<p>In the latest Filmsuck episode, we're talking scary-beautiful sorceress-star Vivien Leigh who played Scarlett O'Hara and Cleopatra and Anna Karenina and Blanch DuBois and many other iconic film roles. We also take on the recent, remarkably stupid film studies scholarship about her. </p>

In the latest Filmsuck episode, we're talking scary-beautiful sorceress-star Vivien Leigh who played Scarlett O'Hara and Cleopatra and Anna Karenina and Blanch DuBois and many other iconic film roles. We also take on the recent, remarkably stupid film studies scholarship about her.

<p>In the latest Filmsuck episode, we're talking scary-beautiful sorceress-star Vivien Leigh who played Scarlett O'Hara and Cleopatra and Anna Karenina and Blanch DuBois and many other iconic film roles. We also take on the recent, remarkably stupid film studies scholarship about her.&nbsp;</p>

Vivien Leigh: Scorpio Rising

Support us on Patreon.com/filmsuck for bonus episodes and more perks!

A weekly podcast hosted by Eileen Jones, film critic at Jacobin magazine and recovering academic, and Dolores McElroy, diva enthusiast and lecturer in film and media at UC Berkeley.

In this podcast for the people, we bring you the truth about the rotten state of cinema, its often odious or ham-fisted relationship to politics, and its occasional wondrous bursts of courage and brilliance. We consider the glories of cinemas past, and wonder about lots of things: what’s the role of contemporary film in a time of bad art and worse taste; popular entertainment in a time of fragmentation, generalized disaffection, and PTSD; and media in a time when it seems to have lost its power to get us off our asses?

In short, what is to be done when film sucks?

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Support us on Patreon.com/filmsuck for bonus episodes and more perks! A weekly podcast hosted by Eileen Jones, film critic at Jacobin magazine and recovering academic, and Dolores McElroy, diva enthusiast and lecturer in film and media at UC Berkeley. In this podcast for the people, we bring you the truth about the rotten state of cinema, its often odious or ham-fisted relationship to politics, and its occasional wondrous bursts of courage and brilliance. We consider the glories of cinemas past, and wonder about lots of things: what’s the role of contemporary film in a time of bad art and worse taste; popular entertainment in a time of fragmentation, generalized disaffection, and PTSD; and media in a time when it seems to have lost its power to get us off our asses? In short, what is to be done when film sucks?

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