Everything we do is filtered through entertainment. If it’s not entertaining, there is a good chance that nobody is paying attention. So, to understand the world, you have to not only look at your screen but comprehend what is on it. Where does our entertainment come from? Why? How is it shaped by the world around us and how is it shaping that same world?
This is the focus of The Entertainment. Each week, Tom Knoblauch explores an element of our culture through conversations with creators and consumers of film, television, music, art, and more.
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Everything we do is filtered through entertainment. If it’s not entertaining, there is a good chance that nobody is paying attention. So, to understand the world, you have to not only look at your screen but comprehend what is on it. Where does our entertainment come from? Why? How is it shaped by the world around us and how is it shaping that same world?
This is the focus of The Entertainment. Each week, Tom Knoblauch explores an element of our culture through conversations with creators and consumers of film, television, music, art, and more.
Hosted on Acast. See acast.com/privacy for more information.
In part four of our four part series on Elaine May, it’s finally time to talk about her final directorial effort and what has become a cultural punching bag as the worst film of all time: Ishtar. The 1987 release saw May returning to her screwball roots with, as so much of her work centers on, a dysfunctional partnership pushed to its extremes. Unlike the darkness of Mikey and Nicky, though, Dustin Hoffman and Warren Beatty play lovable idiots, men who are so desperate to become the next Simon and Garfunkel that they never stop to notice that they can neither sing nor write music.
But quickly the discourse around the movie had little to do with anything other than the movie’s high price tag and long production schedule, so when the movie eventually came out, audiences and critics alike seemed to be rooting against it. As for the reasons why and how the worst movie of all time can undergo a critical re-evaluation decades later, we’ll hear from Richard Brody, Elizabeth Alsop, Carrie Courogen, Matt Singer, and Lindsay Zoladz.
Check out Richard Brody’s New Yorker article “Better Late Than Never” on Ishtar here; Lindsay Zoladz’s writing on Elaine May, “Heaven Can Wait: The Hidden Genius of Elaine May,” at The Ringer; Elizabeth Alsop’s forthcoming book on Elaine May releases next year as part of the University of Illinois Press’s Contemporary Directors series; Matt Singer is the author of Opposable Thumbs: How Siskel and Ebert Changed Movies Forever; and Carrie Courogen is the author of Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius, which hit bookstores this week.
Keep the conversation going. Follow The Entertainment on Facebook, Instagram, or Substack and let us know what you think. Subscribe on your favorite podcast app and we’d love it if you gave us a review. The Entertainment is a production of KIOS 91.5 FM Omaha Public Radio. It is produced and edited by Courtney Bierman. Our artwork was created by Topher Booth. Thank you for listening.
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