On this week’s show, the hosts chew over Nightbitch, Marielle Heller’s (Queen’s Gambit, Can You Ever Forgive Me, The Diary of a Teenage Girl, MacGruber), fourth feature film. Amy Adam stars as “Mother,” a former artist who has given up her creative pursuits to care for her infant son full-time — a transition so taxing, that she begins dissociating and transforming into a dog at night. And while there’s a lot to like here (it’s an adaptation of Rachel Yonder’s magical realism novel of the same name, for example), does the film ever achieve lift-off? Then, the three rip Black Doves to shreds, Netflix’s latest espionage show starring Keira Knightly, Sarah Lancashire, and Ben Whishaw that has far too many plot holes to name (although, Stephen does try to.) Finally, the panel digs into the strange case of Luigi Mangione, the suspected shooter in the murder of UnitedHealthcare CEO Brian Thompson — and the internet’s sardonic, if not jubilant, reaction to the fatal shooting.In the exclusive Slate Plus segment, the panel explores the celebrity look-alike contest: a puzzling and mildly delightful phenomenon that’s been sweeping the nation. (Read Nadira Goffe’s excellent reporting on the Timothée Chalamet tournament that started it all, here.)FINAL CALL: We are down to the final week! To submit your question for our annual call-in show (for inspiration, check out last year’s episode), please call (260) 337-8260 to leave us a voicemail, or record a voice note and email it to us at culturefest@slate.com. Or, email us at culturefest@slate.com if you just want to gab. Endorsements:Dana: The Year of Lear audiobook, written by James Shapiro and narrated by Robert Fass. Julia: Tree.fm — a project by Sounds of the Forest and aporee, where you can tune into forest soundscapes from around the world. Stephen: A cover of Richard and Linda Thompson’s “Down Where the Drunkards Roll,” performed by Loudon Wainwright III and Rufus Wainwright. Podcast production by Jared Downing. Production assistance by Kat Hong.Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Slate experts June Thomas (author of A Place of Our Own: Six Spaces That Shaped Queer Women's Culture) and Dan Kois (author of Hampton Heights: One Harrowing Night in the Most Haunted Neighborhood in Milwaukee, Wisconsin) fill in for Dana and Julia. First, the trio tackles Blitz, director Steve McQueen’s new film about the German bombings of London during World War II, which stars Saoirse Ronan, Harris Dickinson, and randomly, Paul Weller. For a McQueen movie, it’s quite traditional – predictable plot beats, an easy to understand moral viewpoint – but as a piece of culture, does it work? Is the film informative and incredibly ambitious? Or didactic and boring? Then, the panel unravels HBO’s Get Millie Black, a British crime drama set in Kingston, Jamaica. Created by Marlon James, the five-part detective series delivers a good, old-fashioned mystery (there’s corruption! Familial complications! Rich queer narratives! And way too much voiceover!) that reveals itself slowly, like peeling back the layers of an onion. Finally, can a “vibe” be copyrighted, in a world built on copying? The hosts pour over “Bad Influence,” a reported piece by The Verge about the groundbreaking legal case between two lifestyle influencers that has the potential to radically alter the online commerce industry. In the exclusive Slate Plus segment, the panel discusses movie credits and debates the merits of sitting through them. We are still taking questions for our annual call-in show! To submit your question, either leave us a voicemail at (260) 337-8260 or send us a voice note via email at culturefest@slate.com. Email us at culturefest@slate.com. Endorsements:Dan: The Mighty Quinn (1989), starring a very handsome Denzel Washington. June: Our Evenings by Alan Hollinghurst. Steve: A quote by Vladimir Nabokov.  Podcast production by Jared Downing. Production assistance by Kat Hong.Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, the hosts consider ‘Glicked’ (or is it ‘Wadiator’? ‘Gladicked?’), the Wicked and Gladiator II double feature that promised to be this year’s ‘Barbenheimer.’ But did it deliver? Or even come close? First, the trio inspects Wicked, which won the weekend by a long shot (and broke a few records along the way.) At times, director Jon M. Chu’s film adaptation of the famed Broadway musical (which is, itself, an adaptation of a series of novels inspired by Frank Baum’s The Wonderful Wizard of Oz) can feel overstuffed and exhausting, but as Dana puts it in her review, “it’s so buoyant it lifts both witches-to-be, along with the audience, into the stratosphere.” Then, the panel moves on to Gladiator II, the very belated follow-up to Ridley Scott’s 2000 Best Picture Winner. Which is… a really bad movie. No longer is the question “are you not entertained?", but “are men okay, actually?” The panel attempts to make sense of Scott’s “dismal retread” and debate whether Denzel Washington’s free reign over his character benefited the movie at large. Finally, Slate’s Dan Kois joins to discuss “The 25 Most Important Recipes of the Past 100 Years,” a wonderful and lovely mega package compiled by Kois and J. Bryan Lowder that explores the history of home cooking in America and how it’s changed over time. (Dan also cooked all 25 recipes, and then some, an epic saga which he chronicled.)In the exclusive Slate Plus segment, it’s the long-awaited Bluesky debate. Following the mass exodus from Twitter/X, the hosts discuss the pros and cons of migrating over to a new, remarkably similar, platform. We are still taking questions for our annual call-in show! To submit your question, either leave us a voicemail at (260) 337-8260 or send us a voice note via email at culturefest@slate.com. Email us at culturefest@slate.com. Endorsements:Dana: A recipe perfect for Thanksgiving: Laurie Colwin’s Creamed Spinach With Jalapeño Peppers.Julia: Opal, a screen time app that blocks distractions. Steve: “The Loudest, Brightest Thing” by Sam Huber for The New York Review.Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Isaac Butler (Supreme Friend of the Show and author of The Method:‌ How the Twentieth Century Learned to Act) sits in for Dana. First, the panel is quite verbose about Say Nothing, a limited series that takes place over four generations and is set during The Troubles in Northern Ireland. By dramatizing the real-life events recounted in Patrick Radden Keefe’s 2018 bestseller, the adapted limited series achieves something quite rare: enriching the original text and imbuing it with new meaning.Then, they unpack Emilia Pérez, an utterly captivating musical by writer-director Jacques Audiard that’s about gender transition, drug cartels, and becoming yourself. Finally, the trio discusses Carson the Magnificent, a new biography of the mysterious late-night pioneer that Isaac recently reviewed for The New Yorker.In the exclusive Slate Plus segment, the panel answers a listener question from James: “Are there cultural works that you fully intend to see or experience, but are waiting for an optimal way to do it?”Email us at culturefest@slate.com. Endorsements:Isaac: Blood Test by Charles Baxter.  Julia: Zoe Saldaña in Center Stage.Steve: Alice Neel’s appearance on Johnny Carson’s Tonight Show in 1984.Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s episode, the hosts tackle A‌ Real Pain, writer-director Jesse Eisenberg’s tale of two cousins (played by himself and Kieran Culkin) who travel to Poland to honor their late grandmother and, in the process, come to understand their family’s history through a new lens. Then, the three drop into the lush, sumptuous world of Like Water for Chocolate, Max’s new six-part limited series adapted from Laura Esquivel’s best-selling novel (which later became a critically acclaimed and internationally successful blockbuster.) Then finally, in a post 2024-election reality, do newsrooms still matter?‌ What role will journalists play over the next few years?‌ And can we solve the attention crisis in America?‌ Our panel discusses. In the exclusive Slate Plus segment, the panel dive into a simple, yet important question: How are you doing? Email us at culturefest@slate.com. Endorsements:Dana: On the Media’s latest episode, “The Manosphere Celebrates a Win. Plus, M. Gessen on How to Survive an Autocracy.” Julia: What better time than now to announce the results of the AMC Nicole Kidman poll! Steve: “Jessica Mitford’s Escape From Facism” by Noah McCormack. Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Extremely Musical Friend of the Pod (EMFOP)‌ Chris Molanphy joins to memorialize pop’s Renaissance Man, Quincy Jones, who passed away on November 3, 2024. The legendary producer worked with every star under the sun, including Ray Charles, Aretha Franklin, and Chaka Khan, and created the best-selling album in history. (“Thriller,” maybe you’ve heard of it?)Then, the trio mulls over Conclave, a sumptuous new film by director Edward Berger (All Quiet on the Western Front) about what happens when the Pope dies. It’s a fun, pulp-y romp, but does the movie have anything profound to say?‌ Finally, the panel considers Martha, a Netflix documentary about Martha Stewart’s rise to fame – and confronts all of lifestyle guru’s charms, mysteries, and borderline sociopathic tendencies.Mentioned in today’s episode:‌ Hit Parade’s “I Wanna Rock with Q“ series. Conclave review, written by Dana. In the exclusive Slate Plus bonus episode, the panel unpacks the most interesting part of Conclave:‌ that out-of-left-field plot twist.Email us at culturefest@slate.com. Endorsements:Dana:‌ Will &‌ Harper on Netflix.Steve:‌ Getting lost in “Songs of a Lost World,”‌ a new album by the Cure.Chris:‌ The podcast A Very Good Year.Julia:‌ Throwing a birthday for your house; commissioning a micro-history of your home.Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Slate senior editor Rebecca Onion sits in for Julia Turner. First, the hosts examine Dahomey, an audacious new documentary by acclaimed filmmaker Mati Diop (Atlantics.)‌ With a one hour, eight minute run time, Dahomey is an incredibly rich text in a very small package, and contemplates the repatriation of 26 royal treasures plundered from the Kingdom of Dahomey as they journey back to their homeland, which now lies within the Republic of Benin.Then, the three dive into Netflix’s Death, Let Me Do My Special, a one-woman show performed and written by Rachel Bloom (Crazy Ex-Girlfriend.)‌ The special is perceptive, macabre, and whimsical, as Bloom reflects on the pandemic years and the loss of her close friend and collaborator, Adam Schlesinger. Finally, what is Mark Zuckerberg wearing?‌ That is the question Brendon Holder asks in a recent Substack essay and that is bewildering the panel. Is the Meta CEO simply trying to beat the dweeb allegations through oversized t-shirts and a boyish haircut? Or is there something more sinister going on here?In the exclusive Slate Plus segment, the panel discusses the role TV plays in their lives, inspired by a recent mega-article published by GQ, “How to Watch TV.” Email us at culturefest@slate.com. Endorsements:Dana:‌ The AOC‌ and Tim Walz Twitch stream, specifically, the moment when Walz calls Tony Hinchcliffe a “jackwad” following a racist comment. Rebecca:‌ The Voyage Home by Pat Parker.Stephen:‌ Todd Gitlin’s 2001 essay, “Unsafe in any state.”Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, the panel falls for Anora, a new movie from writer-director Sean Baker (Tangerine, The Florida Project) that’s as arrestingly tender as it is sexy, funny, and unpredictable. The whirlwind Cinderella story won the Palme d’Or at Cannes this year, and will likely become an Oscar frontrunner due to its star-making performances and humanistic depiction of life on the margins and sex work. One host calls it “the best American movie in the past 25 years.” Then, the three discuss Matlock, a gender-swapped reboot on CBS starring Kathy Bates. With huge viewership numbers and decent critical success, is the quirky legal procedural proof that network television is so, so back?‌‌ Finally, our trio turns their attention to Hearing Things, a new site for independent music journalism run (and owned by) a group of former Pitchfork writers.In the exclusive Slate Plus segment, the hosts explore their thoughts and feelings about Halloween costumes. Email us at culturefest@slate.com. Endorsements:Steve:‌ “Two Don Quixote Lyrics”‌ by W. H. Auden.Julia:‌‌ Hampton Heights, an excellent novel by Supreme Friend of the Pod (SFOP)‌ Dan Kois.Dana:‌ In honor of her new oven, a recipe for Roasted Cod and Potatoes. Also in honor of Dana’s recent appliance upgrade, an oven recipe from Julia and Stephen respectively:‌ Sheet-Pan Sausages and Brussels Sprouts With Honey Mustard and Roasted Kale and Sweet Potatoes With Eggs.Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Julia and Stephen are joined by Slate writer and senior editor, Sam Adams. Why do we tell fictional stories about real people?‌ The panel ponders this question as they discuss two biopics: The Apprentice and Saturday Night. The Apprentice is an uncanny portrait of Donald Trump, a young striver under the tutelage – and spell – of his mentor, Roy Cohn. But does the film offer any new information or ideas? Saturday Night, on the other hand, is the often obnoxious tale of the frenetic 90-minute countdown before Saturday Night Live’s first broadcast in 1975. Finally, the panel is joined by The Atlantic staff writer Charlie Warzel to discuss his recent and prescient piece, “I’m Running Out of Ways to Explain How Bad This Is.”In the exclusive Slate Plus segment, the panel discusses f*cking profanity, a conversation inspired by a listener question from Jonathan. Email us at culturefest@slate.com. Endorsements:Sam: Separated, a documentary by Errol Morris. (Read Sam’s review here.)Julia: Ten, Nine, Eight, a wonderful children’s book by Molly Bang. Steve: Laura Miller’s book review of Revenge of the Tipping Point by Malcom Gladwell for Slate. Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s show, Dana and Stephen are joined by Supreme Friend of the Podcast (SFOP) Isaac Butler, author of The Method:‌ How the Twentieth Century Learned to‌ Act. The trio first explores The Wild Robot, DreamWork Animation’s handcrafted, lovingly made film that’s the surprise of the year. Lupita Nyong’o voices ROZ, an old-fashioned robot powered by supremely advanced A.I. who must learn about and adapt to her new wild surroundings.Then, they dissect Nobody Wants This, a new Netflix series starring Kristen Bell (who plays a sex podcaster) and Adam Brody as a hot rabbi. Although there are obvious charms, the show’s “will they, won’t they” rom-com beats can often feel, at best, gratingly familiar, and at worst, bizarre and unthoughtful, particularly in its portrayal of Jewish women. Finally, the Criterion Collection, is “a catalog so synonymous with cinematic achievement that it has come to function as a kind of film Hall of Fame,” writes Joshua Hunt for The New York Times. The panel dives into the wonderful world of ‘Closet Picks,’ a viral video format in which celebrities and movie buffs head into the Criterion Collection stockroom and pluck high-quality DVDs and Blu-rays off its shelves while explaining their personal significance. Also mentioned in this episode:‌ “The Wild Robot Has an Intelligence That’s Anything But Artificial” by Dana Stevens for Slate. “‘Nobody Wants This’ Pits Jewish Women Against ‘Shiksas.’ Nobody Wins.” By Jessica Grose for The New York Times. In the exclusive Slate Plus segment, the panel extols the joys of being on the ground. Inspired by Chris Black’s column for GQ, “How I Learned to Love a Layover,” the trio discusses how they spend their time in airports. Email us at culturefest@slate.com. Endorsements:Dana:‌ “Abbas Kiarostami’s Childhood Films,”‌ a collection of 17 films by the renowned Iranian filmmaker made about or for children.Isaac:‌ The Tale of The Princess Kaguya, directed by Isao Takahata.Stephen:‌ “The Song That Connects Jackson Browne, Nico and Margot Tenenbaum”‌ by Bob Mehr for The New York Times.Podcast production by Jared Downing. Production assistance by Kat Hong.  Learn more about your ad choices. Visit megaphone.fm/adchoices