Aaron Sorkin has said his new The Social Reckoning is not a sequel so much as a companion piece to David Fincher’s The Social Network, which Sorkin also scripted. Whatever you call it, though, these two films are undeniably linked, not just by Sorkin’s involvement, but especially by their interest in the tech-bro enigma that is Facebook founder Mark Zuckerberg. So this week we’re returning to 2010 and The Social Network to consider how the film’s depiction of Facebook’s then-recent origin story plays from our social-media-saturated present; how Sorkin’s script and Jesse Eisenberg’s performance as Zuckerberg find humanity, and maybe even sympathy, in a pointedly unlikable protagonist; and how Fincher made it all work on screen, from the instant-classic Facemash montage to a final shot we’ll be forever refreshing in our minds. Then in Feedback, a longtime friend of the show shares some thoughts prompted by our recent episode on William Friedkin’s Sorcerer.

Please share your thoughts about The Social Network, The Social Reckoning, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Aaron Sorkin has said his new The Social Reckoning is not a sequel so much as a companion piece to David Fincher&rsquo;s The Social Network, which Sorkin also scripted. Whatever you call it, though, these two films are undeniably linked, not just by Sorkin&rsquo;s involvement, but especially by their interest in the tech-bro enigma that is Facebook founder Mark Zuckerberg. So this week we&rsquo;re returning to 2010 and The Social Network to consider how the film&rsquo;s depiction of Facebook&rsquo;s then-recent origin story plays from our social-media-saturated present; how Sorkin&rsquo;s script and Jesse Eisenberg&rsquo;s performance as Zuckerberg find humanity, and maybe even sympathy, in a pointedly unlikable protagonist; and how Fincher made it all work on screen, from the instant-classic Facemash montage to a final shot we&rsquo;ll be forever refreshing in our minds. Then in Feedback, a longtime friend of the show shares some thoughts prompted by our recent episode on William Friedkin&rsquo;s Sorcerer.
Please share your thoughts about The Social Network, The Social Reckoning, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
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Zuck Dynasty, Pt. 1 — The Social Network

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Primetime is a far-from-straightforward take on a true story, using the mid-aughts TV phenomenon To Catch a Predator and especially its host, Chris Hansen, for a darkly comic exploration of the morally murky place where ambition and justice overlap. It’s a tonal high wire act that gets a lot of mileage out of Lance Oppenheim’s expressively stylized direction and strong performances from Robert Pattinson, Merritt Wever, and Skyler Gisondo, but whether that all adds up to a satisfying film is up for debate this week. Then we bring 1957’s Sweet Smell of Success back in for Connections to discuss how it and Primetime both navigate protagonists who punch down from their moral high ground, and the bygone media environments that enable them, all while maintaining a sense of humor. Then, for anyone looking for a fuller picture of To Catch a Predator’s rise and fall, we offer a Your Next Picture Show for David Osit’s 2025 documentary Predators.

Please share your thoughts about Sweet Smell of Success, Primetime, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Primetime is a far-from-straightforward take on a true story, using the mid-aughts TV phenomenon&nbsp;To Catch a Predator and especially its host, Chris Hansen, for a darkly comic exploration of the morally murky place where ambition and justice overlap. It&rsquo;s a tonal high wire act that gets a lot of mileage out of Lance Oppenheim&rsquo;s expressively stylized direction and strong performances from Robert Pattinson, Merritt Wever, and Skyler Gisondo, but whether that all adds up to a satisfying film is up for debate this week. Then we bring 1957&rsquo;s Sweet Smell of Success back in for Connections to discuss how it and Primetime both navigate protagonists who punch down from their moral high ground, and the bygone media environments that enable them, all while maintaining a sense of humor. Then, for anyone looking for a fuller picture of To Catch a Predator&rsquo;s rise and fall, we offer a Your Next Picture Show for David Osit&rsquo;s 2025 documentary Predators.
Please share your thoughts about&nbsp;Sweet Smell of Success, Primetime, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
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Trial By Media, Pt. 2 — Primetime

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Lance Oppenheim’s Primetime paints problematic TV phenomenon To Catch a Predator — and especially its host, Chris Hansen — as an enterprise fueled by ambition, amorality, and a tenuous grasp of journalistic ethics. Those qualities put us in mind of the cursed collaboration between desperate press agent Sidney Falco and influential columnist J.J. Hunsecker in 1957’s Sweet Smell of Success, so this week we’re digging into the twisted loyalties and razor-sharp dialogue of Alexander Mackendrick’s blisteringly cynical portrayal of a very different era in tabloid journalism. Then in Feedback, a listener helps flesh out a bit of William Friedkin trivia that came up during our recent Sorcerer discussion.

Please share your thoughts about Sweet Smell of Success, Primetime, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Lance Oppenheim&rsquo;s Primetime paints problematic TV phenomenon To Catch a Predator &mdash; and especially its host, Chris Hansen &mdash; as an enterprise fueled by ambition, amorality, and a tenuous grasp of journalistic ethics. Those qualities put us in mind of the cursed collaboration between desperate press agent Sidney Falco and influential columnist J.J. Hunsecker in 1957&rsquo;s Sweet Smell of Success, so this week we&rsquo;re digging into the twisted loyalties and razor-sharp dialogue of Alexander Mackendrick&rsquo;s blisteringly cynical portrayal of a very different era in tabloid journalism. Then in Feedback, a listener helps flesh out a bit of William Friedkin trivia that came up during our recent Sorcerer discussion.
Please share your thoughts about Sweet Smell of Success, Primetime, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
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Alexander Mackendrick’s blisteringly cynical 1957 film.

Trial By Media, Pt. 1 — Sweet Smell of Success

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There’s a lot to enjoy about The Weight: the tactile 1930s Oregon setting, strong performances from Ethan Hawke and Russell Crowe, a premise that allows for multiple suspense sequences. But Padraic McKinley’s directorial debut is arguably lacking in thematic heft and visceral grit, particularly when compared to the other film in this pairing. So after considering how The Weight succeeds and struggles on its own terms, we bring William Friedkin’s 1977 cult classic Sorcerer back in to consider how these two films about desperate men given a deadly opportunity differ in their approach to flawed protagonists, bridge-based action scenes, and lone female characters of consequence, and the one plot hole they have in common. Then our returning guest, Vulture critic Roxana Hadadi, offers a Your Next Picture Show recommendation for another 2026 film involving the transportation of dangerous cargo, The Rivals of Amziah King.

Please share your thoughts about Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Lance Oppenheim’s Primetime and Alexander Mackendrick’s Sweet Smell of Success

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

There&rsquo;s a lot to enjoy about&nbsp;The Weight: the tactile 1930s Oregon setting, strong performances from Ethan Hawke and Russell Crowe, a premise that allows for multiple suspense sequences. But Padraic McKinley&rsquo;s directorial debut is arguably lacking in thematic heft and visceral grit, particularly when compared to the other film in this pairing. So after considering how The Weight succeeds and struggles on its own terms, we bring William Friedkin&rsquo;s 1977 cult classic Sorcerer back in to consider how these two films about desperate men given a deadly opportunity differ in their approach to flawed protagonists, bridge-based action scenes, and lone female characters of consequence, and the one plot hole they have in common. Then our returning guest, Vulture critic Roxana Hadadi, offers a Your Next Picture Show recommendation for another 2026 film involving the transportation of dangerous cargo, The Rivals of Amziah King.
Please share your thoughts about&nbsp;Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
Next Pairing: Lance Oppenheim&rsquo;s Primetime and Alexander Mackendrick&rsquo;s Sweet Smell of Success
This episode is presented by⁠&nbsp;<a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&amp;source=gmail&amp;ust=1790737736789000&amp;usg=AOvVaw0lKS_jB4vjY0PgRuFKLzBa">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Hazard Pay, Pt. 2 — The Weight

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Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film’s extended prologue works toward or against its narrative momentum, and how much of Sorcerer’s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris, Texas and Priscilla, Queen of the Desert.

Please share your thoughts about Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Padraic McKinley&rsquo;s The Weight isn&rsquo;t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin&rsquo;s 1977 cult favorite Sorcerer technically isn&rsquo;t a Wages remake, either &mdash; Friedkin insisted it was his own adaptation of the original Georges Arnaud novel &mdash; though it&rsquo;s similarly difficult to watch without thinking about its predecessor. So you&rsquo;ll forgive us if this week&rsquo;s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film&rsquo;s extended prologue works toward or against its narrative momentum, and how much of Sorcerer&rsquo;s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris, Texas and Priscilla, Queen of the Desert.
Please share your thoughts about&nbsp;Sorcerer, The Weight, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
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Hazard Pay, Pt. 1 — Sorcerer

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Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s.

Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Padraic McKinley’s The Weight and William Friedkin’s Sorcerer

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it&rsquo;s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky&rsquo;s Solaris back in for Connections to discuss these two films&rsquo; respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh&rsquo;s 2002 version of Solaris compares to Tarkovsky&rsquo;s.
Please share your thoughts about&nbsp;Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
Next Pairing: Padraic McKinley&rsquo;s The Weight and William Friedkin&rsquo;s Sorcerer
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Existential Zones, Pt. 2 — It Ends

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Alexander Ullom’s feature debut, It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to Solaris, though Andrei Tarkovsky’s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we’re discussing whether Solaris’ deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky’s other work, and what about the film invites its reputation as the “anti-2001.” Then in Feedback, a listener brings an alternative reading to our recent discussion of War of the Worlds as a response to 9/11.

Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Alexander Ullom&rsquo;s feature debut,&nbsp;It Ends, has been billed as a horror movie, but it&rsquo;s more of an existential exercise wrapped inside a genre premise. That same description could be applied to&nbsp;Solaris, though Andrei Tarkovsky&rsquo;s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we&rsquo;re discussing whether&nbsp;Solaris&rsquo; deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky&rsquo;s other work, and what about the film invites its reputation as the &ldquo;anti-2001.&rdquo; Then in Feedback, a listener brings an alternative reading to our recent discussion of&nbsp;War of the Worlds&nbsp;as a response to 9/11.
Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
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In space, no one can hear you philosophize.

#539: Existential Zones, Pt. 1 — Solaris (1972)

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/d3bf1582-58d2-4228-88d1-b4bf001e160d/transcript

The Platt family is barely surviving, and that’s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs. The End of Oak Street isn’t nearly as concerned with explaining that premise or exploring its characters as it is with facilitating dino mayhem and nostalgia for the films of writer-director David Robert Mitchell’s youth. That can be to the film’s benefit and detriment, both of which we cover in this week’s discussion, before bringing Steven Spielberg’s War of the Worlds back in to see how these two family survival narratives compare in their respective ideas about flawed parents, imperiled children, and the universal human desire to not get eaten. Then in Your Next Picture Show we consider a couple of possible alternate pairing for Oak Street, one featuring aliens, one featuring dinosaurs, and both underrated.

Please share your thoughts about War of the Worlds, The End of Oak Street, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: Alexander Ullom’s It Ends and Andrei Tarkovsky’s Solaris

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

The Platt family is barely surviving, and that&rsquo;s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs.&nbsp;The End of Oak Street&nbsp;isn&rsquo;t nearly as concerned with explaining that premise or exploring its characters as it is with facilitating dino mayhem and nostalgia for the films of writer-director David Robert Mitchell&rsquo;s youth. That can be to the film&rsquo;s benefit and detriment, both of which we cover in this week&rsquo;s discussion, before bringing Steven Spielberg&rsquo;s&nbsp;War of the Worlds&nbsp;back in to see how these two family survival narratives compare in their respective ideas about flawed parents, imperiled children, and the universal human desire to not get eaten. Then in Your Next Picture Show we consider a couple of possible alternate pairing for&nbsp;Oak Street, one featuring aliens, one featuring dinosaurs, and both underrated.
Please share your thoughts about&nbsp;War of the Worlds, The End of Oak Street, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at&nbsp;<a href="tel:(773)%20234-9730">(773) 234-9730</a>.
Next Pairing: Alexander Ullom&rsquo;s&nbsp;It Ends&nbsp;and Andrei Tarkovsky&rsquo;s&nbsp;Solaris
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The universal human desire to not get eaten.

The Family That’s Prey Together, Pt. 2 — The End of Oak Street

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David Robert Mitchell’s The End of Oak Street drops an ordinary family into extraordinary circumstances, forcing them to focus all their energy on surviving— and maybe, just maybe, learning to understand each other along the way. That structure, combined with Oak Street’s Spielbergian spectacle, pointed us toward 2005’s War of the Worlds, which fuses H.G. Wells’ 1898 novel to images and emotions that draw on the attacks of 9/11. How that approach holds up a quarter-century removed from the events that inspired it is up for discussion this week, along with where War of the Worlds falls on the Steven Spielberg Alien-Encounter Continuum, and just how close that sentimental ending comes to ruining the movie entirely. Then in Feedback, a listener, with an assist from Orson Welles, invites us to get galaxy-brained on the nature of homage as it relates to cinema generally and this podcast specifically. 

Please share your thoughts about War of the Worlds, The End of Oak Street, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

David Robert Mitchell&rsquo;s&nbsp;The End of Oak Street&nbsp;drops an ordinary family into extraordinary circumstances, forcing them to focus all their energy on surviving&mdash; and maybe, just maybe, learning to understand each other along the way. That structure, combined with&nbsp;Oak Street&rsquo;s Spielbergian spectacle, pointed us toward 2005&rsquo;s&nbsp;War of the Worlds,&nbsp;which fuses H.G. Wells&rsquo; 1898 novel to images and emotions that draw on the attacks of 9/11. How that approach holds up a quarter-century removed from the events that inspired it is up for discussion this week, along with where&nbsp;War of the Worlds&nbsp;falls on the Steven Spielberg Alien-Encounter Continuum, and just how close that sentimental ending comes to ruining the movie entirely. Then in Feedback, a listener, with an assist from Orson Welles, invites us to get galaxy-brained on the nature of homage as it relates to cinema generally and this podcast specifically.&nbsp;
Please share your thoughts about War of the Worlds, The End of Oak Street, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730.
This episode is presented by⁠&nbsp;<a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&amp;source=gmail&amp;ust=1787709697979000&amp;usg=AOvVaw3NPGXA9CASQQoGwbqMxEDC">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

The Family That's Prey Together, Pt. 1 — War of the Worlds (2005)

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a1832622-08b2-416f-9959-b4b1003596fe/transcript

Matt Johnson’s new biopic Tony sidesteps the infamous Walk Hard trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we’re once again joined by Vulture critic Roxana Hadadi to discuss how Tony plays into and against our expectations of a Bourdain narrative. Then we bring Ratatouille back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature.

Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Next Pairing: David Robert Mitchell’s The End of Oak Street and Steven Spielberg’s The War of the Worlds

This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Matt Johnson&rsquo;s new biopic&nbsp;Tony&nbsp;sidesteps the infamous&nbsp;Walk Hard&nbsp;trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain&rsquo;s life, but not necessarily defining it. Whether that approach is ultimately satisfying to fans of the late celebrity chef and author is up for debate this week, as we&rsquo;re once again joined by Vulture critic Roxana Hadadi to discuss how&nbsp;Tony&nbsp;plays into and against our expectations of a Bourdain narrative. Then we bring&nbsp;Ratatouille&nbsp;back in for Connections, to compare how these two films introduce us to kitchen culture through the eyes of a newbie. Then for Your Next Picture Show, we recommend two more recent films to fill out a Matt Johnson triple feature.
Please share your thoughts about Ratatouille, Tony, or anything else in the world of film, by sending an email or voice memo to&nbsp;<a href="mailto:comments@nextpictureshow.net">comments@nextpictureshow.net</a>, or leaving a short voicemail at (773) 234-9730.
Next Pairing: David Robert Mitchell&rsquo;s The End of Oak Street&nbsp;and Steven Spielberg&rsquo;s&nbsp;The War of the Worlds
This episode is presented by⁠ <a href="https://www.regmovies.com/join-unlimited" data-saferedirecturl="https://www.google.com/url?q=https://www.regmovies.com/join-unlimited&amp;source=gmail&amp;ust=1787112878424000&amp;usg=AOvVaw3ljNkfur_rz-f1BKBUWuCr">⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠</a>, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.

Anyone Can Cook, Pt. 2 — Tony

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/3ed233cb-6257-4fd7-a8f9-b4aa004632b3/transcript

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

Looking at cinema's present via its past.

The Next Picture Show

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