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The Next Picture Show

Podcast The Next Picture Show
Filmspotting Network
Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic film...
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  • #453: The Witch Is Back, Pt. 1 — The Wizard of Oz
    The new movie musical WICKED, along with the Broadway show and novel that preceded it, is specifically out to subvert the version of the magical land of Oz that was codified in 1939’s THE WIZARD OF OZ, making it the perfect time to consider what made that film a phenomenon to be subverted in the first place. So this week we wade into the vast, varied legacy of THE WIZARD OF OZ to discuss why it overcame its initial box-office failure to become a perennial family classic; which of the film’s enduring elements feel most of their time; and how that “it was all a dream” framework contributes to the film’s appeal. And in Feedback, a listener hits us with some historical context regarding a question raised in our recent episode on THE BEST MAN. Please share your comments, thoughts, and questions about THE WIZARD OF OZ, WICKED, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
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  • #452: Cinde-F***ing-Rella, Pt. 2 — Anora
    Sean Baker’s ANORA takes the fairy-tale premise of 1990’s PRETTY WOMAN as its starting point, but ends up on a very different route to a very different sort of happy ending. It’s also a best-of-the year contender for most of us, so we spend some time discussing what makes it so before bringing its romcom predecessor back in to consider how these two films about sex workers falling for their wealthy clients are in conversation when it comes to classicism and social hierarchies, conspicuous consumption, and what happens when a transactional relationship evolves into something more. And in Your Next Picture Show, we offer a pair of recommendations that illustrate the cinematic endurance of this particular premise.  Please share your comments, thoughts, and questions about PRETTY WOMAN, ANORA, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Jon M. Chu’s WICKED and Victor Fleming’s THE WIZARD OF OZ Learn more about your ad choices. Visit megaphone.fm/adchoices
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  • #451: Cinde-F***ing-Rella, Pt. 1 — Pretty Woman
    Sean Baker’s new ANORA takes its initial cues from 1990’s PRETTY WOMAN, but its story of a sex worker who develops romantic feelings for a client in spite of class difference and social stigma soon peels off in a vastly different direction. So this week we’re focusing on that shared starting point to determine what makes PRETTY WOMAN both a deeply weird depiction of sex work and a resoundingly successful romcom — and no, it’s not just Julia Roberts, though it’s hard to imagine us discussing PRETTY WOMAN as a classic film today without that star-making performance. And in Feedback, a listener question about theaters' embrace of faith-based films prompts a broader discussion of how and why multiplexes are diversifying their offerings. Please share your comments, thoughts, and questions about PRETTY WOMAN, ANORA, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    1:10:52
  • #450: Ballot Wounds, Pt. 2 — Conclave
    Edward Berger’s new CONCLAVE is a low-key, intimate political thriller full of unexpected reveals, but fundamentally about power, purity, belief, compromise, perception, and committee decisions. This week we share our thoughts on CONCLAVE’s insular focus and messaging around religion and politics before considering how its power brokers and kingmakers compare to those found in the 1964 presidential-candidate drama THE BEST MAN, and the two films’ overlapping ideas about whether politics demands hypocrisy. And for Your Next Picture Show, we offer a recommendation for THE DEATH OF STALIN, a radically different movie about the vacuum left when a powerful man dies, and the jockeying and chicanery that follows. Please share your comments, thoughts, and questions about THE BEST MAN, CONCLAVE, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Next Pairing: Sean Baker’s ANORA and Garry Marshall’s PRETTY WOMAN. Learn more about your ad choices. Visit megaphone.fm/adchoices
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  • #449: Ballot Wounds, Pt. 1 — The Best Man
    While the new CONCLAVE concerns the election of a new pope, its intrigue, backstabbing, and backroom deals have many echoes in secular politics, in particular those found in 1964’s THE BEST MAN. Directed by Franklin J. Schaffner and written by Gore Vidal adapting his own stage play, the film’s depiction of the behind-the-scenes machinations involved to secure an unnamed party’s nomination for the presidency is relevant both to its era and our current political moment, albeit in different ways. But how deep does its cynicism about the system of elections, and those who manage to make that system work for them, go? We talk through that, as well as how THE BEST MAN’s women function within that system, before taking on some listener feedback about streaming availability that doubles as an excuse to endorse a system we can all get behind: public libraries.  Please share your comments, thoughts, and questions about THE BEST MAN, CONCLAVE, and anything else in the world of film by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices
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