Podcasts about western genre

Marcus Aurelius Anderson sits down with bestselling author and creative legend Steven Pressfield in Santa Monica for a wide-ranging conversation centered on Pressfield's new historical fiction novel, The Arcadian. The two explore the novel's ancient mercenary protagonist Telamon, the philosophy of resistance, the role of vulnerability in transformation, and what it means to keep doing the work — even after losing everything in a wildfire. Episode Highlights: 9:55 — The Magical Horse and the Hope of ReleasePressfield unpacks the inciting incident of The Arcadian — Telamon spotting a horse he recognizes from the year 70 AD bearing the brand of the 10th Roman Legion. The horse, appearing 1,400 years later, becomes a symbol of potential redemption and drives the entire story forward. 10:35 — Westerns, Vulnerable Characters, and Human TransformationPressfield reveals that The Arcadian is structurally a Western — like Unforgiven or Shane — and explains why the genre's conventions (a man of violence, a lawless landscape, a vulnerable character) are the perfect vehicle for stories about overcoming emotional isolation and finding humanity. 28:38 — Resistance, the LA Fires, and the Work That Saves You Pressfield opens up about losing his home in the 2025 LA wildfires, including a 40-year-old handwritten copy of the Empedocles quote. He reflects on how devotion to the work — and an acorn from Thermopylae returned by a Special Forces friend — helped hold him together. Steven Pressfield is one of the most influential American authors of the past three decades. Best known for The War of Art, Gates of Fire, and The Legend of Bagger Vance, Pressfield has built a body of work that spans historical fiction, nonfiction on creativity, and screenwriting. A former Marine and advertising copywriter, he spent years living in a Chevy van before finally breaking through as a writer. His concept of "Resistance" — the internal force that blocks creative work — has become a touchstone for artists, entrepreneurs, and warriors worldwide. His newest novel, The Arcadian, was released May 26, 2025. He publishes a weekly blog, Writing Wednesdays, at StevenPressfield.com. Learn more about the gift of Adversity and my mission to help my fellow humans create a better world by heading to www.marcusaureliusanderson.com. There you can take action by joining my ANV inner circle to get exclusive content and information.See omnystudio.com/listener for privacy information.

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many […]

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many books, including Against the Imperial Judiciary (1996). Drawing on his Public Discourse column, “The Bookshelf,” which often veers into film history and criticism, we discuss American frontier films broadly construed in light of our country's 250th anniversary and the successful Artemis II rocket mission. Using Frederick Jackson Turner's essay, “The Significance of the Frontier in American History” (1893), we look at why the western is the most prolific genre in film history and how it offers viewers a vicarious lens into its pioneer heroic ethos, from literary works like those of James Fenimore Cooper and Mark Twain, to cinema, whether the westerns of John Ford or science and space exploration movies today. Although the western frontier may have closed, Americans still keep making new ones. Hosted by Ryan Shinkel, Madison's Notes is the podcast of Princeton University's James Madison Program in American Ideals and Institutions. The transcript for this interview is available on our new Substack page, “Madison's Footnotes.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many books, including Against the Imperial Judiciary (1996). Drawing on his Public Discourse column, “The Bookshelf,” which often veers into film history and criticism, we discuss American frontier films broadly construed in light of our country's 250th anniversary and the successful Artemis II rocket mission. Using Frederick Jackson Turner's essay, “The Significance of the Frontier in American History” (1893), we look at why the western is the most prolific genre in film history and how it offers viewers a vicarious lens into its pioneer heroic ethos, from literary works like those of James Fenimore Cooper and Mark Twain, to cinema, whether the westerns of John Ford or science and space exploration movies today. Although the western frontier may have closed, Americans still keep making new ones. Hosted by Ryan Shinkel, Madison's Notes is the podcast of Princeton University's James Madison Program in American Ideals and Institutions. The transcript for this interview is available on our new Substack page, “Madison's Footnotes.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many books, including Against the Imperial Judiciary (1996). Drawing on his Public Discourse column, “The Bookshelf,” which often veers into film history and criticism, we discuss American frontier films broadly construed in light of our country's 250th anniversary and the successful Artemis II rocket mission. Using Frederick Jackson Turner's essay, “The Significance of the Frontier in American History” (1893), we look at why the western is the most prolific genre in film history and how it offers viewers a vicarious lens into its pioneer heroic ethos, from literary works like those of James Fenimore Cooper and Mark Twain, to cinema, whether the westerns of John Ford or science and space exploration movies today. Although the western frontier may have closed, Americans still keep making new ones. Hosted by Ryan Shinkel, Madison's Notes is the podcast of Princeton University's James Madison Program in American Ideals and Institutions. The transcript for this interview is available on our new Substack page, “Madison's Footnotes.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many books, including Against the Imperial Judiciary (1996). Drawing on his Public Discourse column, “The Bookshelf,” which often veers into film history and criticism, we discuss American frontier films broadly construed in light of our country's 250th anniversary and the successful Artemis II rocket mission. Using Frederick Jackson Turner's essay, “The Significance of the Frontier in American History” (1893), we look at why the western is the most prolific genre in film history and how it offers viewers a vicarious lens into its pioneer heroic ethos, from literary works like those of James Fenimore Cooper and Mark Twain, to cinema, whether the westerns of John Ford or science and space exploration movies today. Although the western frontier may have closed, Americans still keep making new ones. Hosted by Ryan Shinkel, Madison's Notes is the podcast of Princeton University's James Madison Program in American Ideals and Institutions. The transcript for this interview is available on our new Substack page, “Madison's Footnotes.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Here in Episode 7 of Season 5, I interview Dr. Matthew J. Franck. A senior contributing fellow at Public Discourse, a visiting lecturer in the Department of Politics at Princeton University, as well as a senior fellow at the Witherspoon Institute and Professor Emeritus of Political Science at Radford University, he has written, edited, and contributed to many books, including Against the Imperial Judiciary (1996). Drawing on his Public Discourse column, “The Bookshelf,” which often veers into film history and criticism, we discuss American frontier films broadly construed in light of our country's 250th anniversary and the successful Artemis II rocket mission. Using Frederick Jackson Turner's essay, “The Significance of the Frontier in American History” (1893), we look at why the western is the most prolific genre in film history and how it offers viewers a vicarious lens into its pioneer heroic ethos, from literary works like those of James Fenimore Cooper and Mark Twain, to cinema, whether the westerns of John Ford or science and space exploration movies today. Although the western frontier may have closed, Americans still keep making new ones. Hosted by Ryan Shinkel, Madison's Notes is the podcast of Princeton University's James Madison Program in American Ideals and Institutions. The transcript for this interview is available on our new Substack page, “Madison's Footnotes.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Chris and Eddy talk about the Western genre as a whole, its history, and also this cool RPG about the Weird West you might have heard of. Darker Hue Discord: https://discord.gg/cSbcdwQaKD

It's another Ari Aster movie discussion -- something we didn't think we would do after our "Beau Is Afraid" experience.BUT -- "Eddington" is something different for Aster, even though it does (justifiably for some, not for others) devolve into something of a "Beau Is Afraid"-style paranoid nightmare. It's his brand of absurdly cruel personal neurosis funneled through the cruelly absurd America of the 2020s, giving this film's hellish descent into meaninglessness (more for some, less for others) potency than his other films.Listen to the full, spoiler-filled episode to hear Amartya, Cris, Dhruv, and the Cinematic Liberties Podcast Guys -- Arjun & Ashwin -- discuss the merits and demerits of Aster's latest!You can (and should!) follow -⁠CINEMATIC LIBERTIES PODCAST⁠Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people!Follow our Instagram page: ⁠⁠⁠⁠⁠⁠⁠https://instagram.com/queenisdead.filmpodcast.⁠⁠⁠⁠⁠⁠⁠TIME CODES Introduction ("War 2 Trauma") : [00:00 - 02:39]"Eddington" (Spoiler-Free): [02:39 - 39:25]"Eddington" (Spoiler-Filled): [39:25 - 1:13:25]"Eddington" & The Western Genre: [1:13:25 - 1:49:50]Outro ("Hindsight is 2020"): [1:49:50 - 02:01:51]REVIEWS REFERENCED1. ⁠⁠ Eddington is a Lethally Self-Satisfied COVID Satire [Justin Chang, New Yorker]2. ⁠⁠ Eddington Captures the Chaos of the COVID Era -- and Modern Existence [Adam Nayman, The Ringer]You can also follow us on Letterboxd at -AMARTYA: https://letterboxd.com/amartya/.CRIS: https://letterboxd.com/crislim/.ARJUN: https://letterboxd.com/arjun_skumar1/.ASHWIN: https://letterboxd.com/ashwindev/.DHRUV: https://letterboxd.com/aterminalcinema/.

Der Podcast über die Montags (OV) Sneak in Frankfurt am Main und in euren Wohnzimmern. Dieses Mal mit einem modernen Western Klassiker, der völlig zu Unrecht ein wenig in Vergessenheit geraten ist. „The Quick and the Dead“ aus 1995, in Deutschland veröffentlicht unter dem ebenfalls sehr coolen Titel „Schneller als der Tod“. Während Helena in der Diskussion tiefgreifende biblische parallelen zitiert, taucht Chrissi in das Western Genre und die Vita von Schauspiellegende Gene Hackman ein, Maike hingegen feiert Russel Crowe und Malte den Regisseur Sam Rami, während sich Dan von alle dem recht unbeeindruckt zeigt. Ihr sehr und werdet also hören, da ist für (fast) jeden etwas dabei. Wenn ihr direkt nach dem Podcast oder davor reinschauen wollt, es gibt eine fast vergriffene aber noch recht günstige Blu-Ray und bei Netflix ist der Film derzeit im Abo enthalten.

On the forty-seventh episode of The Constitutionalist, Shane Leary and Benjamin Kleinerman are joined by Dr. Matthew Reising, a John and Daria Barry Postdoctoral Research Fellow at Princeton University, to discuss John Ford's classic film "The Man Who Shot Liberty Valance." We want to hear from you! Constitutionalistpod@gmail.com The Constitutionalist is proud to be sponsored by the Jack Miller Center for Teaching America's Founding Principles and History. For the last twenty years, JMC has been working to preserve and promote that tradition through a variety of programs at the college and K-12 levels. Through their American Political Tradition Project, JMC has partnered with more than 1,000 scholars at over 300 college campuses across the country, especially through their annual Summer Institutes for graduate students and recent PhDs. The Jack Miller Center is also working with thousands of K-12 educators across the country to help them better understand America's founding principles and history and teach them effectively, to better educate the next generation of citizens. JMC has provided thousands of hours of professional development for teachers all over the country, reaching millions of students with improved civic learning. If you care about American education and civic responsibility, you'll want to check out their work, which focuses on reorienting our institutions of learning around America's founding principles. To learn more or get involved, visit jackmillercenter.org. The Constitutionalist is a podcast cohosted by Professor Benjamin Kleinerman, the RW Morrison Professor of Political Science at Baylor University and Founder and Editor of The Constitutionalist Blog, and his student, Shane Leary. Each week, they discuss political news in light of its constitutional implications, and explore a unique constitutional topic, ranging from the thoughts and experiences of America's founders and statesmen, historical episodes, and the broader philosophic ideas that influence the American experiment in government.

De Kevin Costner huet viru Kuerzem deen éischten Deel vu senger Western-Film-Rei "Horizon" erausbruecht. An deem Kader huet hien eisem Hollywood Reporter erzielt, wéi hie wärend Dréiaarbechte vum Western "Dances with Wolves" (1990) eng Kéier vum Päerd gefall ass. Den Tom Selleck an de "Crocodile Dundee" Paul Hogan schwätzen iwwert d'Bedeitung vum Western-Genre an der amerikanescher Film-Geschicht.

De Kevin Costner huet viru Kuerzem deen éischten Deel vu senger Western-Film-Rei "Horizon" erausbruecht. An deem Kader huet hien eisem Hollywood Reporter erzielt, wéi hie wärend Dréiaarbechte vum Western "Dances with Wolves" (1990) eng Kéier vum Päerd gefall ass. Den Tom Selleck an de "Crocodile Dundee" Paul Hogan schwätzen iwwert d'Bedeitung vum Western-Genre an der amerikanescher Film-Geschicht.

Andrew Patrick Nelson is an historian of American cinema and culture. He's also the chief curator of the Museum of the West in Arizona. 

Eine Folge wie ein Lied von Ennio Morricone. Die zwei alten, vergesslichen Kopfkinocaster reden über das Western-Genre und ihre Abbildungen im Pen&Paper-Bereich. Zum Schluss gibt es noch ein kleines Review zum fluffigen Westernspiel "Owl Hoot Trail". Owl Hoot Trail bei DriveThruRPG. Fabian Mauruschat // ⁠⁠⁠https://bsky.app/profile/fabmow.bsky.social⁠⁠⁠ David Grashoff // ⁠⁠⁠https://twitter.com/grasimar⁠⁠⁠ Musik: www.fesliyanstudios.com Mit einem KoFi unterstüzen: https://ko-fi.com/kopfkinocast Unser Discord-Server: https://discord.gg/5zy4yCKmmD

Im Mittelpunkt von Viggo Mortensens "The Dead Don't Hurt": Vicky Krieps als knallharte Pionierin - ungewöhnlich für das Western-Genre. Von Bettina Dunkel / Die Graphic Novel "Zodiac" von Ai Weiwei und Gianluca Costantini - die erste grafische Biografie des weltberühmten Künstlers. Von Martin Zeyn / "Oktoberfest: The Official Game" - wie spielt sich das weltweit erste Oktoberfest als Virtual-Reality-Game? Von Oliver Römhild

In our last episode talking about the Western genre, we talk about whether our perceptions have changed and the highs and lows of the season. We also wrap up True Grit with our final thoughts and a rating.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUs

Is True Grit a feminist film? In this episode, we chat about what makes a film feminist, and how gender plays a role in making True Grit as good as it is.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsWoman with a Camera Movie Summit: https://whatson.bfi.org.uk/Online/default.asp?BOparam::WScontent::loadArticle::permalink=woman-with-a-movie-camera-summit-2024&BOparam::WScontent::loadArticle::context_id=

Part of the reason why True Grit is such an accessible Western is because it's from the perspective of a tween. In this episode, we chat about our favourite child actors and a gap in stories from the tween perspective.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

We're ending our Western season true to form - with a strong female character, which is super rare in the Western genre. This episode brings us full circle back to the Coen brothers, where No Country For Old Men also featured curious characters who dip in and out of law.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

What are neo-westerns, and how do they differ from spaghetti and revisionist westerns? We also chat about why we personally prefer neo-westerns and how Brokeback Mountain explores the cowboy stereotype through their relationships with various other characters.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

In this episode, we talk about how “Brokeback Mountain” impacted queer cinema and the film industry in general. We also draw comparisons to the recent “All of Us Strangers” and how both films have many similarities expressed in different ways.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

With the western being such a masculine genre, we draw parallels with other hyper-masculine arenas of life, such as sports and the military, and discuss the impact of those arenas on the queer community and the performance of masculinity and heightened male emotion within those parts of society.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

What is the definition of a cowboy? In this episode, we finally learn what a cowboy means and come to the conclusion why gay cowboys actually make a lot of sense! We also compare the three queer characters from “Brokeback Mountain” and “The Power of the Dog”, including how they differ and how their upbringing may have changed their attitudes.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

In this episode we focus on Benedict Cumberbatch's character, Phil, and how his performance of masculinity ultimately caused his own downfall. We also question the true villain of the film and talk about the shifting power dynamics within the family at the end.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

What are our favourite revenge films? **SPOILERS INSIDE THE EPISODE** We chat about the ending, whether it is a satisfying revenge film and what makes a great revenge film. Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

Presented to the Free Enterprise Society at Oklahoma State University on March 13, 2024. Ryan McMaken (https://mises.org/McMaken) is executive editor at the Mises Institute. He is a cohost of the Radio Rothbard podcast (https://mises.org/RothPod) and the War, Economy, and State podcast (https://mises.org/WES), and is the author of *Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities* and *Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre*. The Free Enterprise Society (FES) is sponsored by the Institute for the Study of Free Enterprise at Oklahoma State University: https://fe.okstate.edu/fes

Presented to the Free Enterprise Society at Oklahoma State University on March 14, 2024. Ryan McMaken (https://mises.org/McMaken) is executive editor at the Mises Institute. He is a cohost of the Radio Rothbard podcast (https://mises.org/RothPod) and the War, Economy, and State podcast (https://mises.org/WES), and is the author of *Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities* and *Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre*. The Free Enterprise Society (FES) is sponsored by the Institute for the Study of Free Enterprise at Oklahoma State University: https://fe.okstate.edu/fes

Why isn't class often explored in the western genre? We also chat about the character of George and how his naivety caused the events of “The Power of the Dog”.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

We're back to a more conventional Western film… and boy, have we got opinions on “The Power of the Dog”. Listen in on our conversation about Jane Campion, our overall thoughts on the film and why we chose “The Power of the Dog” for the podcast.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

Welcome back, film fanatics, to another episode of Movie Herald Podcast. Last time, we cracked open the treasure chest of movie genres, but today, we're taking a time machine and teleporting to the very birth of the genre system. Buckle up, because we're about to witness the first flick that dared to wear its genre on its sleeve! Brace yourselves, folks, because we're going all the way back to 1902. That's right, we're talking about a time when cars were horseless carriages and cellphones were just a twinkle in Alexander Graham Bell's eye. This is the era of silent films, where storytelling relied on slapstick, pantomime, and a dash of imagination from the audience. So, what film gets the honor of being the first "genre film"? Many film historians point to a French flick called "Le Voyage dans la Lune," which translates to "A Trip to the Moon." Yes, the same directed by George Melies from Hugo. This fantastical journey follows a group of astronomers who blast off to the moon in a giant cannon. Think Jules Verne meets Monty Python, with a healthy dose of silent film charm. Now, "A Trip to the Moon" wasn't exactly "The Godfather" of its time, but it planted a seed. It showed filmmakers that audiences craved stories that fit into specific categories – in this case, the fantastical world of science fiction. After this lunar launch, other genres started popping up like popcorn at the cinema. Westerns, comedies, and even tearjerking melodramas emerged, each catering to a specific audience appetite. What was the very first genre film in Hollywood? Drumroll, please... It was none other than the iconic Western, “The Great Train Robbery,” released in 1903. Directed by Edwin S. Porter, this 12-minute silent film revolutionized storytelling on screen. It had action, drama, and even a touch of suspense – all essential elements of the Western genre. But hold your horses, pardner! “The Great Train Robbery” wasn't just a standalone success. It kickstarted a wildfire of genre films, each adding its own unique flavor to the mix. From the swashbuckling adventures of Douglas Fairbanks in “The Mark of Zorro” to the spine-chilling horrors of “Dr. Jekyll and Mr. Hyde,” Hollywood was quickly becoming a melting pot of genres. Now, let's talk turkey. How did the success of these early genre films change the movie market? Well, it was like adding fuel to the fire. Audiences couldn't get enough of the thrills and excitement offered by these genre flicks, and filmmakers were more than happy to deliver. Studios began churning out genre films left and right, each vying for a piece of the box office pie. But amidst all the chaos, one thing became clear – genre films weren't just a passing fad. They had staying power. Directors like John Ford and Alfred Hitchcock elevated genre filmmaking to an art form, pushing the boundaries of storytelling and leaving audiences on the edge of their seats. This genre gold rush wasn't just about making money (although that certainly didn't hurt). It also allowed filmmakers to explore different storytelling techniques and create a kind of cinematic shorthand. If you saw a cowboy hat and a dusty town, you knew you were in for a Western. A damsel in distress and a mustache-twirling villain? You were probably watching a melodrama. Now, the success of these early genre films did have its drawbacks. Some critics argued that it stifled creativity and led to formulaic storytelling. But hey, you can't please everyone, right? So in the next episode, we will see in detail about the Western Genre. Exciting isn't it? Until then bye from Gopal.

We started a discussion on what is Western Genre where it all started and Jigarthanda DoubleX. A lot of things were discussed, thank to our wonderful Guest - Pratip Vijaykumar from Chennaikaaran podcast for this wonderful discussion.

Join Neil Haley from The Neil Haley Show and the host Frank Fiore as they interview the first guest author on this show, Emmanuelle as she tells her side of the story with being a German female writer in the Western Genre.

With Pale Rider we talked about how Clint Eastwood was able to modernize certain western tropes for the modern era. That concept is something he perfects in 1992's Unforgiven. The 90's Western is often seen as the Eastwood's Magnum Opus, and it's hard to dispute that. It was released to rave reactions from audiences, lauded by critics, and got Eastwood his first Oscar for both Best Picture and Best Director. The film is often seen as the "end" of the Western Genre. Why is that? That's what we're here to find out

Normalize men driving minivans. They're practical vehicles and fit the needs of a family in which the kids match or outnumber the adults, the fantastic Dad, journalist, and novelist Chad Dundas tells me. We also have a wonderful discussion about writing and the Western genre, about which Chad knows a very great deal.

Scott is again joined by Ryan McMaken of the Mises Institute to talk about the economy. First, they examine the major fluctuations in the money supply to help us predict where in the boom-bust cycle we might be. They then identify the dominant economic philosophy of the U.S. government before finishing with a discussion of the national debt, housing and employment.  Discussed on the show: “Money Supply Growth Falls to Depression-Era Levels for Second Month in April” (Mises.org) For a New Liberty by Murray Rothbard Ryan McMaken is executive editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY Learn more about your ad choices. Visit megaphone.fm/adchoices

 Download Episode. Scott is again joined by Ryan McMaken of the Mises Institute to talk about the economy. First, they examine the major fluctuations in the money supply to help us predict where in the boom-bust cycle we might be. They then identify the dominant economic philosophy of the U.S. government before finishing with a discussion of the national debt, housing and employment.  Discussed on the show: “Money Supply Growth Falls to Depression-Era Levels for Second Month in April” (Mises.org) For a New Liberty by Murray Rothbard Ryan McMaken is executive editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY

Scott is joined by Ryan McMaken of the Mises Institute to talk about nuclear weapons and the boom-bust cycle. They begin with a discussion of McMaken's recent article pushing back against common arguments for the production of more nuclear weapons. McMaken argues that, even if you accept the premise that we need nuclear weapons for deterrence, it does not follow that we need thousands of them. They then move on to the economy. They first dig into what's actually behind today's inflation and looming recession. That leads to a broader discussion about why some of the most important goods and services, like housing and healthcare, are growing more expensive. Discussed on the show: “No, We Don't Need More Nuclear Weapons” (Mises Wire) “The Fed Backtracks on Future Rate Hikes as Bank Failures Loom Large” (Mises Wire) Mises.org Ryan McMaken is a senior editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY Learn more about your ad choices. Visit megaphone.fm/adchoices

 Download Episode. Scott is joined by Ryan McMaken of the Mises Institute to talk about nuclear weapons and the boom-bust cycle. They begin with a discussion of McMaken's recent article pushing back against common arguments for the production of more nuclear weapons. McMaken argues that, even if you accept the premise that we need nuclear weapons for deterrence, it does not follow that we need thousands of them. They then move on to the economy. They first dig into what's actually behind today's inflation and looming recession. That leads to a broader discussion about why some of the most important goods and services, like housing and healthcare, are growing more expensive. Discussed on the show: “No, We Don't Need More Nuclear Weapons” (Mises Wire) “The Fed Backtracks on Future Rate Hikes as Bank Failures Loom Large” (Mises Wire) Mises.org Ryan McMaken is a senior editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY

Ryan McMaken of the Mises Institute joins Scott to discuss the ill effects central banking has on the country. McMaken wrote an article recently pointing out that the Federal Reserve, America's central bank, is technically bankrupt. Scott has McMaken explains how that's true and why the costs of a bankrupt Fed are felt by us all. Scott and McMaken also address some common points about inflation made by the left and examine what they get right and where they go wrong. The two also look at today's economy to try and work out where we are in the boom-bust cycle.  Discussed on the show: “Why the Fed Is Bankrupt and Why That Means More Inflation” (Mises.org) What Has Government Done to Our Money? For a New Liberty: The Libertarian Manifesto Ryan McMaken is a senior editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY Learn more about your ad choices. Visit megaphone.fm/adchoices

 Download Episode. Ryan McMaken of the Mises Institute joins Scott to discuss the ill effects central banking has on the country. McMaken wrote an article recently pointing out that the Federal Reserve, America's central bank, is technically bankrupt. Scott has McMaken explains how that's true and why the costs of a bankrupt Fed are felt by us all. Scott and McMaken also address some common points about inflation made by the left and examine what they get right and where they go wrong. The two also look at today's economy to try and work out where we are in the boom-bust cycle.  Discussed on the show: “Why the Fed Is Bankrupt and Why That Means More Inflation” (Mises.org) What Has Government Done to Our Money? For a New Liberty: The Libertarian Manifesto Ryan McMaken is a senior editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Breaking Away: The Case of Secession, Radical Decentralization, and Smaller Polities and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY

Turns out, when we said, "We're watching that Kurt Russel movie where he talks in a funny accent and gathers together a bunch of ragtag, scruffy looking, teeth-missing people who he trains and leads to take down a big baddy," we meant Tombstone, not Miracle. Ok. That was joke. Thanks to the real big baddy (scheduling), the guys were not able to find a time to record like normal. Please enjoy this episode recorded with Cooper and Quinn, and we'll be back to normal next time. Miracle will get squeezed in the schedule somehow. Why do people, Americans in particular, love the Western Genre? Is Tombstone a good Western? IS VAL KILMER AWESOME??? These are the topics discussed today! Take a listen!SUPPORT US HERE:https://patreon.com/thescreening

Dass das Western-Genre nicht so verstaubt ist wie sein Ruf, das möchte ich euch in dieser Episode beweisen, in der ich meine liebsten zehn Vertreter der letzten zehn Jahre vorstelle! Natürlich kommt die Folge nicht ohne die obligatorischen Trivia-Fakten aus. Erfahrt unter anderem, wie es war, der Regie-Legende Quentin Tarantino persönlich zu begegnen!

We're joined by Ryan McMaken to discuss the case for secession and much more in this episode of Situation Report. Ryan is a senior editor at the Mises Institute and the the author of Breaking Away: The Case for Secession, Radical Decentralization, and Smaller Polities (forthcoming) and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre.See omnystudio.com/listener for privacy information.

We're joined by Ryan McMaken to discuss the case for secession and much more in this episode of Situation Report. Ryan is a senior editor at the Mises Institute and the the author of Breaking Away: The Case for Secession, Radical Decentralization, and Smaller Polities (forthcoming) and Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre.See omnystudio.com/listener for privacy information.

Der klassische Westernheld ist weiß, männlich und amerikanisch. Im Western „The Drover's Wife – die Legende von Molly Johnson“ steht dagegen eine indigene Frau im Mittelpunkt der Szene im australischen Outback. Ein postkolonialer, feministischer Film der indigenen australischen Regisseurin Leah Purcell, der das Western-Genre auf den Kopf stellt. Dabei hat Purcell nicht nur Regie geführt und das Drehbuch geschrieben – sie hat auch gleich noch die Hauptrolle übernommen.

Scott talks with Ryan McMaken about free markets and free trade. They begin with a discussion about the role of the Mises Institute in the push for sound money. Scott then asks McMaken about the nuances of debating capitalism vs. socialism while living under a mixed economy. They then discuss the changing role of the United States in the world. McMaken does believe a “rules-based international order” existed after the fall of the USSR. But that the U.S. destroyed it by invading Iraq in 2003. McMaken argues that the best path forward is a commitment to the classical liberal ideals of free markets at home and nonintervention abroad.  Discussed on the show: Scott's Kennedy Appearance  Mises.org Creature from Jekyll Island by G. Edward Griffin “The "Rules-Based International Order" Is Dead. Washington Killed It” (Mises Wire) Ryan McMaken is a senior editor at the Mises Institute. He has degrees in economics and political science from the University of Colorado, and was the economist for the Colorado Division of Housing from 2009 to 2014. He is the author of Commie Cowboys: The Bourgeoisie and the Nation-State in the Western Genre. This episode of the Scott Horton Show is sponsored by: The War State and Why The Vietnam War?, by Mike Swanson; Tom Woods' Liberty Classroom; ExpandDesigns.com/Scott; EasyShip; Free Range Feeder; Thc Hemp Spot; Green Mill Supercritical; Bug-A-Salt and Listen and Think Audio. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjYu5tZiG. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, Amanda and Julia sit down to discuss a very specific film genre: westerns.  After seeing The Harder They Fall (dir. Jeymes Samuel "The Bullitts"), they dive into the origins of the western genre. Revisionist westerns aren't trying to change history, they're challenging the tropes and traditions of the genre itself. And what does western film have to say about industrialization, masculinity, isolation, and the myth of manifest destiny? In other words, why do we like cowboys so much? The frontier is no more, and outlaws don't get to make the rules. American fixation with a lawless land where men with guns take things into their own hands has wildly interesting connotations in hindsight.

Can virtual worlds increase our understanding of history? In this episode, Fulton and Mike tackle Rockstar Games' bestselling video game series Red Dead and it's relation to the history and culture of the Old West. Mike shares his experience teaching a new history course about video games. Original music by Felix Halvorson. To learn more, visit https://innovativehistory.org/.

Last month in our Facebook group guest host Terry Gant ran a poll asking about particular film genres' inherent capacity to either reveal the glory of God or obscure it. This episode is the first step in giving that question a thorough answer. We're starting that process by taking a look at the Western genre and then reviewing a classic film, The Good, the Bad, and The Ugly [1967]. In this Jeff and Terry: (1) Identify the defining marks of the Western genre (2) Detail the specific plot structures used in the genre (3) Give a review worth of The Good, The Bad and The Ugly (4) Nail down the ways this genre pushes viewers to see the glory of God as well as where it unhelpfully pushes back against a Christ-centered view of reality. So let's get to it! Hit that download button, press play, and let's get started on Ep. 51 of The Pop Culture Coram Deo Podcast!