A new documentary attempting to put both a personal and a political perspective of Omaha on screen is the aptly titled My Omaha, directed by Nick Beaulieu, which embarks on its director’s dueling journey to balance the tense relationship he has with his terminally ill father, a big supporter of Donald Trump with his exposure to the legacy of Malcom X and activist Leo Louis II, each representing radically different worldviews in a polarized climate. In doing so, Beaulieu explores his Omaha, but also Omaha as a microcosm of a country that is full of contradictions so deep that they may never be reconciled. And, if one confronts that prospect, then what?

My Omaha premiered at the Slamdance Film Festival and is currently making its way around the country, starting its journey toward readily available viewing. Watch out for it as it likely comes to your neck of the woods sometime soon. Find showtimes and events at myomahafilm.com.

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Some years, one film locks in early as a popular, unbeatable favorite to win all of the major awards at all of the major ceremonies, such as last year’s Oppenheimer, which grossed nearly a billion dollars and swept the Oscars. This year? It’s not so clear what the frontrunner is, how various controversies might have affected Academy voting, or what the significance of the awards might be in the age of streaming. This week's first segment is an attempt to parse through these questions with filmmaker, critic, and host of KIOS at the Movies Joshua LaBure. Then, we're replaying parts of a 2024 conversation with Michael Schulman, author of Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears—a sweeping history of what has been nearly a century of Academy Awards. Get it now wherever you buy books.

Keep the conversation going in the comments. 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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Guy Maddin, director of My Winnipeg, The Saddest Music in the World, and Brand Upon the Brain is a filmmaker who seemingly operates by no rules and often merges the surreal, the traditional, and the experimental. The idea of discomfort at the merger of traditional ideas with the inexplicable, of the familiar with the bizarre, is both true of his style and also the substance of his latest film, Rumours—which he directed with Evan Johnson and Galen Johnson. Available now on video on demand, the film follows a G-7 meeting between leaders from the U.S., Canada, France, Germany, Italy, Japan, and the U.K in the midst of an apocalyptic event that leaves them alone in the woods, having to fend for themselves without any of their systems of support. This week's show is a conversation with Maddin about both the construction of the movie but also its context as an artifact of a world in transition, whether its leaders want to admit it or not.

Keep the conversation going in the comments. 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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It’s the time of year where awards bodies, critics, and audiences alike are all finally able to catch up on the notable releases of the past year, to look in retrospect at trends, and start to let works settle in ways that they don’t always in the heat of the moment. Most critics will do a best of list, awards bodies have released or already given out their awards. But the idea of our episode today is not to look to the critics who have access to all of the prestige movies, or who have seen exclusive premieres at festivals, but to instead give you a perspective on the last year on our screens from Midwest authorities on film, television, and streaming. So we put together a roundtable discussion where we invited three guests to give their take on 2024: Ryan Syrek, longtime critic for The Reader, Genevieve Radosti, critic and author of I was a Twenty-Something CineMama, and Paul Sanchez, education manager at our local arthouse theater Film Streams.

Keep the conversation going in the comments. 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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Something that has changed drastically about our relationship with screens over the course of the past few decades has been the shift from reliance on physical media to streaming. With the click of a button and an internet connection, you now no longer need the middle man of DVDs, Blu Rays, or rental stores. You have it all. Or do you? If you listened to our four part series on the life and legacy of Elaine May, you know that a legal nightmare has stopped her 1972 classic The Heartbreak Kid from getting any kind of digital release. And the merger of Warner Brothers and Discovery in 2022 led to a new practice among streamers of deleting their original programming that didn’t meet standards of requisite clicks such as Moonshot, Mrs. Fletcher, Vinyl, and Run. It turns out that the ease of digital programming is subject to more politics than simply offering a library of content.

But not everyone is content to accept the precarity of the streaming age, and that’s the focus of our show today: the case for physical media. First, we’ll hear from executive director Kate Barr and inventory assistant Joel Fischer from Scarecrow Video, a nonprofit video rental store in Seattle which offers nearly 150,000 titles including rare and out of print offerings that represent over a century of cultural history that they’re here to archive, not delete. Then, later in the show, The Blair Witch Project producer Mike Monello discusses the path toward the latest physical release of the 1999 classic, which finally captures the filmmakers’ intended vision and documents its story in a way that can only be found on physical media.

Keep the conversation going in the comments. 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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Fairly or not, there’s a huge amount of pressure placed on the way an artist chooses to debut. The first film, album, book–it has potential to launch, and sometimes even define, a career. There’s something thrilling about a first film that manages to break out and signal a unique voice, someone announcing their talent and potential that we as viewers get to anticipate and experience across an emerging body of work. If we perhaps put too much emphasis on debuts, there are only a few debuts about debuting. This is, in fact, the plot, the function, and the thematic exploration of Zia Anger’s aptly titled My First Film, which tells the story of a failed attempt at debuting, mixing autobiographical elements with the fictionalized telling of how authorship manifests, clashes, and announces its presence. My First Film is streaming now on Mubi.

Keep the conversation going in the comments. 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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One of the things we’re not doing when we’re buried in our screens is soaking in the world around us. Sometimes that’s intentional—a way of hiding from an often ugly and overwhelming reality. Sometimes it’s to fight off the horror of boredom. But the more we live inside our screens, the less we’re outside in our communities or exploring new kinds of cultures that exist all around us. And this brings us to Rick Steves—today’s Herodotus in chinos, insisting that “out there” remains not just more interesting than the echo chamber of our screens but that engaging with it is vital for us as people, and that, in fact, the very act of travel is an act of transformative politics. In an era of walls and fears of “the other,” he continues a crusade for curiosity. His call is simple: put down the phone, go out there, and meet the world.

For decades, Steves has been bringing his mission to the homes of Americans through his public access show Rick Steves’ Europe, his radio show Travel with Rick Steves, his travel guides, and his lectures. He has a new edition of his book Travel as a Political Act out now, and he’s currently touring the country with his live orchestral series A Symphonic Journey with Rick Steves, which you can see at the Holland Center on February 15th and 16th. Tickets are available now.

Then, later in the show, we’re diving into the history of the travelogue by going all the way back to The Innocents Abroad author Mark Twain in a conversation with Matt Seybold, Professor of American Literature and Scholar-in-Residence at the Center for Mark Twain Studies. You can learn more about the Center for Mark Twain Studies here.

Keep the conversation going in the comments. 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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For decades now, outlets and scholars have been predicting who the next Spielberg might be, including names like J. J. Abrams or M. Night Shyamalan. But what does it mean to be the next Spielberg? To answer that, we'd have to know what it means to be Spielberg in general. So, to get to the bottom of this, Ian Nathan, author of Steven Spielberg: The Iconic Filmmaker and His Work, chimes in. What accounts for the wild popularity of the filmmaker behind Close Encounters of the Third Kind, Jaws, and Raiders of the Lost Ark in a career that spans many genres and decades? Why is it that his inward turn in 2022’s autobiographic The Fabelmans failed to resonate with audiences like his bigger works? We’re digging into it all, along with which Spielberg films may deserve a second look.

Keep the conversation going in the comments. 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.

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Today we’re looking at a movie that is about exploring more than just meaning in culture but meaning in general. What is meaning? How do we know? What do we believe and why? This may sound more like the territory of an art-house move or prestige drama, but perhaps surprisingly it’s the focus of the new horror film written and directed by Scott Beck and Bryan Woods called Heretic, which is playing now in theaters. It follows a pair of Mormon missionaries who meet with a man claiming to be searching for information about their religion but seems to be up to something substantially more sinister. Further complicating matters, he’s played by Hugh Grant.

You might know Beck and Woods as the writers of A Quiet Place, which relied on its characters remaining as silent as possible to avoid the hyper-sensitive ears of a brutal alien race. Heretic, instead, is all about dialogue, a single location journey into the murky questions of faith, fear, and the meaning of life. How do you make a talky horror movie stay tense? How do you balance fears of the visceral with the existential? Can Hugh Grant’s charms be overridden by his possibly sinister intentions? How do perhaps unlikely influences, from M. Night Shyamalan to William F. Buckley, Jr. manifest on the screen? That’s the focus of today’s spoiler-free episode.

Keep the conversation going in the comments. 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.

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Often, when we look at our screens, we’re looking for distractions, But just as often, we want to be informed. This election weekend, maybe a frantic mixture of both. If we can be informed and be entertained? Even better. Almost all of our coverage on The Entertainment so far has been focused on narrative spaces, telling fictional stories or adapting reality into something broadly fictional. But, of course, much of what has been on screens since 1922’s Nanook of the North has existed in a hazy space known as the documentary. What is a documentary? It seems like a deceptively simple question until you start to unpack it. Is a documentary news? Should its standards be that of journalism? Of the essay? Of authenticity? How authentic can a documentary or, for that fact, the news ever really be?

These questions are, of course, evergreen while the key players change. Just this past month, Am I Racist?—directed by Justin Folk, and starring The Daily Wire’s Matt Walsh—became the highest grossing documentary of the decade and had the highest opening weekend for a documentary in 20 years since Michael Moore’s unprecedented and unparalleled blockbuster documentary Fahrenheit 9/11. Walsh is, of course, very far from Michael Moore’s politics, and yet may be a kind of successor of the Moore revolution in documentary filmmaking centered on a scrappy outsider trolling the establishment. I wondered: is this a political realignment of the popular documentary? Will there ever be another blockbuster documentary? To dive into these questions, I asked Joshua LaBure, critic, host of KIOS at the Movies, and documentarian himself, director of The Women Who Ran and The Instrument in Six Movements, among others, to come on the show and talk through the wild ride of the genre over the past several decades.

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.

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Last week, we started a two part series exploring the way horror films in 2024 seem to feature significant overlap, often manifesting through a woman losing control in a malicious world full of corrupt institutions and family structures imposing their will on her in uniquely horrific ways, from Immaculate to The First Omen to Longlegs, and more. The critic Vern calls this a strand of "post-Roe" horror. He means Roe v. Wade, but we saw another meaning in there in the fact that nearly every film exploring these ideas is doing so under the long shadow of 1968’s Rosemary’s Baby. The convergence of feminocentric body horror, folk horror, and Satan as a manifestation of the corrupt institutions preying on women, is, of course, nothing new in the genre. But our relationship with these ideas as viewers may be shifting in the Post-Roe world.

To get into all of this on today’s show, we have two guests, Faith Horror: Cinematic Visions of Satanism, Paganism, and Witchcraft author LMK Sheppard describing the trends from Rosemary, The Omen, and The Wicker Man leading up to today's shifts, and, later in the show, Film Streams programmer Taylor Eagan describes what she sees as a subgenre within both pre- and -post Roe horror that she calls "postpartum horror," as seen in recent films like Baby Ruby, Birth/Rebirth, and the upcoming Nightbitch.

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.

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The 1968 classic Rosemary’s Baby works as psychological thriller, satanic horror, and social satire all at once. Closely adapted from Ira Levin’s novel of the same name, Roman Polanski’s film tells the story of Rosemary (Mia Farrow), who becomes increasingly convinced that her aspiring actor husband, Guy (John Cassavetes), has made a horrible deal with maybe the literal devil to advance his career in exchange for their unborn child. Its plot, its supernatural implications, and its imagery are all horrific enough, but what has been the subject of much of the enduring decades of discourse around Rosemary’s Baby is the horror that can be found simply in motherhood, in family you can’t trust, in a community that is lying to you, and in the institutions that will do nothing to protect you.

These ideas are, of course, all over the horror since Rosemary and in ways that are especially prevalent in the films 2024. It’s difficult to look at The First Omen, Apartment 7A, Immaculate, or even Longlegs without seeing the long shadow of Rosemary’s Baby, but also as manifestations of particularly palpable fears of a world where women’s bodily autonomy is under more governmental scrutiny following the reversal of Roe v. Wade in 2022. In Dobbs v. Jackson, the U.S. Supreme Court ended nearly 50 years of federally protected abortion rights in the United States, establishing what critic Vern calls the post-Roe world. 

He meant Roe v. Wade, but we saw another meaning in there, “Roe” being what Guy often calls Rosemary in Rosemary’s Baby. And we’re in a post-Rosemary world, too. One shaped, in some sense, by it. So, we’re going to do a two part series looking at the world Roe/Roe built and the way post-Roe horror might take us into the future. In this episode, we hear from Eleanor Johnson, professor at Columbia University, author of the forthcoming book Scream With Me on 1970s horror films, and writer of the Public Books article “Guy Horror: Rosemary’s Baby and Coercive Control.” Then, later in the show, Vern describes his conception of the trends in post-Roe horror, which he noticed in writing about the sometimes-bizarre overlaps between Immaculate and The First Omen.

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.

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One of the most popular genres of the past several years, one you’ve probably seen on the screen, on the page, in music, and just by living through various stages of life is the bildungsroman or the coming of age story: the journey from youth into adolescence or adolescence into adulthood–the messy formation of identity and the conflict between an innocent conception of the world and the often ugly realities that wait around the corner. In her debut feature film Good One, writer/director India Donaldson taps into both this genre as well as a universal sensation that comes along with growing up: disappointment. Today's show is a conversation about the personal influences that led to Good One, the post-COVID landscape of independent film, and the reality that, when you shoot a movie on a low budget outside, it always rains. Check your local art-house to see if Good One is playing near you.

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.

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For a lot of people over the past decade, the nonstop campaigning and chaos of our political system has instilled a kind of constant dread about the future, compounded by looming environmental disaster and geopolitically uncertainty. And sometimes it feels like all we can do is accept that the train is slowly crashing. But what if we could do something about it? In 2023, Kurt Andersen teamed up with Larry Doyle and Steven Soderbergh to create Command Z, a sci-fi comedy web series about a group of time-travelers from the ruined world of the future who are given the opportunity to send their minds back to 2023 to right the ship. Their perhaps impossible mission? Convince the movers and shakers currently ruining everything to become better people. The show features a cast of very funny people including Michael Cera, Roy Wood Jr, Chloe Radcliffe, JJ Maley, and Liev Schrieber and, beyond its humor, is full of insights about what exactly is going wrong with a society that seemingly can fix itself but first has to want to do so.

This conversation originally aired last year on Riverside Chats. We’ve repurposed it for today’s episode because all of the show’s anxieties are just as relevant today as they were a year ago. You can find all of Command Z’s episodes here. 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.

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Over the past few months, we’ve done several episodes that return again and again to the word genius. What is a genius? Is it something objective we can all agree on? Is it a lofty way to say favorite? Is it a way of saying a person was a mess but they were talented? Moon Zappa has strong feelings about the concept as the daughter of a man who got a lot of leeway by being known as a genius. Frank Zappa became known for guitar solos, unconventional compositions that never quite fit into the genres of his time, and lyrics that range from poetic to profane to goofy. Blending rock, jazz, classical, and even avant-garde influences, it’s hard to classify him as anything other than himself. But who was the man behind the body of work?

In her new memoir, Earth to Moon, she tries to grapple with her father’s legacy as a countercultural icon of the music industry and also a complicated human being, trying to find an answer to the question of whether genius is worth its collateral damage. Along the way, she explains, she even found herself. On today’s episode, she tells her story—her way. You can buy her memoir wherever you get books.

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.

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Few people have made an impact on our screens as profound and lasting as Rod Serling, creator and host of The Twilight Zone, in which he and his team would interpret anxieties about human nature, nuclear war, the problems of power, and many more universal themes through genre exercises that exaggerate, allegorize, and depoliticized its subjects just enough to get by network censorship across the 1950s and 60s. And, since The Twilight Zone ended its original run in 1964, it has been rebooted in various forms: as an anthology film in 1983, a second TV series in 1985, a TV movie in 1994, another TV reboot in 2002, and finally a streaming series co-created by Jordan Peele in 2019. But none of these reimaginings caught on, perhaps for the simple reason that none of them had Rod Serling.

So who was Rod Serling? How did he accomplish what he did, what some have described as fundamentally changing the television landscape? And what should we make of a new short story from Serling’s archive that has plenty of horror but nothing supernatural? In today’s show, we hear an excerpt from a newly published story from Serling’s archive, “First Squad, First Platoon,” read by Matthias Jeske, followed by Nicholas Parisi, author of Rod Serling: His Life Work, and Imagination, and then Jodi Serling discusses her father’s legacy beyond The Twilight Zone.

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.

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Whether you’re a fan of classic cinema or, say, just saw Barbie last year and wondered what that opening sequence was all about, you’re living in a world that is unmistakably in the shadow of Stanley Kubrick. You can’t help but recognize the Kubrick touch behind a Kubrick film, from their composition to their tone, to their sheer ambition. The number of monumental works he wrote, produced, and directed is nearly unparalleled, from early hits like Dr. Strangelove or 2001: A Space Odyssey to later titles shrouded in enduring mystery like The Shining or Eyes Wide Shut. Alongside his cinematic innovations and explorations, however, there existed (and exists) a growing mystique, an aura of mystery that pervades both his films and his persona. Kubrick is known not only for being a good director but for being a mystery that the films help viewers solve.

Today’s show seeks to identify where the man exists within the legends, as well as how much of the Kubrick mystique was a conscious construction of himself as a brand. You’ll hear from Filippo Ulivieri, author of the upcoming Cracking the Kube: Solving the Mysteries of Stanley Kubrick Through Archival Research, as well as Robert P. Kolker and Nathan Abrams, whose latest book is Kubrick: An Odyssey.

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.

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Donald Sutherland passed away in June at the age of 88 after a long, unusual, and widely celebrated career. His performances range from M*A*S*H to Invasion of the Body Snatchers to Don’t Look Now to JFK and, more recently, The Hunger Games. This is to say that he never let himself become limited to one type of character, film, or genre. And, while he could seemingly play any range of character, he always maintained that Sutherland charm. What is the secret of his charm? We asked Daryl Sparkes, Sonny Bunch, and Bobbie O’Steen.

Sparkes is a senior lecturer at the University of Southern Queensland and he wrote “Hollywood Didn’t Know Exactly What to Do with Donald Sutherland – So They Did Everything with Him” for The Conversation. Bunch is a film critic at The Bulwark and writer of “RIP, Donald Sutherland.” O’Steen is a historian and author of books like Making the Cut at Pixar and The Invisible Cut. You can find a great interview she conducted with Don’t Look Now’s editor Graeme Clifford on the film’s Criterion release.

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.

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We’ve talked before on this show about the concept known as the paradox of choice—that having infinite choices across infinite streamers and live channels is less of a utopia of riches than an overwhelming landscape of indecision. What’s worth your time? How do you know? Well, that’s what critics try to help with. They watch a lot more than the average person and, in particular when it’s easier than ever for movies to slip through the cracks of various streamers and digital releases, we decided that today’s show could be a chance to hear from a trio of critics about not only what you should check out from 2024 but where you can find it. We’ll hear from Marya E. Gates, Ethan Warren, and KIOS’s own Joshua LaBure across the show. 

Marya E. Gates has written for Roger Ebert.com, The Criterion Collection, IndieWire, and many more. She also has a Substack called Cool People Have Feelings, Too. Ethan Warren is a critic, essayist, author of The Cinema of Paul Thomas Anderson: American Apocrypha, and director of West of Her. He also has a new book coming out next year called When I Paint My Masterpiece: Bob Dylan on Film and edits the journal Broad Sound. Joshua LaBure hosts KIOS at the Movies and recently directed In a Good Way.

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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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