422 episodes

Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.

The Next Picture Show Filmspotting Network

    • TV & Film
    • 4.6 • 735 Ratings

Looking at cinema's present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.

    Ethan Coen Co-Capers, Pt. 2 — Drive-Away Dolls

    Ethan Coen Co-Capers, Pt. 2 — Drive-Away Dolls

    Is box-office disappointment DRIVE-AWAY DOLLS destined for the sort of belated appreciation eventually received by the Coen Brothers’ sophomore feature, 1987’s RAISING ARIZONA? That’s up for debate in our discussion of Ethan Coen’s latest comedy collaboration, this time with his wife Tricia Cooke, a crime caper in theory that acts more like a sex romp in practice. Nonetheless, we consider how certain Coen crime signatures — ill-considered schemes executed by duos who are the opposite of pros, one of whom is comedically verbose — play out in both films, as well as how the films’ respective MacGuffins function as comedic objects. And in Your Next Picture Show we offer an alternate-universe version of this pairing built around the recent French release THE TASTE OF THINGS.
    Please share your comments, thoughts, and questions about RAISING ARIZONA, DRIVE-AWAY DOLLS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
    Next Pairing: Rose Glass’ LOVE LIES BLEEDING and The Wachowskis’ BOUND
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    • 51 min
    Ethan Coen Co-Capers, Pt. 1 — Raising Arizona

    Ethan Coen Co-Capers, Pt. 1 — Raising Arizona

    While DRIVE-AWAY DOLLS is technically the first narrative feature for which Ethan Coen has taken a solo directing credit, in practice the new comedy is as much a collaboration, here with his wife and co-screenwriter Tricia Cooke, as the films he made with brother Joel before their current hiatus. So in honor of Coen’s commitment to collaborative comedy, we’re revisiting 1987’s RAISING ARIZONA, the film that established the brothers’ comedic voice following their neo-noir debut BLOOD SIMPLE, and whose madcap escapades and MacGuffin-chasing foreshadow Coen’s latest cinematic caper. And in feedback, a returning favorite offers up a connection we missed in our recent pairing of THE LAST DETAIL and THE HOLDOVERS.
    Please share your comments, thoughts, and questions about RAISING ARIZONA, DRIVE-AWAY DOLLS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
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    • 46 min
    Beach Bummers, Pt. 2 — How to Have Sex

    Beach Bummers, Pt. 2 — How to Have Sex

    Molly Manning Walker’s debut feature HOW TO HAVE SEX takes place more than six decades after 1960’s WHERE THE BOYS ARE, but as our discussion of the two films illuminates, frustratingly little has changed in that time when it comes to the blurred lines around consent, particularly in situations involving teenagers, alcohol, and social pressure around sex. We’re joined once again by Marya E. Gates to discuss HOW TO HAVE SEX’s deft navigation of that context before bringing WHERE THE BOYS ARE back in to discuss what has and hasn’t changed about the desires and dangers of being a student on unchaperoned holiday. And in Your Next Picture Show, we offer up a film that could form a triple feature with this week’s pairing, Céline Sciama’s GIRLHOOD.
    Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
    Next Pairing: Ethan Coen’s DRIVE-AWAY DOLLS and the Coen Brothers’ RAISING ARIZONA
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    • 1 hr 12 min
    Beach Bummers, Pt. 1 — Where the Boys Are (1960)

    Beach Bummers, Pt. 1 — Where the Boys Are (1960)

    The new British coming-of-age film HOW TO HAVE SEX follows a group of girlfriends on a post-exam holiday into an environment where peer pressure, alcohol, and coercion can erode the boundaries of consent. But these problems aren’t unique to the film’s contemporary setting, as we’ll see in this week’s companion film, the seemingly frivolous 1960 spring break romp WHERE THE BOYS ARE. Special guest Marya Gates brings us some historical context about the film’s place in the continuum of “beach party” movies, and the degree to which audiences still a few years out from the sexual revolution would be receptive to the film’s relative frankness about sex. And in Feedback we continue the debate about the usefulness of film ratings, and respond to the charge that a recent pairing was our worst-ever choice of new film.
    Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
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    • 1 hr 5 min
    Road Trip Trios, Pt. 1 — The Holdovers

    Road Trip Trios, Pt. 1 — The Holdovers

    A road trip through a chilly New England winter represents only one section of Alexander Payne’s THE HOLDOVERS, but the film’s overlap with Hal Ashby’s THE LAST DETAIL goes beyond that narrative echo. As in Ashby’s 1973 film, one of the examples of 1970s cinema Payne drew on for the look and feel of THE HOLDOVERS, a central triumvirate of two adults and their younger charge have a funny but imperfect bonding experience that avoids simplistic found-family conclusions. We talk through the ways THE HOLDOVERS finds nuance in its different permutations of that trio before turning back to THE LAST DETAIL to compare these films’ versions of “showing the kid a good time” in spite of bitter cold and absent parents. And in Your Next Picture Show we stick up for LAST FLAG FLYING, Richard Linklater’s little-loved “spiritual sequel” to THE LAST DETAIL.
    Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
    Next Pairing: Molly Manning Walker’s HOW TO HAVE SEX and Henry Levin’s WHERE THE BOYS ARE
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    • 1 hr 8 min
    Road Trip Trios, Pt. 1 — The Last Detail

    Road Trip Trios, Pt. 1 — The Last Detail

    Alexander Payne has cited Hal Ashby’s THE LAST DETAIL as one of several 1970s movies informing the look and feel of THE HOLDOVERS, but there’s narrative resonance there as well, particularly in the films’ central threesomes: two disaffected older adults and their troubled teenage charge, each navigating a chilly East Coast winter, a road trip, and a series of disappointments and discoveries. We begin this week by focusing on THE LAST DETAIL’s trio of military-prison-bound sailors: what defines and distinguishes each of them, how their relationships change over the course of the movie, and whether the lack of resolution the film provides them is a feature or a bug. And in Feedback we respond to some alternate readings of a couple of our other favorite films of last year, BARBIE and MAY DECEMBER.
    Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
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    • 1 hr 2 min

Customer Reviews

4.6 out of 5
735 Ratings

735 Ratings

cassidy525 ,

Deep and interesting

Thank you for the deep and interesting conversations. If you want to listen (and think as you listen!) to nuanced, knowledgeable, and complicated analysis- this is the podcast for all cinephiles.

Davin’s farts ,

A fantastic twice a month double feature!

Along with filmspotting, I attribute all of my movie knowledge from the folks on the next picture show. Even if I haven’t seen the movie yet, I listen to this as soon as it appears in my feed.

Z. Roth ,

Spoiler alert

Why do podcast hosts insist on spoiling the endings of movies they are not discussing? To show off knowledge? Luckily I’ve seen Killing of a sacred Deer, for example, before the Poor Things episode clearly explained the twist ending with no warning.

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