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Miami Vice
Many movies tell us how to watch them. Whether it’s Raiders of the Lost Ark, Casablanca, or Rear Window, movies steer the viewers to certain reactions anticipated by their directors long before the first tickets have been sold. Michael Mann’s Miami Vice does this less often than other films (including Mann’s) with spectacular results. Almost twenty years after its release, the film seems to have found a new audience that appreciates Mann’s letting the viewer take the protagonists on their own terms. It’s not a buddy-cop movie, although the cops are friends; it’s not a tale of star-crossed lovers, although that’s plainly there; and it’s not a series of wild shoot-outs, although it culminates in a classic Michael Mann action sequence. The current colloquialism “It is what it is” seems to apply here–and what Miami Vice “is” is a great film, regardless of how it’s categorized. Jean-Baptiste Thoret’s Michael Mann:A Contemporary Retrospective examines Mann’s style, themes since he announced his presence in 1981 with Thief. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us any time at [email protected] with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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History Is Made at Night
Every so often, you encounter The Perfect Movie: something with a screenplay, cast, and direction that combine in a way that reminds you of what happens when everyone working on a movie gets it exactly right. History is Made at Night (1937) is one of those movies. Join us for a conversation about how a film that accelerates emotions almost to the level of farce and shifts between genres like a bored teenager with a remote control still dramatizes perfectly what it’s like to fall in love. Hervé Dumont’s 1993 book Frank Borzage: The Life and Films of a Hollywood Romantic offers complete coverage of Borzage's entire career: the more than 100 films he made and the effect of those films on movie audiences, especially between 1920 and 1940. Incredible bumper music by John Deley. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on X and on Letterboxd–and email us any time at [email protected] with requests and recommendations. Check out Dan Moran’s substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Read Mike Takla’s substack, The Grumbler’s Almanac, for commentary on offbeat topics of the day. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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Alien: Earth Episode Analysis: Emergence and The Real Monsters
It’s The Pop Culture Professors, and we conclude our analysis of the FX series Alien: Earth with episode 7, “Emergence” and episode 8, “The Real Monsters.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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Mark Archuleta, "The Reel Thrilling Events of Bank Robber Henry Starr: From Gentleman Bandit to Movie Star and Back Again" (U North Texas Press, 2025)
In 1921 headlines across the country announced the death of Henry Starr, a burgeoning silent film star who was killed while attempting to rob a bank in Harrison, Arkansas. Cynics who knew the real Starr were not surprised. Before becoming a matinee idol, Starr had been the greatest bank robber of the horseback bandit era. Born in 1873, Cherokee outlaw Henry Starr had survived shootouts and death sentences and lived long enough to witness the invention of moving pictures. In 1919, after Starr was released from the Oklahoma State Penitentiary, a hotshot movie producer convinced him he had the looks, charisma, and “wild and woolly” life story to become the next big movie star. When filming began in 1920, powerful organizations aligned to censor Starr, attempting to prevent him from exposing Oklahoma’s corrupt legal system and the government’s mistreatment of the Cherokee. The Women's Christian Temperance Union pressured theater owners to ban his film, state and federal lawmakers drafted legislation to stymie theatrical distribution, and police and district attorneys threatened to send him back to prison. Starr's only film, the biographical movie A Debtor to the Law, is lost to history, but through surviving memorabilia, newspaper accounts, and interviews with people who worked with him on set, author Mark Archuleta traces how the reformed gentleman bandit attempted to use the power of cinema to reframe his life story and redeem himself in the eyes of the public, his family, and the Cherokee Nation. The Reel Thrilling Events of Bank Robber Henry Starr: From Gentleman Bandit to Movie Star and Back Again (University of North Texas Press, 2025) by Mark Archuleta is about more than heists and Hollywood glamor. Starr’s journey is about the American myth of reinvention, recidivism, and the founding of the motion picture industry when racial tensions were simmering to a boil. Contact the author here. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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Mary Beth Willard, "Why It's Ok to Enjoy the Work of Immoral Artists" (Routledge, 2021)
The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists, but according to Mary Beth Willard, it’s hard to find good reasons to do so. In Why It's OK to Enjoy the Work of Immoral Artists (Routledge, 2021), she contends that because most boycotts of artists won’t succeed, there’s no ethical reason to do so most of the time. She then argues that canceling artists is ethically risky because it encourages moral grandstanding. In this interview, Allison Leigh talks to Mary Beth Willard about the differences between enjoyment and engagement when it comes to immoral artists, as well as whether we should enjoy artworks that have immoral outlooks and behaviors embedded in them. Their conversation ranges from the problems associated with collective versus individual actions, the positive effects that giving up the work of immoral artists may have for shifting cultural norms, and the distinction between public and private enjoyment. Allison Leigh is Associate Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
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