The Bulwark Goes to Hollywood

This week I’m joined by Godfrey Cheshire to discuss his new book, Cheshire on Film: Life & Writings . Cheshire is a long-time critic—in addition to writing for Variety and RogerEbert.com , among many other outlets, his stint at the New York Press with Matt Zoller Seitz and Armond White was a legendary run during the golden age of the alt-weeklies and was recently collected in The Press Gang — and his new book highlights a number of his seminal pieces, including interviews with David Lynch and Charlton Heston. But it also functions as a memoir of sorts, a remembrance of a vibrant time in film and film writing that is hard to imagine today. And it serves as a crash course on Iranian and Chinese cinema for those who need one. This is a must-read for anyone who is interested in the world of cinema. You can check out his Substack here . If you’re in North Carolina on September 9 , Chesire will be at the Rialto hosting a Q&A and signing books. And New York City residents should make sure to check out Cheshire’s appearance at the IFC Film Center with filmmaker (and Bill and Ted costar) Alex Winter on Monday, September 21 . If you make it out there for either of these shows, please say hi from The Bulwark!

This week I’m joined by Puck’s Eriq Gardner to discuss his fascinating piece on Warner Bros. efforts to keep a lid on spoilers for their new show, Lanterns , including some potential abuse of the Digital Millennium Copyright Act’s ability to remove infringing content from the Internet. We discussed what’s happening and how it could reflect a broader effort to stifle speech in contexts other than spoiler warnings. You can read Eriq’s reporting on the topic here . And if you enjoyed this episode, make sure to share it with a friend!

This week’s episode is a real treat: I’m joined by Alex Ullom, the 28-year-old writer/director of It Ends , and he provided a real window into the process of getting a low-budget indie movie made. His story has everything: fundraising from professional magicians; a first cut that didn’t work at all; acceptance into SXSW followed by no offers to buy the movie; a grassroots groundswell that got it the attention of Letterboxd; and, finally, a pickup by leading indie distributor Neon for release this week. It’s playing in Los Angeles and New York City this week before expanding wide next week, and I cannot stress this enough: if you liked Backrooms or enjoyed the existential dread of Exit 8 , you have GOT to go see It Ends .

This week, I’m joined by Robert Corn-Revere. Currently the chief counsel at the Foundation for Individual Rights and Expression, Corn-Revere also served as the chief counsel to the Federal Communications Commission chair in 1993 and as a counsel on important First Amendment cases that have made their way all the way to the Supreme Court. (Seriously, check out his Wiki , it’s crazy.) We had a pretty in-depth chat about how the FCC works and the myriad ways in which Trump’s hand-picked chair, Brendan Carr, is perverting some of the long-term ideals of the commission.

This week, I’m joined by Sugar showrunner Sam Catlin to discuss the second season of Apple TV’s under-appreciated gem. If you haven’t watched the show, you should; season one is available in full and the penultimate episode of season two airs today. It’s a neo-noir with a sci-fi twist, a show about how media can shape us as people, and one of the best-acted programs on television. (Seriously: There’s a whole TV show with Colin Farrell doing A-List work and people aren’t talking about that nearly enough!) I hope you give the show a watch and give this episode a listen.

On this week’s episode, I’m joined by Nate Jones of Vulture to discuss his monumental effort to rank the 100 most powerful directors in Hollywood . We discussed how the audience has shifted from stars to IP to maybe, now, directors, and what that means for the industry. Plus: Who did his inside sources think he rated too highly … and too lowly? All that and more on this week’s (if I do say so myself) very fun episode. Debate amongst yourselves: Who has the most juice in Hollywood … and who should have the most juice?

On this week’s episode, I’m rejoined by Chris Fenton to discuss efforts to pass a federal tax credit that would help reshore American film production and his own made-in-America film, Bad Counselors , which hits theaters next week. Things got a little spicy as we debated some of the downsides of these programs—and how they might come to pass—but let’s make sure to maintain a respectful tone in the comments if you choose to weigh in.

On this week’s episode, I’m rejoined by renowned critic and film historian David Thomson to discuss his new book, A Sudden Flicker of Light: A Revisionist History of Movies . It’s a bracing tome, given its thesis: That the film screen has fundamentally altered who we are and how we interact with the world, in ways mostly negative. I’ll have more on this book in my newsletter this week, but I really hope you pick it up; there’s a lot to chew on in it.

This week I’m joined by CNN’s media analyst Brian Stelter to discuss the big news of the week, Comcast’s decision to spin NBC Universal off into a separate company. What will happen to the broadcast network? Who might some of the suitors be for the standalone company? All that and more on this week’s episode. If you enjoyed it, please share it with a friend!

On this week’s episode, I’m joined by Ben Fritz of the Wall Street Journal to discuss his exclusive on the partnership between Google and A24 and what it portends for the rest of the studios who are either diving into the world of AI filmmaking or cautiously sitting on the sidelines waiting to see how things shake out.

On this week’s episode, I’m rejoined by my first guest, the great Richard Rushfield, to talk all things TV. What’s the deal with Fox buying Roku? What does the post-peak-TV era look like? And, perhaps most importantly, who is on the Mount Rushmore of television? All that and more on this week’s episode. Leave your pick for the all-time-top-four TV figures in the comments!

I’m joined by Peter M. Hoffman this week to discuss his new memoir, Karmic Winds , about his time in Hollywood as the tax lawyer who could figure out how to get movies financed and get people paid. Fans of 1980s action movies will recognize many of the names here, as Hoffman was a key figure in the Golan and Globus empire before becoming CEO of Carolco Pictures during their epic run of films that included Basic Instinct and Terminator 2 . We also discussed the way tax laws helped—and then hindered—getting movies made, and Peter’s own unfortunate run-in with IRS authorities. If you want the full story, make sure to check out his book, which goes into much more detail than we had time for here. This episode gets a bit in the weeds about tax law and the such, but I’d love to hear from folks about their favorite Carolco films. One that we touched on very briefly is Jacob’s Ladder , a movie I’ve always found fascinating in part because I don’t think it entirely works. Or at least, it didn’t for me … but Peter’s book highlights the ways in which the film reflects the Tibetan Book of the Dead, which may just be the key to unlocking it all. I’m excited to go back and revisit it with that idea in mind.

I’m super-excited about this week’s episode, as I’m getting to talk about one of my favorite zombie movies ( Day of the Dead ) with one of the creators of that film (John Harrison, the first assistant director and composer of its iconic score) and one of the producers at one of my favorite boutique Blu-ray labels (Jeff Roland from Shout Factory/Scream Factory). We talk all about the making of the film, of course, but also the making of this set: one of my favorite special features on the bonus disc is a 30-minute-or-so doc about the actual restoration of this film. How they tracked down the interpositive, what they had to do to get the transfer into shape for a 4K release, how they had to mix the sound, etc. I really cannot recommend this set enough: it comes out June 16, but I strongly recommend picking up a copy now , as these collector’s editions can be hard to keep in stock. Obviously, the fans of Romero’s films are going to want it. But I would pitch it to anyone who appreciates a good piece of archival work: There are documentaries on this thing that will simply help you understand the world of physical media better. Plus a fun new audio commentary featuring Drew McWeeny and Daniel Kraus. And, of course, a pristine new transfer that gives extra depth and definition to all of those scenes set in the underground mines where most of the movie takes place.

Just as a heads up: This episode was posted on the Takes feed over the weekend, but I wanted to make sure and share it with y’all because a.) it was a lot of fun and b.) I did a weirdly large amount of work for it, having to rewatch three films and read a bunch of stuff. But I wanted to make sure you guys heard it in case you haven’t subscribed to the Takes feed. (And if you haven’t, for shame! You’re missing JVL and me riffing on the terrible America 250 concert!)

On this week’s episode, I’m rejoined by Julia Alexander to discuss her latest piece for Puck on why romantasy—the subgenre of fine literature dedicated to dragons and sex—has had a hard time gaining a foothold on streaming services despite burning up the book charts. We also chatted about Amazon’s advertising ambitions and how it hopes to use its supposedly profitable video division to drive business elsewhere on the site … and whether or not the company is getting so big, it might make sense for the government to force some parts of it to split off. If you enjoyed this episode, please share it with a friend!

Hey everyone, so: This posted in the Takes feed over the weekend. (You can watch the video on Substack here or YouTube here .) I Just wanted to make sure this episode got into the Bulwark Goes to Hollywood feed in case you don’t subscribe to the Takes feed (though you should!) and also to give everyone a heads up that Mona Charen and I will be doing an episode of her podcast on A Man for All Seasons . You can watch that movie for free on YouTube , so long as you don’t mind ads.

On this week’s episode, I’m rejoined by Scott Mendelson of The Outside Scoop to preview the summer movie season and address some of the hottest questions in the biz. Why did Netflix push Greta Gerwig’s Narnia movie to next year and give it a full(ish) theatrical window? What’s shaping up to be the biggest flop of the summer? Is box office health finally back on the upswing after some down years post-COVID and post-strikes? And what the heck is “Infinity Vision”? All that and more on this week’s episode. Leave your most-anticipated film in the comments!

Occasionally, someone will ask me if I think they should invest in a movie. My answer is, invariably, the same: you should only invest in movies you really believe in; you should understand that even if you invest, the movie will likely never get made because most movies never do; and you should only invest if you’re willing to lose everything you put in, because even those movies that do get made tend to show a loss. I lead with this because today I’m talking to Jeff Annison of Legion M , a production and distribution company built on the idea that fan investments are a great way to both develop seed capital and drive enthusiasm at theaters. Legion M is not a fly-by-night company and has a number of productions under its belt, including My Dead Friend Zoe and The Man in the White Van . Jeff will be the first to tell you that investing is risky and should only be done if you’re comfortable with losing it all, though he obviously has staked his claim with Legion M and put no small amount of his own capital at risk. And they’ve certainly seen some successes with films like the Nic Cage-starring Mandy (one of my favorites of the 2010s). We discussed how changes to investment laws in 2016 helped spur a shift in indie fundraising from crowdfunding models to models that allow individuals to earn equity in the movies they contribute to the production of. We also discussed the Legion M Film Fund, their distribution-minded arm that provides last-in, first-out money for films seeking a domestic release. And we chatted about the effort to build a consistent fan base via the cultivation of retail investors.

On this week’s episode, I’m joined by Lou Diamond Phillips, who you know from … well, tons of stuff. La Bamba , Young Guns , Longmire , and last year’s best new TV show, The Chair Company . He’s on the show this week to discuss his new film, Keep Quiet , which is playing this Saturday evening at the Dallas International Film Festival and should hit theaters this summer. We talked about all sorts of stuff, but one thing I find really fascinating is Keep Quiet ’s place in the burgeoning mini-genre we might think of as Native Noir: films like this, Killers of the Flower Moon , and Wind River , TV shows like Reservation Dogs , Dark Winds , and Longmire , etc. It’s an interesting moment, and Keep Quiet is a key part of it. I hope you’ll seek it out once it hits theaters … don’t worry, I’ll remind you when it’s about to happen.

Special two-part episode of the podcast this week! The big news in Hollywood this week has been the burgeoning effort by Hollywood creatives to fight the purchase of Warner Bros. by Paramount Skydance. Thousands of names—including some of the biggest in the business—have signed an open letter in the hopes of demonstrating that not everyone in the industry is on board with the potential deal. So I wanted to talk to some of the folks behind it. First up is an interview with Ted Hope, indie producer extraordinaire and author of the Hope for Film Substack. We talked about how indie production has changed over the last few decades and what could be lost if Warner Bros. and Paramount are allowed to merge. Then I got Jon Reiss and Jax Deluca of the Future Film Coalition on the horn. We discussed what concrete steps could be taken to help fight this merger and what media consolidation means to the indie filmmakers out there. If you found this podcast interesting or informative, I hope you share it with your friends!