with The Films of Quentin Tarantino. and the article Reservoir Gods: Quentin Tarantino's Premodern Theology. Please see more of Philip's work below.One way you can support our online articles and podcasts is by leaving us a tip. A tip is just a small amount, like $3, $5, or $10, which is the cost of a latte, lunch out, or coffee drink. To leave a tip, click here. Please see related articles and podcasts below:Mission Impossible FilmsEpisode 450: The Living Manifestation of Destiny: The Meaning in the Mission: Impossible Movies“The Living Manifestation of Destiny: The Meaning in the Mission: Impossible Movies”Christopher Nolan Films Episode 400: Rage Against the Dying of the Light: Christopher Nolan's Fighting FilmographyRage Against the Dying of the Light: Christopher Nolan's Fighting FilmographyHorror Movies: Episode 350 Possession and Exorcism Movies in a Modern AgeThe Power of the Devil Compels Us: Possession and Exorcism Movies in a Modern AgeSherlock Holmes Episode 243: The Fall of Sherlock: Investigating the Victorian Detective in a Modern AgeThe Fall of Sherlock: Investigating the Victorian Detective in a Modern AgeSteven Spielberg Movies:Episode 139 Clear Skies, Hurt Hearts, Can't Lose: Why Spielberg's Aliens Help Make us More HumanClear Skies, Hurt Hearts, Can't Lose: Why Spielberg's Aliens Help Make us More HumanAlfred Hitchcock films:Episode 100: A. Hitchcock FilmsThe Coen Brother's Films:Episode 050: O Father, Where Art Thou? The Coen Brothers and the Riddle of Existence“O Father, Where Are Thou? The Coen Brothers and the Riddle of ExistenceThe Films of Quentin Tarantino:Episode 001: The Films of Quentin Tarantino“Reservoir Gods: Quentin Tarantino's Premodern Theology  Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

We're kicking off Directorial Debuts Month with the film that introduced the world to one of cinema's most recognizable filmmakers: Wes Anderson's Bottle Rocket.Long before the elaborate production design, meticulous symmetry, and colorful ensembles, Anderson's debut showcased the wit, heart, and offbeat characters that would define his career. Featuring early performances from Owen Wilson and Luke Wilson, Bottle Rocket follows a group of lovable misfits whose dreams of criminal success far exceed their actual abilities.We discuss the film's humble beginnings, its initial reception, and how it planted the seeds for one of the most unique filmographies in modern cinema. Looking back nearly three decades later, does Bottle Rocket feel like a rough draft of the Wes Anderson we know today, or is it something entirely its own?Funny, charming, and endlessly endearing—this is where a cinematic journey began.#WatchTowerFilmPodcast #DirectorDebutsMonth #BottleRocket #WesAnderson #OwenWilson #LukeWilson #FilmPodcast #CinemaHistory #DirectorialDebut #CinephileTalk

This week, Hanna chats with Jeremy O. Harris about his new film with Peter Ohs, ERUPCJA (06:39), while we review Star Wars' first big-screen film in seven years, THE MANDALORIAN AND GROGU (28:37), and Alicia MacDonald's British rom-com FINDING EMILY (42:58).Plus, in our HOT TAKE (59:29), with Kane Parsons' BACKROOMS hitting cinemas, we look at the YouTubers-turned-filmmakers who are dominating the box office. If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram.Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠.

Benvenuti in un cinema fatto di personaggi tragicomici, famiglie disastrate, morte e rinnovamento. Tutti elementi che compongono il colorato e stralunato mondo di Wes Anderson.Dopo un buon esordio, Anderson decide di portare avanti quelli che diventeranno i suoi stilemi tecnici, narrativi e tematici del suo cinema. Realizzando così uno dei suoi primi grandi film ovvero "Rushmore", racconto di formazione che parla di amore e sofferenza.

Bear, Gray, Dub, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs? Rest in peace Kyle Busch! Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

This week Brian and Steve have a stay at The Virgil hotel when they watch the brand new film starring Zazie Beetz, Patricia Arquette, and Heather Graham. What happens with a Russian director gets full up on Tarantino, Wes Anderson, Sergio Leone, and Sam Raimi films? He makes an incredible mish-mash of action, horror and comedy. Full of gore and gags, They Will Kill You turns Beetz into a full on action star.   Plus we announce our guest and movies for the June Showdown.   Find Us Online- Instagram: https://www.instagram.com/halloweenisforever/ Patreon: https://www.patreon.com/halloweenisforever Twitter: https://twitter.com/HallowForever Tik Tok: https://www.tiktok.com/@halloweenisforeverpod Facebook: https://www.facebook.com/HalloweenIsForeverPod E-Mail: Halloweenisforeverpod@gmail.com

#1 New York Times bestselling author, Ruta Sepetys, returns to speak with us about her 12 years of research, ragtime music, and the “fortune and facade” of 1920s Detroit in her adult historical fiction debut, A FORTUNE OF SAND.  Ruta Sepetys is the award-winning and internationally acclaimed, #1 New York Times bestselling author of historical fiction published in over sixty countries and forty languages. Her acclaimed “crossover” YA literature includes the Carnegie Medal-winning Salt to the Sea.  Her latest, A Fortune of Sand (available May 26th), is described as F. Scott Fitzgerald's Great Gatsby and Amor Towles' Rules Of Civility meets Wes Anderson's The Royal Tenenbaums. The novel follows a wealthy, eccentric family in Detroit's booming automobile industry and includes a plot twist around stolen jewels.   A Booklist starred review called the book, “A richly detailed portrait of the glittering city and [Detroit's] dark underbelly. . . . This will appeal to fans of Kate Atkinson's Shrines of Gaiety and Jennifer Egan's Manhattan Beach.” Ruta's books have won or been shortlisted for more than 50 book prizes, and are currently in development for film and television. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Ruta Sepetys, Milena, and I discussed: Why she still gets nervous before every book release Finding a writing structure to mimic the volatile energy of The Roaring ‘20s Why she filed FOIA requests and worked with former FBI agents to interpret her research How she co-authored a YA historical mystery with Steve Sheinkin Why she prefers the term "investigation" over "research" Her creative fuel And a lot more! Show Notes: rutasepetys.com You: The Story: A Writer's Guide to Craft Through Memory by Ruta Sepetys (Amazon) Ruta Sepetys Amazon Author Page Ruta Sepetys on Facebook  Ruta Sepetys on Instagram Ruta Sepetys on Twitter Milena Gonzalez | Writer | Reader | Book Reviewer diary_of_a_book_babe on Instagram Kelton Reid Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Bear, Gray, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

We take a quick detour from Dust to dust off a classic. It's the first movie we ever talked about on the network, Wes Anderson's Asteroid City! Now available for the masses to enjoy!From the original episode: This episode we depart from short stories to talk about Asteroid City, the new film from Wes Anderson! We're trying some thing different for this episode and we hope you enjoy the discussion!Join our Patreon and get access to our Patreon exclusive show "Films Cool!" for as little as $3 a month!https://www.patreon.com/twodustyboysEmail us at twodustyboys@gmail.comDon't forget to rate, review, and leave a comment for us on the platform of your choice. Thanks! We love you!Content warning: Not Safe for work or children... unless they're coolSupport the show

This week, the Dafoe Daddies interview Cinematographer and stop-motion specialist, Tristan Oliver, in a delightful chat covering his illustrious career!We talk all things Aardman, Wes Anderson and stop motion in a very candid conversation with one of the best to ever do it!Getting Dafoe You on Twitter | Instagram | TikTok | BlueskyEmail us at dafoeyoupod@gmail.comIf you want to be a true DaFriend of the podcast, then like, subscribe and give it a 5-star rating. It massively helps the pod grow! Hosted on Acast. See acast.com/privacy for more information.

This week, Eric and Pascale trick Josh into making at least half the episode to be all about basketball (with some movie related basketball stuff in there, like Space Jam, Hoop Dreams, Hoosiers, and Air Bud, just to keep us on point). We also discuss Holey Confections, bartering, Herb Albert, The Mighty Ducks, Saturday Night Sinema, Wes Anderson's box office, Uncut Gems, the silent film era, and more! Plus, the movies screening the week of Friday May 22 - Thursday May 28: Everyone Is Lying To You For Money, The Drama, The Wicker Man, The Docks Of New York, and The Darjeeling Limited!

This week, we review dating horror OBSESSION (8:53) and Steven Soderbergh's artworld dramedy THE CHRISTOPHERS (25:07).Plus, in our HOT TAKE (46:13), we discuss Demi Moore and Peter Jackson's defence of AI. If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram.Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠.

Gray hosts Jeopardy as Bear, Jeremy, and Big A face off against one another. Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

 Director Bio for Matthew OwensMatthew Owens is a father, husband, film-maker, andself-proclaimed lover of film. He currently resides in Huntsville, Texas, withhis family. It is here where he works remotely and spends his free timewatching and analyzing films or creating his own projects. His love for filmstarted in high school, when he and his father would go see movies together asa way of spending quality time with one another. These outings quickly becameone of his favorite traditions. The combination of those experiences, and ahigh school A/V class were the launching pad for a life-long passion ofbecoming the man with his name in the end credits. His largest influencesinclude Wes Anderson, Ben Stiller, Taika Waititi, and Peter Jackson. He has adesire to tell the stories that need to be told, hoping that his perspective isone that viewers might find comfort and familiarity in.Film SummarySeveral millennials discuss the struggle to adjust to lifepost-grad. Navigating adulthood, careers, relationships, and the awkwardnessthat comes with all of those things reveal common threads among youngmillennials trying to find their place. Job fatigue, major life decisions, anddesperation for a driving force to maintain their motivation loom overhead, asthey come to grips with the fact that some of the things they were told aschildren are revealed to be less than true.

Award-winning actor Jeff Goldblum talks to MS NOW's Ari Melber in this candid, sprawling and sometimes goofy conversation, as the two discuss Goldblum's work with directors such as Steven Spielberg and Wes Anderson, his many iconic roles, what he loves about jazz, and having his “weirdness” affirmed. This interview aired in 2022. To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we review Sophie Hyde's JIMPA (11:06), Netflix's REMARKABLY BRIGHT CREATURES (28:30) and THE SHEEP DETECTIVES (43:51) led by Hugh Jackman.Plus, in our HOT TAKE (54:34), we share our first impressions of The Odyssey trailer. If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram, Blue Sky and Reddit: https://www.reddit.com/r/fadetoblackpodcast/Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.AMON:⁠ ⁠@Amonwarmann ⁠⁠CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠. We are a Stripped Media podcast.  

Naming a person is a challenge—but one Melbourne family has made their relatives compete for the privilege of a surname. This week Monz, Stacey and Amelia are talking about the Melbourne couple who settled their surname debate with a best-of-three rock-paper-scissors showdown. So, should we be making all family decisions via a game of competitive Jenga from now on? Plus, the school holiday rule that has parents feeling like they’re back in detention. Amelia shares the enormous effort she poured into an official essay just to take her kids overseas, as we debate if ‘world schooling’ is a genius move or just a recipe for burnout. Also, it’s the show that saved our collective sanity, but behind the scenes, Bluey is the focus of a billion-dollar financial mess. We dive into the trending story and explain the details the internet seems to be missing. And, why does Mother’s Day feel a little bit… off? We’re looking into the unexpected history of the holiday and why it’s okay if you’re feeling more ‘complicated’ than ‘celebratory’ this Sunday. Reccos Amelia recommends Caper Crew; as if The InBESTigators was directed by Wes Anderson. Monz is loving the ‘Parental Path’ video hack to capture your kids’ little voices before they grow up, plus it's a great last-minute Mother's Day gift. Stacey recommends the ‘Do It For Dolly’ campaign and the 13-DOLLY support line for any families navigating the gut-punch of school bullying. If you or anyone you know is struggling and needs to speak with an expert, please contact your GP or in Australia, contact Lifeline (13 11 14), Kids Helpline (1800 55 1800) or Beyond Blue (1300 22 4636), all of which provide trained counsellors you can talk with 24/7. Support independent women's media What To Listen To Next: Don't miss an episode of Parenting Out Loud The Holiday Decision One Mum Regrets & Party Bags Are Officially Cancelled So, Are You A Popcorn Mum? The Lunchbox Theory & Our Complicated Feelings About YouTube The 3-Hour Mum & The Viral 'Jessica' Hack Golden Retriever Dads & The ‘You Come Last’ Rule The Celebrity Who Loves Bad Kids & The Sibling Effect The Bad Habit That's Back & The Politics Of ‘Bagsing’ Connect your subscription to Apple Podcasts What to read: 'My daughter was 8 when she was tied up and left in a bin. The words that came next still haunt me.' 'The 'boring' parent is the unsung hero': 5 things Bluey has taught me about parenting. 'My husband made me cry every Mother's Day. I know I'm not alone.' 'There are 3 reasons my son took my wife's surname. It should be the norm.' A brutally honest review of The Devil Wears Prada 2, a movie that breaks everything. GET IN TOUCH: Share your feedback! Send us a voice message or email us at podcast@mamamia.com.au Join our Facebook group Mamamia Family to talk about the show. Follow us on Instagram @mamamia_family CREDITS: Hosts: Monique Bowley, Amelia Lester & Stacey Hicks Group Executive Producer: Ruth Devine Content Manager: Talissa Bazaz Executive Producer: Sasha Tannock Video Editor: Julian Rosario Junior Content Producer: Tessa Kotowicz Mamamia acknowledges the Traditional Owners of the Land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Rebecca and Tori chat about Wes Anderson's 2025 film, 'The Phoenician Scheme.' We discuss what makes the movie Wes Andersony, the evolution of the relationship between the principle characters, and the actor performances. We experienced some technical difficulties right at the end, so the episode seems to end a bit abruptly.MusicApache Rock Instrumental | by Sound Atelier; licensed from JamendoClipAnderson, Wes and Roman Coppola. 2025. 'The Phoenician Scheme.' Directed by Wes Anderson. Universal City (CA): Focus Features, LLS. Streamed on Fandango.Sound EffectsShining Star Flourish: Sound Effect by u_it78ck90s3 from PixabaySpotlight Flourish: Sound Effect by StudioKolomna from PixabayTechnical Difficulties: Sound Effect by Sound InstantsExplicitWe swear and discuss pornography.SourcesRaree show - WikipediaPEEP SHOW - HistoryMayhem Mendes | 24 May 2025 | 'The Phoenician Scheme' - Behind the Scenes | YouTubeQ with Tom Power | 5 Jun 2025 | Wes Anderson Dedicated 'The Phoenician Scheme' to His 'Spectacularly Intimidating' Father-in-Law | YouTubeVanity Fair | 6 Jun 2025 | Every We Anderson Movie, Explained by Wes Anderson | YouTube

Bear, Gray, Jeremy, and Big A make their NASCAR and PGA picks, what is happening in the NBA and NHL playoffs? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

This year marks the 25th Anniversary of many amazing films from the year 2001. In this episode, we go back in time to revisit some of our favorite episodes and discuss the ensemble casts from 2001. - We start by revisiting our episode in which we honored the late, great David Lynch. We explored the mind-bending, pulse-pounding thriller Mulholland Drive. - Second, we explored the early work of Wes Anderson in The Royal Tenenbaums, which features an all-star cast including Gene Hackman, Angelica Houston, Owen Wilson, Luke Wilson, Danny Glover, Gwenyth Paltrow, Ben Stiller, and Bill Murray. - We can't discuss great ensemble casts without honoring the work of Robert Altman. His 2001 film Gosford Park was his last - and he went out with another modern classic. Have you seen these films? What'd you think? What are some of your favorite ensemble casts? ❗️SEND US A TEXT MESSAGE ❗️Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can  keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

It's episode 1300! In RELEVANT Buzz, we talk about Hulu's new Christian college dating series that you need to hear to believe. We also talk about WNBA star Sophie Cunningham's recent faith declaration, Timberwolves guard Ayo Dosunmu's faithful pregame ritual and a new Bible movie about Daniel that's releasing this fall.In Slices, a Wisconsin solid waste facility has an unusual speed limit, a Harvard scientist helps build China's AI supercomputer, and the crew finds a Guinness World Record worth actually pursuing.The show ends with One Has to Go, and be warned there's a lot of frisbee golf and male ponytail talk.Highlights:00:00 — Frisbee golf and ponytail culture 14:23 — RELEVANT Buzz: Hulu's "Ring by Spring Break" Christian college dating show 26:28 — Sophie Cunningham gets baptized 28:17 — Ayo Dosunmu's pregame Bible routine 28:56 — "Daniel: The Fiery Furnace" is releasing on 9/11 31:54 — Slices: An odd speed limit at a Wisconsin recycling facility 40:45 — A Harvard scientist defects to China after prison 43:28 — A new world record for solving a Rubik's Cube in free fall 47:21 — One Has to Go: Old Testament epics / 90s sitcoms / Wes Anderson / boy bands / NFL fan bases / late-night snacksAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, Clarisse speaks to director David Lowery about bringing the Gothic to MOTHER MARY (13:53). And a sequel? For spring? Groundbreaking… we review THE DEVIL WEARS PRADA 2 (30:49) and Damian McCarthy's Irish horror HOKUM (51:46). Plus, in our HOT TAKE (01:03:12), we ask: has the cinema become *too* much of a social occasion? If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram, Blue Sky and Reddit: https://www.reddit.com/r/fadetoblackpodcast/Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.AMON:⁠ ⁠@Amonwarmann ⁠⁠CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠. We are a Stripped Media podcast.  

Gray, Jeremy, and Big A make their NASCAR and PGA picks, what happened at the NFL Draft? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

This week, we review Isle of Dogs (2018), Wes Anderson's gloriously quirky stop-motion animated sci-fi comedy-drama set in a dystopian near-future Japan. Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, and Bob Balaban star as a ragtag pack of exiled dogs in a story that explores loyalty, rebellion, and political corruption. With all of Megasaki City's canines banished to a garbage-dump called Trash Island following a government-enforced decree, twelve-year-old Atari crash-lands on the island in search of his beloved dog Spots — and sets off an epic journey that could change the fate of dogs everywhere. This film raises intriguing questions about authoritarianism, prejudice, and what it truly means to be man's best friend.Is Isle of Dogs a ruff deal or the paw-fect film? Listen on to find out!Join Colin & Niall as we embrace the weird, the wonderful, and the downright awful of cinema!Contact us: itwasamoviepodcast@gmail.comSpotify: It was a movie..Spotify pageFollow, rate & review us here:https://linktr.ee/itwasamovieYoutube: It was a movie channel...Facebook: https://www.facebook.com/itwasamovieInstagram: https://www.instagram.com/itwasamoviepodcast/X: https://x.com/itwasamoviepodTikTok clips & highlights: https://www.tiktok.com/@itwasamoviepodSee all our ratings & reviews: Google SpreadsheetIMDb List: IMDb | Letterboxd: Letterboxd

This week, Clarisse speaks to director Alice Winocour about her close collaboration with Angelina Jolie on their new film COUTURE, while we review David Lowery's ghostly pop music tale, MOTHER MARY, and Mark Jenkin's ghostly fisherman tale, ROSE OF NEVADA. Plus, in our HOT TAKE, with the release of the new Michael Jackson film, we ask: what do audiences actually want from their musical biopics? If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram, Blue Sky and Reddit: https://www.reddit.com/r/fadetoblackpodcast/Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.AMON:⁠ ⁠@Amonwarmann ⁠⁠CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠. We are a Stripped Media podcast.

Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  This week on Decorating the Set, Beth and Caroline sit down with actor, writer, director and producer of 2022's Forty Winks and 2025's Atrabilious, William Atticus Parker. Will is here to discuss his new movie, The Auction, which is in pre-production (and which Beth is Production Designer), and his journey to becoming a filmmaker in a changing industry. As Beth says in the interview, young filmmakers like Will give us hope for the future of the industry. Don’t miss this interview! The Interview with Will begins at Time Code: 3:37 Join the Decorating the Set Community by subscribing to our Official Facebook Group (https://www.facebook.com/groups/decoratingthesetpodcast)! Interact with Beth, Caroline, Producer Mike, and all of the DTS listeners! GUEST BIO: WILLIAM ATTICUS PARKER   William Atticus Parker is a writer, director, producer, and actor living in Brooklyn, New York. At twenty-one years old, he has already written, directed, and produced two micro-low-budget feature films. Forty Winks, starring Justin Marcel McManus and Susan Sarandon, had a successful festival run and is now streaming on Prime Video, Tubi, Roku, and more. Atrabilious, starring Leon Addison Brown, Mark Boone Junior, Jeffrey Wright, and Whoopi Goldberg, had a successful festival run and will release on Prime Video July 18th, 2025. Forty Winks was filmed in Black & White with Atrabilious drenched in a neon color palette. Despite technical and financial limitations, both films did very well with critics and audiences alike. Forty Winks was filmed in less than a week with a budget of $5,000 when he was 17 and Atrabilious was filmed in a week and a half with a budget of $20,000 when he was 18 – both films were entirely self-funded. The Auction, his upcoming third feature starring Raúl Castillo & Mary-Louise Parker, is set to take his small-scale darkly comedic thrillers to a science-fiction horror spectacle. His acting career began as a seven-frame cameo in Forty Winks. He has now taken on roles in The Gray House (directed by Roland Joffe), Obstacle (short film with Megan Boone) and Their Town (written by Mark Duplass) as well as being set to appear in The Auction. His inspirations include Jordan Peele, Ari Aster, Donald Glover, Spike Lee, Wes Anderson and Joel & Ethan Coen. Follow Will on Instagram: @riverstyxproductions ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she’s composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: BethKushnick.com Beth is the Decorator By Your Side and now, you can shop her Amazon Store! CLICK HERE! Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: “Giraffes” by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

Bear, Gray, Big A, Jeremy, and Parrot make their PGA and Nascar picks. What happened at WrestleMania? Thanks to Wes Anderson for Moments in Time and Mind Quarantine! Check him out on X and Instagram @SongsByWes and Wes Anderson Music on Facebook. Thank you to our sponsors: All Wear Clothing, Crandall's Quality Landscaping, GrayKey Merchandising and Concert Vending Services, Sparty Steve, PaperDenimArt, and Datingtransformation.com.

This week Iron Viz 2026 Finalist and Tableau Visionary Brian Moore drops inZach and Brian discussed Brian's preparation for the upcoming IronViz competition at Tableau Conference, where Brian will present his "Confection Connection" visualization about candy company conglomerations. They explored Brian's approach to creating data visualizations, including his methodical process of researching and manually building datasets, his technical design choices like using Tableau polygons for backgrounds, and his philosophy of balancing information density with storytelling clarity. Brian shared insights about his extensive Tableau Public project portfolio, revealing he spends 3-4 hours per night for months at a time on each major project, and discussed his experience networking with other community members and preparing for the live presentation format. The conversation also covered Brian's previous work, including his cryptid classifications project and Wes Anderson movie visualizations, highlighting how he approaches similar topics from different angles using varied chart types and design elements.

You are joining us for our annual celebration of cinema history, specifically those movies celebrating a milestone release anniversary in 2026.It's a birthday of sorts. We call it a “Filmversary,” and this episode is an ode to those films that have stood the test of time 5, 10, 20, 50, and even 100 years after their original release due to box office success, cultural significance, and/or Oscar glory.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media   

Movie of the Year: 1971Harold and Maude (feat. Van from the Gaymer Girls pod!)The Harold and Maude podcast episode is here — and the Taste Buds are diving deep into one of 1971's most subversive and life-affirming films. Hal Ashby's Harold and Maude (1971) has been a cult touchstone for over fifty years. This episode gives it the full PopFilter treatment. Ryan, Mike, and Greg welcome guest panelist Van Baumann from the Gaymer Girls podcast for a conversation about this singular film. It baffled studios, bombed at the box office, and somehow became a defining work of American cinema. Furthermore, this episode features a Rushmore segment on the most iconic May-December romances in movie history, plus a Shopping Spree. Consequently, this is one of the most spirited episodes of the Movie of the Year: 1971 series. About the Harold and Maude FilmDirected by Hal Ashby, Harold and Maude arrived in December 1971 as one of the most unusual films Paramount Pictures had ever released. The screenplay, written by Colin Higgins, began as his master's thesis at UCLA film school. It follows Harold Chasen (Bud Cort), a wealthy young man obsessed with death. Harold stages elaborate fake suicides to shock his emotionally absent mother. Moreover, he fills his days with funerals, hearses, and junkyards — searching for something authentic in a world of suffocating privilege. At one such funeral, he meets Maude (Ruth Gordon), a 79-year-old woman. Her boundless appetite for life stands in complete contrast to his morbid worldview. Above all, their unlikely friendship — and eventual romance — challenges every social convention the Hal Ashby 1971 film can find.The Harold and Maude film bombed on initial release. Critics were baffled, and audiences didn't know what to make of it. Nevertheless, it found its audience through midnight screenings and college campuses, eventually becoming one of cinema's defining 1971 cult classics. The Cat Stevens Harold and Maude soundtrack became inseparable from the film's identity. Notably, the Criterion Collection released a full restoration on Blu-ray in 2012. That cemented its status as a genuine classic. You can explore the full credits at its IMDb page. Guest Panelist: Van BaumannVan Baumann joins the Taste Buds for this Harold and Maude podcast episode. She co-hosts Gaymer Girls — a weekly podcast covering gaming, queer culture, and pop culture. Van and co-host Sana cover topics ranging from Baldur's Gate 3 to LGBTQ+ representation in gaming. Their wit and expertise extend to the cultural politics of the industry as well. Moreover, the show specializes in IP deep-dives for newcomers. Long-running franchises get broken down in ways that are accessible, funny, and genuinely informative.Van's perspective on the Harold and Maude film is a particularly fitting one. The 1971 cult classic resonates strongly with queer audiences for its anti-establishment energy and rejection of conventional romance. Additionally, her background in gaming culture and media criticism brings a fresh lens to Ashby's film. It is a perspective the Taste Buds couldn't provide on their own.Harold and Maude as Characters: An Unlikely Mirror in a Harold and Maude Podcast DiscussionAt the heart of the Harold and Maude film are two characters who could not appear more different on paper. Harold is young, wealthy, and surrounded by privilege — yet profoundly miserable. Maude is elderly and owns almost nothing. She has lived through extraordinary hardship. The film subtly implies she is a Holocaust survivor. However, both characters share a fundamental rejection of the life society has scripted for them. Harold's fake suicides are acts of rebellion against his mother's indifference. Meanwhile, Maude steals cars and uproots city trees without malice. She acts from a deep belief that the world belongs to everyone equally.Ruth Gordon's performance is magnetic. Gordon plays Maude not as a quirky old woman. Rather, she portrays someone who earned every ounce of joy through survival and deliberate choice. Bud Cort embodies Harold's blankness with quiet precision. His deadpan delivery makes every small shift in the character feel earned. Consequently, the chemistry between them feels less like a conventional romance and more like a transmission. Maude passes something essential to Harold before her time runs out. The Taste Buds and Van explore what makes these characters so enduring. Both discuss why the film still resonates more than fifty years later. Life and Philosophy: What the Harold and Maude 1971 Film Actually TeachesHarold and Maude is, at its core, a film about choosing to live. Specifically, it argues that joy is not something handed to you — it is something you practice, steal, nurture, and defend. Maude embodies this philosophy in every scene. She makes art and plays music with equal passion. Furthermore, she transplants a struggling tree from a concrete sidewalk to the open forest. She believes living things deserve better conditions than city concrete. Above all, she treats every encounter as an opportunity rather than an obligation.The Hal Ashby 1971 film engages with existentialism in a remarkably accessible way. It never lectures. Instead, it dramatizes the tension between Harold's death drive and Maude's life force. The audience feels the shift as the film progresses. In addition, Harold and Maude is bracingly anti-authoritarian — Harold's priest, his psychiatrist, and his militaristic uncle are all buffoons. Authority, Ashby and Higgins suggest, is part of what kills the spirit. Therefore, the film's philosophy is ultimately about sovereignty: the right to live, love, and die on your own terms. The Taste Buds unpack all of it across this Harold and Maude podcast episode.Legacy: How the Harold and Maude 1971 Podcast Goes Deep on a Cult IconFew films have had a stranger journey from flop to icon. The Harold and Maude film opened to near-universal bewilderment in 1971. Paramount barely knew how to market it. Nevertheless, word of mouth — particularly among countercultural and college audiences — kept it alive. By the late 1970s, it was a staple of midnight movie circuits. By the 1980s, it had influenced a generation of filmmakers. Notably, Wes Anderson has cited it as a key influence on his film Rushmore. Both films center on unlikely intergenerational bonds.Moreover, the 1971 cult classic has always commanded a substantial queer following. Its rejection of normative romance, its celebration of chosen family, and Maude's radical individuality have made it a touchstone for LGBTQ+ audiences for decades. Additionally, the Cat Stevens Harold and Maude soundtrack is among cinema's most celebrated. Stevens later converted to Islam and stepped back from this earlier work. Above all, Harold and Maude endures because it offers something rare: a film that insists life is worth living, and actually means it. For a bracket-style podcast covering the greatest films of 1971, this Hal Ashby film demands serious consideration.Rushmore: The Most Iconic May-December Romances in Movie HistoryIn this week's Rushmore segment, each panelist makes their case for the most iconic May-December romance in movie history. The prompt is inspired by the film itself — cinema's most famous age-gap romance. However, the Taste Buds range far beyond 1971 for their nominations. Furthermore, the debate gets heated fast as the panel navigates decades of Hollywood romance to crown their personal MVPs. Tune in to find out who made the cut — and whose picks got laughed out of the room.Shopping SpreeThe Taste Buds and Van also sit down for a Shopping Spree segment, one of PopFilter's beloved recurring features. Each participant brings a recommendation that pairs well with the episode's themes. Films, media, and cultural artifacts are all fair game. In addition, the segment is a chance for the panel to let their enthusiasms run free outside the main discussion. Notably, the Harold and Maude Shopping Spree delivers some particularly inspired picks. Listen in to find out what made the list.Why Harold and Maude Still MattersMore than fifty years after its release, the Harold and Maude film remains one of the most emotionally honest ever made. It refuses to sentimentalize death or romanticize youth. Instead, it argues that wisdom, joy, and love have no age limit. Choosing to be fully alive, it suggests, is the most radical act of all. Moreover, in an era of increasing conformity and algorithmic culture, Maude's anarchic embrace of experience feels more urgent than ever.The 1971 cult classic also matters as a document of its moment. 1971 was a year of profound cultural friction. The counterculture was fading, the Vietnam War continued, and a deep national anxiety had taken hold. Harold and Maude absorbed all of that tension and responded with something unexpected: grace. Consequently, it stands as one of 1971's most essential films and a worthy contender in PopFilter's Movie of the Year bracket. Additionally, Van Baumann's perspective adds a dimension the Taste Buds alone couldn't provide. This Harold and Maude podcast episode is a must-listen for fans of film and philosophy.Related Episodes from Movie of the Year: 1971

In this episode, Jason and Jonathon discuss the "selfish" absence of Jordan and their most recent performance at the Cain Center for the Arts. The economy of living off of standup is a puzzle that they have to figure out. Jason speaks about his trip to a few cities in Spain and Jonathan's lack of travel experience. After playfully roasting the fire department, Jonathan praises his experience at The Comedy Catch in Chattanooga, TN and the charming city. The guys soon dive into a discussion about movies, book adaptations, and storytelling. They claw through Jason's reoccurring anger at No Country For Old Men where new details emerge, the works of Wes Anderson and his often wearisome style, movie editing, and a return to comedy.  After the break, the guys discuss at length the bizarre case of double amputee and professional cornhole player, Dayton James Webber, and his arrest for alleging murdering a friend. Buckle up. This might get them in trouble. The conversation deviates into tangents about hobbies, professionalism, amputees & murder, and hotel experiences. If all of that wasn't bad enough, they tackle the new Sperm Racing World Cup and all of the various logistical and disturbing challenges. They round out the episode with a Would You Rather considering having a personal driver at your request versus always getting bumped to first class when flying. The answers might surprise you. Follow us on IG: Jordan Centry: @JordanCentry Jason Allen King: @KingJasonAllen Jonathan Williams: @MrWilliamsComedy    Don't forget to subscribe, like, and if you're feeling generous… hit that ridiculous Hype button.

[Western Art] Our guest for Episode 377 is Utah painter David Meikle, whose landscapes capture the light, beauty and majesty of the American West. In addition to his fine art, we also talk to David about his illustration work, including his popular "Welcome to Utah" billboards, and his involvement with the 2023 Wes Anderson movie Asteroid City. This episode is sponsored by Western Art Collector. Subscribe today at westernartcollector.com.

In this episode of The Wes ANDERSON Rewatch, Cory and Eoghan have big plans to reflect on as they discuss The Phoenician Scheme. Blog Post

Yes, there are audio issues present within two stories included on this episode. They're also hilarious........enjoy them. We unfortunately lost the first FIVE episodes of the year but were able to recover this one, and it's still a banger. Topics discussed on this episode include the Super Bowl halftime show, Wes' predictions for 2026, the Doomsday Clock being moved closer to midnight than ever before, California Governor Gavin Newsom vetoing fiscal accountability, Chinese bio labs in America, a heroic Australian boy who saved his mother and siblings from drowning, SEC basketball, the NBA All-Star Game, the organizational ineptitude of the NCAA, gorillas being left behind in a closed down zoo in the U.K., Claude AI threatening to blackmail and murder an engineer who said he'd take it offline, why NASA lost the original moon landing tapes, and whether or not chemtrails are real.

Benicio Del Toro is an Academy Award-winning actor and current nominee for Best Actor in a Supporting Role for his performance in One Battle After Another. In this conversation from June 2025, Del Toro joins Willie Geist to discuss leading director Wes Anderson's film The Phoenician Scheme and how winning his first Oscar reshaped his life and career. Plus, he reflects on growing up in Puerto Rico and the first role that made him feel he had truly arrived in Hollywood. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Benicio del Toro is nominated for an Oscar for Best Supporting Actor for his role in ‘One Battle After Another,' where he plays a karate sensei who runs what he calls a "Latino Harriet Tubman" operation. He was also in Wes Anderson's latest film, ‘The Phoenician Scheme.' He spoke with Tonya Mosley last year.David Bianculli reviews ‘Scarpetta,' the new Prime Video series starring Nicole Kidman, based on a series of books by Patricia Cornwell, and John Powers reviews the new Netflix series ‘How to Get to Heaven from Belfast,' by the creator of ‘Derry Girls.' To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this edition of Fool Me Once, Trend On… You?, Jack and Miles discuss Mario Day, Rosanna Arquette on Tarantino's use of the N-word, that AI Wes Anderson trailer, islamophobia on Southwest 2094 and much more!See omnystudio.com/listener for privacy information.

Who discovered Diane Keaton and put her in Annie Hall? Who found Dustin Hoffman and made sure he played Ratso Rizzo in Midnight Cowboy? Who saw Jason Schwartzman and made sure Wes Anderson knew about him for Rushmore? Casting Directors, that's who. When the 98th Oscar ceremony airs on March 15, the first Academy Award for Achievement in Casting will be given in nearly 100 years of Academy history. Five films, laden with stars and fascinating new discoveries, are nominated — Hamnet, Marty Supreme, One Battle After Another, The Secret Agent and Sinners. The Kitchen Sisters and four-time Academy Award winner Frances McDormand take us behind the scenes and into the lives and work of this first-ever batch of nominees and into the mysterious and fascinating world of film casting. Everyone's a Casting Director was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) in collaboration with Nathan Dalton and Brandi Howell. Mixed by Jim McKee. Hosted by Frances McDormand.

Hey, Smarties! Please enjoy the first half of this hilarious, in-depth interview with Will Arnett on SmartLess Media's show Staying Alive! Hosts Jon Gabrus and Adam Pally (101 Places To Party Before You Die) sit down with Will to ask him about keeping in shape, cutting out sugar, viral podcast clips, and the nuts and bolts of making his new film, Is This Thing On? Plus, Pally has a text exchange with Will that he'd like to ask him about, and Gabrus might have to buy new budgie smugglers.Go to the Staying Alive feed HERE for Part 2!Full video episodes available HERE.Check out Will's movie Is This Thing On? HERE. Check out Staying Alive merch at siriusxmstore.com/stayingalive This episode was recorded February 5, 2026 on the information superhighwayStaying Alive is produced by Devon Torrey Bryant and Anne HarrisEngineered and edited by Devon Torrey Bryant, who also wrote the musicAssociate producer and video editor is Maddie McCannExecutive produced by Jon Gabrus, Adam Pally, Sean Hayes, Will Arnett, Jason Bateman, Bernie Kaminski, and Rich Korson Keywords for this episode: Tony Stark, Castaway, Springsteen, Romesh Ranganathan, tattoos, budgie smugglers, Rubirosa, CAA, New Zealand, metric system, sushi, street fighting, Basil Hayden, Zyn, nicotine, OnlyFans, Tom Hanks, Wes Anderson, Bradley Cooper, Bob Castrone, The Comedy Cellar, prop comedy, Tony Gilroy, Pedro Pascal Subscribe to SiriusXM Podcasts+ to listen to new episodes of SmartLess ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.