On this week’s episode, I’m joined by Raoul Peck (I Am Not Your Negro) to discuss his new documentary, Orwell: 2+2=5. We talked about his upbringing in Haiti and having to flee a dictatorial regime there, how social media and AI manipulations help degrade the idea of objective truth, and what can be done to combat this scourge. If you enjoyed the episode, I hope you check out his documentary: it’s playing in New York City and Los Angeles now, and you can find showtimes here. It should be expanding across the country here in the coming weeks, including showtimes in Dallas, Atlanta, Minneapolis-St. Paul, and elsewhere. 

Hey, before you listen to this week’s episode, do me a favor and watch the short film we’re going to be discussing. It’s only 17 minutes long, and if you’re between the age of 31 and 45 or so, I think it’ll trip a lot of your nostalgia circuits. (It’s fun for all ages, but Yourgo said this was the age range that best responded to the movie.) Here's a link: https://www.youtube.com/watch?v=snpT2i7B6Mk

Fun right? OK, now you can listen to the episode. It’s a good chat about the nature of online trolling and a simpler time when we believed our votes (for the top songs on Total Request Live) really mattered. If you enjoyed our discussion, share all this with a friend, would you?

On this week’s episode, I’m joined by Nate Soares to talk about his new book, cowritten with Eliezer Yudkowsky, If Anyone Builds It, Everyone Dies: Why Superhuman AI Would Kill Us All. It’s a fascinating book—some will say fearmongering and sensationalist; I, frankly, think they’re overly optimistic about our ability to constrain the development of general intelligence in AI—in large part because of how it’s structured. Each chapter is preceded by a fable of sorts about the nature of intelligence and the desires of intelligent beings that look and think very differently from humans. The point in each of these passages is less that AI will want to eliminate humanity and more that it might do so incidentally, through natural processes of resource acquisition. 

This made me think about how AI is typically portrayed in film; it is all too often a Terminator-style scenario, where the intelligence is antagonistic in human ways and for human reasons. We talked some about how storytellers could do a better job of thinking about AI as it might actually exist versus how it might be like us; Ex Machina is a movie that came in for special discussion due to the thoughtful nature of the treatment of its robotic antagonist’s desires. If this episode made you think, I hope you share it with a friend!

On this week’s episode, I’m joined by Matt Roller, the creator and showrunner of the new Netflix animated show Haunted Hotel. We discussed his background in television, how it helped prepare him for the long (shockingly long!) process of creating a full season of animated television, and why he is reading the comments. The show is live on Netflix now and I hope you check it out … and give it the preferred two (not one!) thumbs up, for the reasons Roller laid out in this episode. And if you enjoyed THIS episode, I hope you share it with a friend! (I could also use a thumbs up or two myself, you know.)

On this week’s episode, I’m joined by Tony Gilroy to discuss his work on Andor, the hit Disney+ series that’s a prequel to Rogue One but has ambitions beyond telling the backstory of the Death Star. It is, in a very real way, a TV show about our moment and the mounting tension felt throughout the political order: from Imperial troops on the streets of civilian cities attempting to provoke conflict to Luthen Rael’s (Stellan Skarsgård) campaign of violent resistance, one can’t help but draw parallels to this increasingly fraught point in American history. 

On this week’s episode, I’m joined by Rep. Laura Friedman, the congresswoman from the area we colloquially refer to as “Hollywood,” to discuss her push for a national film tax credit of the sort used by the United Kingdom and other countries to lure production of movies back to the United States. 

We discuss her career in the TV and film industry before her move into politics, how DC is not unlike Los Angeles, and why the U.S. needs a national film tax credit more than a cost-increasing tariff on movies. If you enjoyed this episode, please share it with a friend!

On this week’s episode, I’m joined by Tim League, one of the founders of the Alamo Drafthouse and the man behind Metro Private Cinemas in New York’s Chelsea neighborhood. It’s a pretty cool concept—half fine dining, half private cinema auditorium—and I was excited to discuss the evolution of movie theaters as both viewing and gastronomic experiences. League is planning to open the theater in a few weeks, and they’re accepting reservations now; you can check out the offerings here. If you go, let me know: I’ll be very jealous, as it will likely be a while before I am able to make it up to New York again. But when I do, it’s the first stop on my tour of the city.

On this week’s episode, I’m thrilled to be joined by Toby Huss, star of the summer’s most surprising smash hit, Weapons, as well as the rebooted King of the Hill on Hulu and Americana, in theaters and VOD now. We talked about all those, plus his weird and lovely photography book, American Sugargristle, which you can (and should!) order here. Toward the end of the episode, I went full Chris Farley and did a “Hey, remember The Adventures of Pete and Pete and Carnivale? You were awesome in those” segment. Luckily, Mr. Huss was insightful and, frequently, quite poignant while discussing his work as an artist across multiple disciplines, from acting to music to photography. If you enjoyed the episode—and I hope you did—please share it with a friend!

On this week’s episode, I’m joined by New York Magazine’s Bilge Ebiri, who has an enormous, career-spanning interview with Ron Howard in the latest issue. We discussed what makes a Ron Howard movie a “Ron Howard Movie,” the incredibly under-appreciated Thirteen Lives, and that movie about J.D. Vance. And then we talked a bit about his fascinating history of a key element of film technology in the latest issues of Mubi’s quarterly film journal, Notebook. Why is 24 frames per second the accepted frame rate? And why does our eye revolt when the image, paradoxically, gets closer to “reality”? If you enjoyed this episode, please share it with a friend!

I asked David Poland (read his Substack!) to come on this week to pick his brain about the state of the big studio comedy, a genre that has diminished in recent years as international grosses became more important and a lot of comedy releases shifted to streaming in an effort to reduce advertising costs. Which led to us talking about the states of various genres (including horror and superhero pictures) as well as the state of play around the world. If you learned something this week, I hope you share this episode with a friend!