The Bulwark Goes to Hollywood

On this week’s episode, I’m very pleased to be rejoined by Rod Blackhurst (we had him on a couple of years back to discuss his indie crime drama Blood for Dust) and joined for the first time by Ethan Suplee, veteran character actor we all know and love from films like Mallrats, Remember the Titans, and The Wolf of Wall Street and TV shows like My Name Is Earl. We’re discussing their new film, Dolly, a true indie endeavor made in the spirit of American classics like The Texas Chain Saw Massacre and The Evil Dead or the New French Extremity’s High Tension. Rod and his partners raised some money, brought some folks to the woods of Tennessee, and put together something he hopes will be memorable for the audiences who see it. It’s hitting theaters this weekend, playing around 800 or so screens across the country, and if you’re a horror head—or just someone looking for something different—I hope you’ll check it out. (It is a horror movie, though, so I cannot provide any refunds if the onscreen terror sparks a walkout.)As I said, getting Ethan on the show is a real treat because I’ve been a fan for years and it’s been interesting to watch him dip his toes into some darker waters in recent years in films like Dolly, Babylon, Blood for Dust, and God Is a Bullet. It was fun to pick his brain about consciously making that shift and why his film work often gives him a little more space to stretch than his TV work.

We have a special bonus episode this week: I’m joined by Óliver Laxe, the director of the Oscar-nominated Sirāt, to discuss his film about a rave at the end of the world and how we can find community in an age of dislocation and isolation. I wanted to get this out now because a.) the film is expanding this weekend, b.) Laxe himself will be in attendance at a handful of shows across the country over the next week or two here, and c.) it really is the sort of movie you need to see in a theater. For the sound system and the big picture, yes, but also the sense of community a packed theatrical showing can generate. You’ll want to experience it with other people, believe me.

I’m joined by Paul Fischer on this week’s episode to discuss his new book, The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema. It’s a fascinating look at a pivotal moment in film history, when the breakdown of the studio system gave rise to the auteurist 1970s, the first half of which was dominated by Francis Ford Coppola, only to cede the landscape to the blockbuster entertainments that George Lucas and Steven Spielberg mastered in the back half of the decade and beyond.

This week, I’m joined by Andrew Jarecki and Charlotte Kaufman to discuss their Oscar-nominated documentary, The Alabama Solution. Currently streaming on HBO, their documentary combines interviews, investigative journalism, and footage from within the prisons themselves obtained via contraband cellphones to reveal the horrible and dangerous living conditions of those serving time in the Alabama correctional system. It’s a documentary primed to shock the conscience, and I hope everyone out there watches it. You can also go to the documentary’s website, TheAlabamaSolution.com, to learn more about the deaths inside Alabama’s prisons. And if you think this is an important film and an important issue, please share it with a friend.

Remember that weird moment in the 2024 campaign cycle where Donald Trump started referring to how much he loved and identified with “the late, great Hannibal Lecter”? That was odd, right? I discussed that and more with Brian Raftery, whose new book Hannibal Lecter: A Life is both the perfect Valentine’s Day gift for the love consuming your heart and a fascinating portrait of a bizarre creation from a reclusive writer. Indeed, the most interesting part of the book is the early deep dive into the life and writing of Thomas Harris, who has given just a handful of interviews over his nearly 50-year career. 

I’m very pleased to be joined this week by Matthew Robinson, who is the screenwriter of the new film, Good Luck, Have Fun, Don’t Die. It is the rarest of things: a mid-budget, high-concept, sci-fi action-comedy. Starring Sam Rockwell as a time-traveler from a ruined future (or possibly just a bum with a fake bomb strapped to his chest), Robinson and director Gore Verbinski (The Ring, Pirates of the Caribbean) have crafted a piercingly satirical take on our obsession with screens, our inability to deal with the tragedy of modern living, and the creeping fire that all-powerful AI will wind up killing half of us and enslaving the rest. It’s opening wide on February 13, and I really hope you check it out. I may write a hair more about it in my newsletter though I probably won’t review it properly as I try not to review movies made by people I’ve interviewed so as to avoid the appearance of a conflict of interest. (Ethics, baby!) That said, I strongly recommend going to see it in a movie theater if for no other reason then to demonstrate that there is an audience for original films with a clear point of view and something to say about our world and our moment. 

On this week’s episode, I’m very pleased to be joined by Ric Roman Waugh, the director of the new film Shelter, starring Jason Statham. We talked a lot about making that movie and how he best utilized Statham’s skills as opposed to Dwayne Johnson’s in the movie Snitch or Gerard Butler’s in the Greenland films, Kandahar, and Angel Has Fallen. Shelter, which is in theaters now, is a little more meditative than some of Statham’s recent work, though no less effective for it. We discussed why Statham was attracted to the part and how his fatherhood helped inform his role as the protector of an orphaned young girl.Then we discussed making the transition from stuntman to director: Waugh worked with Tony Scott on a number of pictures, and had some interesting insights into the methods of the great action director. And I’d be lying if I said I didn’t have to practically restrain myself from just doing 30 minutes on Waugh’s Shot Caller, a gritty prison drama.oo

The Oscar nominations dropped yesterday morning and I grabbed our favorite Oscar prognosticators, Katey Rich and Christopher Rosen of The Ankler’s Prestige Junkie, to chat about what it all means. Does Sinners’s 16 nominations mean it could upset One Battle After Another for best picture? What does it mean that Wicked: For Good took home zero nods? Perhaps most importantly: Will Delroy Lindo get his dang Oscar, as we demanded back in October? All that and more on this week’s episode, including a SHOCKING prediction by Christopher at the end of this podcast. If you enjoyed this episode, make sure to check out their podcast. And please share this one with a friend! (And Delroy Lindo’s agent, we gotta get him on this show to talk about his career, amirite?)

On this week’s episode, I’m joined by Chuck Klosterman to discuss all things football and his new book, aptly titled Football. (Please buy a copy for yourself and your friends; you’ll thank me, and then your friends will thank you.) We hit on an array of topics, including but not limited to the potential demise of the sport, the ways in which television and football are a perfect match, why streaming services are spending billions to acquire the rights to NFL and NCAA games, how gambling and fantasy football have fundamentally changed our relationship to the sport, and trying to think through how we think about football and why it matters. 

On this week’s episode, I’m pleased to be joined by W. David Marx, author of the new book Blank Space: A Cultural History of the Twenty-First Century. Alongside Marx’s Status and Culture, this book is one of the key texts to understanding how and why the culture has shifted so radically so quickly: the combination of “poptimism” (we discuss what, precisely, this is early on) and cultural omnivorism (the merging of all genres and all forms into a sort of equally viable mass entertainment) and the internet’s flattening of culture have led to a stagnant culture and a revanchist counter-counterculture eager to exact revenge and facing no real opposition in that effort. If you enjoyed our conversation, or simply want to understand how we wound up in the world we wake up to every morning, I strongly recommend picking up Marx’s book. And if anything was unclear from our chat, drop me a line in the comments and hopefully I can help clear things up!

On Monday, Sam Stein DMed me and asked if we could put together a little livestream event celebrating the work of Rob Reiner; he described it as sitting shiva, and I was happy to take the lead on putting this group of mourners together. I was joined by my colleague Bill Kristol, The Ankler’s Richard Rushfield (whose great column on Reiner you can read here), and Semafor’s Dave Weigel (whose book on prog rock is a must-read for fans of the genre). 

On this week’s episode, I’m joined by Vulture’s Nicholas Quah to discuss his and Savannah Salazar’s piece on what Netflix might do with Warner Bros.'s tie-ins with Universal Studios and Six Flags, and then expanded the conversation to consider the vast universe of WB’s entanglements. The studio also owns an enormous video game company, the second-biggest comic book company in DC Comics, and all sorts of other stuff. What is Netflix going to do with all these disparate pieces? Who knows! But we do some rank speculation.

On this week’s episode, I’m rejoined by Scott Mendelson of The Outside Scoop, whom I’ve tasked with answering a very simple question: Is there a good business case to be made for rebooting the Rush Hour franchise or is it merely a (very odd) sop to Donald Trump and his wife’s chronicler, Brett Ratner? (:47). Then we discussed Zootopia’s crazy popularity in China. (14:16) We taped this episode before news broke that Netflix had completed its purchase of the studio and streaming assets of Warner Bros., but we were prescient enough to discuss what might happen if Netflix picked up a controlling stake in WB. Spoiler: Nothing good for competition in Hollywood! (33:15)

On this week’s episode, I’m rejoined by David Coggeshall (previously on to discuss Orphan: First Kill and the first Family Plan) to discuss his sequel to the surprise 2023 hit for AppleTV+. We talked shooting in London and Paris, the inspirations this holiday-season film, and what might come next for this series (and his career!). If you enjoyed this episode—or need a “drunk uncle movie” to watch with the family, as David described his film—make sure you check out The Family Plan 2, streaming on AppleTV now. And please share this with a friend!

For a goofy franchise that started with gangsters stealing DVD players and wound up with a Pontiac Fiero going into space, The Fast and the Furious movies are a pretty fantastic lens through which to view the last quarter-century of Hollywood economics. From the DVD boom and bust to the internationalization and diversification of ticket-buyers to questions of propriety surrounding the digital resurrection of deceased actors to the desire for all-encompassing franchise-based “cinematic universes,” the series has ridden every economic wave buffeting the movie business since the original’s release in 2001.  Author Barry Hertz does a wonderful job of weaving that story amidst the tangle of egos and artistic energy that makes up the Fast series in his new book, Welcome to the Family: The Explosive Story Behind Fast & Furious, the Blockbusters that Supercharged the World. Full disclosure: I’m not a particularly big fan of the series, so I was a little skeptical when I agreed to check out Barry’s book. But even if you don’t really care about the Fast and Furious movies, there’s more than enough behind-the-scenes drama and economic intrigue to keep you riveted. And it’s a must-buy stocking stuffer for anyone in your life who lives their life a quarter mile at a time.

On this week’s episode, I’m rejoined by Chris Yogerst, author of the new book from the University of New Mexico’s “Reel West” series on The Man Who Shot Liberty Valance. We discussed the making of the film, its place in the western canon as a sort of natural ending point for the traditional westerns made by John Wayne and John Ford, and the surprisingly political nature of the film’s central struggle between the frontier and civilization. If you enjoyed the episode, check out the book (or pick up the pristine 4K, on which Paramount did a fine job of making the film look good as new). And make sure to share it with a friend!

I’m joined by Dave Itzkoff on this week’s episode to discuss Paddy Chayefsky’s classic film, Network. Dave literally wrote the book on Network in his history of the film, Mad As Hell, and had lots to say about the making of the movie, the minds behind it, and its ongoing relevance to our daily lives. I know what you’re thinking, I can practically hear your thoughts: A movie about corporations taking over news divisions and fearing problems from the FCC holding up mergers because they don’t like coverage? What does that have to do with anything happening today? But I think we can squeeze out a similarity or two to our current moment.

On this week’s episode, I’m joined by Tom Nichols—staff writer at the Atlantic, professor emeritus at the U.S. Naval War College, and all-around nuclear arms expert—to discuss Kathryn Bigelow’s new nuclear war film A House of Dynamite. On this episode, we discuss how his students reacted to previous nuclear panic films like The Day After and Threads, what the new film from Bigelow and writer Noah Oppenheim gets right about the current state of our nuclear preparedness, and what keeps Tom up at night about the current White House’s nuclear posture.  You can read Tom’s pieces on A House of Dynamite here and here, and he has another up about what the Trump White House doesn’t understand about nuclear weapons here. You can read my review of the film here. And if you have thoughts, please sound off in the comments or share this episode with a friend!

On this week’s episode, I’m joined by Katey Rich and Christopher Rosen of The Ankler to preview the awards season and give you tips on what to check out (spoiler: Hamnet’s gonna be a big one this year) and discuss the exquisite art of Oscar prognostication. (If you enjoy this episode, make sure to check out The Ankler’s Prestige Junkie newsletter and show.) For the record, you can see my nomination guesses here at the Ankler Pundits site. One of the things we delve into is the weird position Oscar pundits find themselves in, as they are torn between portraying the world as it is and trying to subtly change things to reshape the world in their image, as the predictions themselves have been known to shape the outcome of races. And that’s why I am staking a claim here: Delroy Lindo deserves a god-dang Oscar nomination for his work in Sinners.  Look, don’t get me wrong: Lindo has deserved Oscar gold for some time. He absolutely deserved it for his work in Da Five Bloods, for instance. But I celebrate the man’s entire body of work. I would give him a lifetime achievement award simply for his pronunciation of “sesame cake” in Congo. The man’s a damn legend and it’s about time the Academy gave him his due.  But he especially deserves it for the work he does in Sinners, a movie that seems lined up to snag a whole boatload of Oscar nominations, including best picture. Yes, yes: Michael B. Jordan’s dual performance as Smoke and Stack is the showcase of the film. But Lindo’s turn as Delta Slim embodies the soul of the movie; he is the embodiment of the life of a musician, of a black musician, in the American South at a time when simply being black could mark you for death. And he’s just funny as hell in the role, delivering these slightly off-kilter line reads that no one else could have pulled off.  Give the man his Oscar gold already! At the very least, give him the nomination. The people demand it! Leave your favorite Lindo performance in the comments, if you would. I’d like to prove that this man deserves his plaudits. 

Hey, so, I wanted to pull an episode from the archive this week because it’s relevant to the big movie hitting theaters this weekend: Black Phone 2 follows up the surprise 2022 hit, The Black Phone, resurrecting The Grabber (Ethan Hawke) and his iconic mask. Back before that movie came out, I talked to Jason Baker of Callosum FX Studios about helping design the mask for that movie (as well as for WWE stars and the band, Slipknot) and his work with the legendary Tom Savini. We also discussed Jason’s documentary about Savini, Smoke and Mirrors, which you can rent for just 99 cents from Apple (or buy for just $1.99) or stream for free on Tubi. And if you enjoyed this re-run, please share it with a friend!