jane adams

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Jackie and Greg get nice and uncomfortable for Todd Solondz's HAPPINESS from 1998. Topics of discussion include the film's controversial subject matter, how it walks the line between satire and sincerity, the great ensemble cast, and why it's one of the best films of the 90s.

The monthly S'mores series is an offshoot from our main series, where Jackie and Greg explore films from the fringes of cinema, encompassing underground, experimental, cult, camp, genre, horror, and B-movies. S'mores episodes are unlocked by becoming either a Patron or Friend of the Show (see below). These episodes are released on the last Tuesday of each month.

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Music: Andrew Cox
Editing: Greg Kleinschmidt

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Jane Adams, former director of Partnership Relations with Jane Fortune and Advancing Women Artists,  a non-profit organization that was dedicated to rediscovering, restoring, and exhibiting works by women artists found in Florence’s Museums and State deposits, shares how she is continuing to raise awareness about forgotten artists and reclaim their rightful place in history.

Jane explains how meeting Jane Fortune and Advancing Women Artists led to one of the most recent examples of lost art and also one of the most impressive. Sister Plautilla Nelli’s (1524-1588) The Last Supper is the only known depiction of Christ’s last meal by a female artist in the pre-modern age.

The self-taught artist’s massive canvas—about 21 feet long and 7 feet high—is one of the largest works by a woman artist of the pre-modern era in the entire world. Though women were banned from studying anatomy, Nelli defied conventions of the time by taking on a theme reserved for male artists and creating 13 life-size male figures.

There are still so many questions and Jane helps clarify why some of these works were never considered masterpieces. A movement is happening now around Italy's women's art restoration and Jane will bring you into a history that is not just restoring the works of art, but also restoring women’s place in art history. Over the past 10 years, over 70 works of art are now restored.

When you think about it, art has always been used as a means of storytelling and has vastly enriched our lives. The world needs women to inspire us, to raise our spirits, and to serve as role models for our future generation of girls.

A must listen! Only on Speaking of Travel! 

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Diane and Sean discuss the 2004 partial adaptation of the beloved book series by Daniel Handler (Lemony Snicket), Lemony Snicket's A Series of Unfortunate Events. Episode music is "Drive Away (End Title)" by Thomas Newman, from the OST.

-  Our theme song is by Brushy One String

-  Artwork by Marlaine LePage

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We're joined by hosts of 30 Years Later Podcast, Ricky Camilleri and Chris Chafin, to discuss Todd Solondz's grimly funny ensemble comedy 'Happiness'. We discuss the writer/director's singular talent for handling "sticky" subject matter and characters, the film's remarkably prescient and timely themes of emmiseration and depravity in modern American existence, and why current media discourse and trends are especially averse to embracing the brilliance of Solondz's deeply nuanced portrayals. 

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Our theme song is "Mirror" by Chris Fish

Call Outs:

The Mandela Effect

The Bold Type

Bold Type Playlist

Gallaudet (not Gal Gadot) University

Grease LIVE! (NBC)
 

Song Shoutouts:

Verse Stop - Pink Pony Club by Chappell Roan

Listen on Apple Music.

Dalton & Zac’s: Papa Don't Preach 

Joe Swanberg (Drinking Buddies, Happy Christmas) discusses his new 8-episode series Easy for Netflix using the same improvisational style he developed to make his numerous indie features.

We talk about:

• Writing, directing and producing Easy
• Casting over Skype
• Improvising vs. sticking to a script
• Scheduling in movies vs. TV
• Shooting in Chicago (as much as possible)
• A typical day on a Swanberg set
• Pitching an idea to Netflix
• Post-production strategies

Quotes from the show:

“There was no rule book for how to do a show like this.”

“The characters are all coming from autobiographical places in terms of my connection to them.”

“When you put out a movie, you are buying advertising, sort of like throwing rocks hoping to hit the people who might like it, and because Netflix already has that data, it puts the show at such an advantage already to find its perfect audience.”

“It’s really wild to think that I made this thing with my small crew in Chicago… but the instant global audience is going to be akin to a big holiday film release.”

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