The Envelope

HBO’s “Succession” wears its contempt for the billionaire class on its sleeve. Back for its second season, heroes are in short supply while an ensemble of entertainingly loathsome and amoral characters backstab and sabotage each other as they battle for power and control within a global media empire. The scheming family serve as stand-ins for the Murdochs or the Redstones. But the siblings’ angling for affection and love of their father has distinct echoes of President Trump’s adult offspring.“Succession” takes you inside the privileged bubble of the .1 percent without glorifying that lifestyle.The critically acclaimed series was nominated for five Emmys, including best drama, and Times TV editor Matthew Brennan (@thefilmgoer) says it’s the show you need to watch this summer.Mark Olsen (@IndieFocus) talks with Brennan and Meredith Blake (@MeredithBlake) about the show that’s hitting the political and cultural zeitgeist right on the nose.

"The Fast and the Furious" franchise had a humble beginning with muscle cars and sweat, and two guys in Los Angeles who found common ground. But the series long ago added an espionage element that took it to another level of wild storytelling and even wilder action.Now in its first spin-off, “Hobbs and Shaw,” the multi-billion dollar franchise has also added science fiction and a heavy dose of comedy, mainly the lead characters — Luke Hobbs and Deckard Shaw, played by Dwayne Johnson and Jason Statham, respectively — slinging insults at each other.Vanessa Kirby, best known for "The Crown," plays Hattie Shaw, one of the more complexly written female characters in the franchise.Johnson, who is also one of the producers, uses the film to showcase his Samoan heritage.Mark Olsen (@IndieFocus) talks with Times film critic Justin Chang (@JustinCChang) and Fast and Furious superfans Jen Yamato (@jenyamato), film reporter for The Times, and BenDavid Grabinski (@bdgrabinski), a filmmaker and showrunner.

*** SPOILER ALERT*** Spoilers start at 15:08.With a title that suggests the opening of a child’s storybook, Quentin Tarantino revisits the Hollywood of 1969 and that summer night 50 years ago when members of the Manson family set out for Benedict Canyon with murder in their hearts. The grisly slayings on Cielo Drive — including that of a very pregnant Sharon Tate — cast a long shadow over the romance of the ‘60s counterculture. Tarantino has said that Charles Manson’s ability to manipulate and control his followers still seems "unfathomable" to this day.In "Once Upon a Time … in Hollywood," the writer and director takes the occasion to revel in the details of the era, complete with commercials, TV shows, songs, radio news and famous locations and restaurants around Los Angeles. But Tarantino also offers up a study of actors — their anxieties, insecurities and the pride they take in their performances. Starring Leonardo DiCaprio as the fictional actor Rick Dalton, and Brad Pitt as his stunt double, along with Margot Robbie as the very real Sharon Tate, the film is more emotional and personal than other Tarantino movies.In fact, Tarantino — who grew up in Los Angeles — has called "Once Upon a Time" his "Roma."Mark Olsen (@IndieFocus) talks with Times film critics @KennethTuran and @JustinCChang, as well as film reporter @jenyamato and special guest Julia Turner (@JuliaTurner), Deputy Managing Editor of Entertainment and Arts.Deep spoilers involving the end of the film start at 15:08. Come back and listen to our writers’ analysis once you’ve seen "Once Upon a Time."

‘The Farewell,’ a film about a Chinese American woman with an all-Asian cast and dialogue that is largely in Mandarin, has surpassed ‘Avengers: Endgame’ with the largest per-theater box office average this year. Starring Awkwafina — the scene-stealer from ‘Crazy Rich Asians’ — the heartfelt dramedy provides the latest evidence of the power of a key underserved audience. But ‘The Farewell’ also tells a universal story of family, love, and grief that anyone can relate to. When filmmaker Lulu Wang pitched the semi-autobiographical story of her family’s efforts to keep her grandmother from learning of her Stage 4 cancer diagnosis, studio executives pushed for a white love interest, and a Chinese version of ‘My Big Fat Greek Wedding.’But Wang stuck to her vision, and refused to resort to a predictable storyline. Will this tale of an American immigrant family be the indie hit for the summer of 2019? Mark Olsen (@IndieFocus) talks with Times film critic Justin Chang (@JustinCChang) and Times film reporter Jen Yamato (@jenyamato).

In a world of instant clicks and information on demand, director Nicolas Winding Refn took his time to tell the tale of 'Too Old to Die Young,' his new series on Amazon Prime. The Danish filmmaker — best known for the film 'Drive,' starring Ryan Gosling — has fully embraced the streaming revolution to experiment with pacing, narrative and character development. The 10-episode neon-lit noir features extended pauses between lines of dialogue. Miles Teller, who plays a crooked cop and vigilante assassin, leads a large, ensemble cast. Refn says the 13-hour show — which he prefers to call a 13-hour movie — reflected his reaction to the “insanity” of the 2016 US presidential election. Mark Olsen (@IndieFocus) talks with Refn (@NicolasWR) about his vision, his casting choices, and why he loves to set his stories in Los Angeles.

Michael Mann’s 1995 'Heat' has become the definitive LA crime film, but probably no one has done more lately to celebrate the epic tale of cops and robbers than a movie critic in Sydney, Australia.Since the summer of 2017, Blake Howard (@BlakeisBatman) has been subjecting the film — starring Al Pacino and Robert De Niro — to a minute-by-minute analysis on his podcast, One Heat Minute. He and his guests have unpacked the nearly three-hour cat-and-mouse caper with admiration and reverence, and an affirmation of their love for cinematic culture. Howard initially hosted guests who were friends and local movie buffs. But as the podcast garnered more attention, he added an array of international guests, including people who were involved in the making of the film.For the final episode — minute 166 — Howard welcomes the director of 'Heat,' Mann himself. Mann and 'Heat' fan Mark Olsen (@IndieFocus) talks with Howard about why he took on the project, his passion for the movie, and how his roster of guests came together. It’s a couple of cinephiles talking.

Once upon a time in America, reality TV used to be about the rich and the famous. But THE HILLS changed the rules of the game in 2006 — merely being rich or appearing to be — was good enough to get you famous.The MTV docu-soap spawned a thousand copycats — including the Housewives and the Kardashian franchises — and turned the US into a country obsessed with reality TV, the genre that launched a presidency. Eager to get back in the limelight, some of the stars of THE HILLS are back on MTV with NEW BEGINNINGS. But will the public have sufficient interest in the older cast members contending with the everyday challenges of domestic life — marriage, children and divorce-- that people watch reality TV to get away from?Times film writer and host Mark Olsen (@IndieFocus) talks with @thefilmgoer and @AmyKinLA, author of “Bachelor Nation: Inside the World of America's Favorite Guilty Pleasure.”

HBO is pushing the envelope with its new teen-centered drama, EUPHORIA. Sex influenced by pornography, wanton drug use, aimless youth: It’s a horror movie for parents. But is it a fair representation of the 9/11 generation — the first set of kids to come of age with smartphones perpetually in tow?Host Mark Olsen (@IndieFocus) talks with Times TV reporter @villarrealy.On a lighter note, Olsen also talks with @cashleelee and @thefilmgoer about the return of YOUNGER, the hit romantic dramedy back for its sixth season. With its deep fan base, the TV Land series seems to have cracked the code for keeping appointment television relevant in a streaming world.

"The Last Black Ma In San Francisco" is a film about a friendship, a family, a house, a city, and its community. San Francisco serves as a stand-in for cities across the country undergoing gentrification.The film — which won two prizes at the Sundance Film Festival — captures the deep sense of loss that overcomes families who are pushed from their homes and stripped of their communal experience.It’s another installment in the recent wave of films out of the Bay Area, made by people of color — about people of color.Host Mark Olsen (@IndieFocus) talks with colleagues @GerrickKennedy, @JustinCChang and @JenYamato. Later on, Olsen talks about LATE NIGHT with critic @KennethTuran and film editor @geoffberkshire. What’s the future for this kind of smart, charming mid-level gem in a streaming world? Will they continue to fill up theaters?

The revolution is being televised after all.On streaming platforms, a rebellion against powerful political, social and cultural forces is growing stronger than ever.THE HANDMAID'S TALE is eerily channeling American women’s fears over the future of reproductive rights. The four-part series WHEN THEY SEE US, is powerfully capturing the racial bias and inequities in the criminal justice system. Netflx, Hulu and other platforms are also challenging the old rules of the casting game and increasing the visibility of communities vastly underrepresented on screen. And on cable, women across the socioeconomic divide are making trouble and challenging the patriarchy in both BIG LITTLE LIES and CLAWS. On this week’s episode, THE REEL explores the shows that have sprung forth from the cracks where network executives have feared to tread. Guest hosts Lorraine Ali (@LorraineAli,) the Times TV critic, and Jen Yamato (@JenYamato,) a film reporter for the Times, sit in for Mark Olsen (@IndieFocus.)Later on, Olsen is back to dive deeper into BIG LITTLE LIES. The HBO hit was originally envisioned as a one-off, single season series, but fans demanded more from the Monterey Five.

"Deadwood" is back, and as Al Swearengen would say, it’s about bleeping time. The show that died too young is now a film, and the return trip in "Deadwood: The Movie" — set some 10 years later — gets down to unfinished business in the once lawless town in South Dakota. On this week’s show, host Mark Olsen (@IndieFocus) talks with Ian McShane, the actor who brought the corrupt, foul-mouthed Al Swearengen to life, as well as the director, Daniel Minahan, who captured the now older and wiser characters meeting up again in a Deadwood poised on the edge of legitimacy.Diehard fans are sure to be pleased, especially since the series was unceremoniously canceled in 2006, leaving so many loose ends — and in spite of its critical acclaim. But Minahan also told Olsen that he made a film with an eye towards drawing newcomers to the show’s original three seasons. McShane says it wasn’t a challenge to reprise his role - Swearengen is the kind of character people don’t forget.

Game of Thrones, Jane the Virgin, Veep, The Big Bang Theory, Broad City, Crazy Ex-Girlfriend: These are only some of the shows signing off this year.The end of so many beloved and long-running series will leave a hole in our hearts and disrupt our viewing patterns — and leave us searching for new and different television companions to fill their place. Why the rush to the exit?And why is it so hard for creators to stick the landing when they wrap their shows? On this episode, The Reel is not ashamed to say that there’s a grieving process in saying goodbye to our trusted friends on TV. Mark Olsen (@IndieFocus) talks with @latimes critics and reporters @LorraineAli, @MeredithBlake, @villarealy and @marymacTV, who are working through the pain with you.

Richard Kelly’s SOUTHLAND TALES is infamous both for its immense ambition and its disastrous reception. With a cast that includes Dwayne Johnson, Justin Timberlake, Mandy Moore, Amy Poehler, Sarah Michelle Gellar and Sean William Scott, the film is a sprawling saga of crime, identity, and conspiracy in Los Angeles that touches on government surveillance, armed resistance, corporate intrusion, and celebrity culture — told with equal parts anger, humor, disillusionment and apocalyptic rapture. The version of the film that first premiered at the Cannes Film Festival in 2006 will have its first-ever screening in the city in which it is set when the notorious Cannes Cut of the movie – some 20 minutes longer than the 2007 theatrical version – plays at the Los Angeles County Museum of Art on May 23.Host Mark Olsen (@IndieFocus) sat down with Kelly (@JRichardKelly) to talk about the different versions of the film, his new hopes for its future and what it meant to him then — and means to him now.But first, the end of Game of Thrones. Fans have been grumbling about the show’s pacing and character development since the start of this final season, but it reached a crescendo after last week’s penultimate episode. While it’s always hard to say goodbye to a good friend, the show has come to represent something larger, and now seems to parallel the tumult in our own culture and our own national politics. Olsen talks with @LorraineAli.

The summer of Manson is upon us. Ahead of the 50th anniversary of the mass murder masterminded by Charles Manson, a wave of content is coming our way.The grisly slayings of eight people — including the very pregnant Sharon Tate — cast a long shadow over the romantic adventure of the 60s counterculture, fascinating and haunting us to this day.Out now in theaters is CHARLIE SAYS, the second of a trio of Manson family films this year. Rather than focus on the violence, CHARLIE SAYS is a sensitive, psychological portrait of three of Charlie’s girls -- as they descend into the madness of Manson’s world, and with the help of a grad student, go through a deprogramming process in prison. LA Times film writer Mark Olsen ( @IndieFocus) talks with the movie’s director Mary Harron and writer @turnerguinevere, the filmmakers behind AMERICAN PSYCHO. Harron and Turner discuss their efforts to capture the domestic abuse and manipulation within the Manson family, along with the sexism of their freewheeling commune life.But first, Olsen chats with critic and self-described Manson head @katiewalshstx , who calls CHARLIE SAYS a deeply feminist film that captures the toxic masculinity and sexual manipulation practiced by Charles Manson.

Women love true crime, but they’re also fed up with maneuvering the male-dominated workplace, being underestimated and checking their emotions at the door. Enter KILLING EVE, the right show for the right time.Featuring a fearless, high-fashion assassin and the astute MI6 agent pursuing her, the psychosexual thriller — made by women and starring women — unapologetically exudes femininity from head to toe. The series has found its audience and is on a roll by playing into the emotions of the cultural moment. Host Mark Olsen (@IndieFocus) checks in with Times television team members @LorraineAli and @villarealy halfway through the second season.Later on, horror filmmaker @rox_anne-b makes her feature directing debut with BODY AT BRIGHTON ROCK. Olsen talks with her about the glories — and risks — of filming in the great outdoors and keeping genre fans surprised. (Second segment starts at 20:00)Let's listen in.

SPOILER ALERT: Spoilers start at 18:10!Eleven years, 22 films, $18 billion and counting at the global box office: Avengers: Endgame is finally in theaters, bringing to a close a chapter in the Marvel Cinematic Universe. It’s been a big emotional investment for fans, and judging by the reaction of some of its stars, it’s been one for the actors as well. Meanwhile, over the course of the franchise, MCU’s longform storytelling has redefined Hollywood. Fans have had a lengthy relationship with these characters. Are they ready for the endgame?Today’s episode is in two parts: The first is spoiler-free, but that is followed by a section for people who have seen the film. So listen for the cues and come back to take it all in, both before and after your trip to the theater. There’s a lot to process.Let’s listen in.SPOILER ALERT: Spoilers start at 18:10!

HBO may not have known it had a hit on its hands in 2011, but the premiere of the final season of GAME OF THRONES shattered ratings records for the network.Viewing of the series has reached a fever pitch and blown up Twitter, while fans divine clues over who will live, who will die, and who will win the Iron Throne.LA Times film writer Mark Olsen (@IndieFocus ) is joined by @marymacTV, @tracycbrown and @MeredithBlake to ponder deep cuts and the series' role in the history of modern television.When was the last time the public had to say goodbye to a show long before growing tired of it?

When the movie HEATHERS was shown at the 1989 US Film Festival, now known as Sundance, the Los Angeles Times film critic Sheila Benson wrote: “No amount of production sheen or acting skill seems excuse enough for the film's scabrous morality or its unprincipled viciousness.” In The New Yorker, Pauline Kael wrote the script for the black comedy “promises that the picture will lift off into the junior division of Blue Velvetland. But layers of didacticism weigh it down.” But HEATHERS has survived the test of time to become a cult sensation, and is now being celebrated on the 30th anniversary of its theatrical release. With its big hair and big shoulder pads, the film took on the nasty high school caste system in a way that was ahead of its time. HEATHERS turned the common cruelty of most teen films of that era on its head. In a conversation with LA Times film writer Mark Olsen, (@IndieFocus ) the movie’s writer, director and one of its Heathers explain that the film was designed as an antidote to John Hughes movies.And later, Fosse/Verdon fans don’t want to miss Olsen's talk with Steven Levenson, the Tony-winning writer of Dear Evan Hanson, and a writer and executive producer of the miniseries on FX.

The master himself, Stephen King, has said PET SEMATARY “is a scary movie. Be warned.” It explores grief, emotion, guilt and love. You could say it’s a family film -- in a terrifying, don’t bring your little ones kind of way.LA Times film writer Mark Olsen (@IndieFocus) is joined by one of PET SEMATARY’s stars -- actress and filmmaker Amy Seimetz -- who talks about elevating a horror picture to an art film, creating female characters typically not seen on screen, and finding your own people in the indie film world. Then, fans of iconic Broadway and the movie musical: We have your number. Olsen talks to Andy Blankenbuehler, the choreographer of Hamilton, who also choreographed Fosse/Verdon, the new FX miniseries that chronicles the creative and romantic partnership between Bob Fosse and Gwen Verdon.

Six years after SPRING BREAKERS, Harmony Korine is back with a new film, THE BEACH BUM, out now in theaters. The wildly creative filmmaker and fine artist is a teller of modern-day tall tales, something of a cross between a burnout Mark Twain and an Andy Warhol of the Florida Keys. Korine talks with LA Times film writer Mark Olsen (@IndieFocus) about how he’s skirting autobiography in his work, the casting choices he made for THE BEACH BUM -- like Matthew McConaughey, Martin Lawrence, Snoop Dog and Jimmy Buffett -- and how he feels about being a perennial Hollywood outsider.But first, The Times' Yvonne Villarreal (@villarrealy) spoke with the showrunners for the recently canceled Netflix show, ONE DAY AT A TIME.Emotions -- and opinions were strong. Is diversity and inclusiveness really happening in Hollywood? Does the cancellation signal that the American Latinx experience is almost being erased from the airwaves? What happens when a show is more than just a show?

The much anticipated follow-up to Jordan Peele’s GET OUT is out now in theaters. And Peele delivers the film he set out to make- one that scares people's pants off. In the process, he has reclaimed the art of the horror genre.LA Times film writer Mark Olsen (@IndieFocus ) talks with Justin Chang (@JustinCChang) and Jen Yamato (@jenyamato ) about how US is in some ways a political film about contemporary America. But it's also a horror flick with a black family at its center, instead of the conventional white one.And Olsen continues the rest of his SXSW interview with Ethan Hawke, Logan Marshall-Green and Jason Blum on their film, ADOPT-A-HIGHWAY.Hawke opens up and has lots to say on acting, actors turning to directing, film school, Steven Spielberg, and following your heart.

The Los Angeles Times is in Austin for South by Southwest, the the annual festival of film, music, technology, art, culture, tacos, barbecue, partying - and something of a laboratory think tank for the future. Times film writer Mark Olsen (@IndieFocus) talks with @marcmaron, who's expanding his wings as a movie actor, along with director @lynnsheltonfilm, who saw him as a star. Olsen also interviews @alexgibneyfilm, whose documentary about Theranos founder Elizabeth Holmes, THE INVENTOR: OUT FOR BLOOD IN SILICON VALLEY, is set to debut on HBO.And in a preview of next week's episode, Austin native Ethan Hawke shares his affection for SXSW, and says "its DNA is a little more punk rock than any other festival in America."

With its first female-led installment in the Marvel Studio franchise, most people are asking what took so long? But in one corner of the Internet, CAPTAIN MARVEL is a bridge too far, especially for those angered by star Brie Larson's progressive calls for diversity and inclusivity. LA Times film writer Mark Olsen (@IndieFocus) is joined by Kenneth Turan (@KennethTuran), Jen Yamato (@jenyamato), Justin Chang (@JustinCChang), Tracy Brown (@tracycbrown) and Sonaiya Kelley (@sonaiyak ) to discuss the politics surrounding CAPTAIN MARVEL and the merits of the film itself -- its indie directors, its '90s nostalgia and its cast, including Reggie, the cat thespian.

Despite what's been called a "despicable" Best Picture win, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) talks with Justin Chang (@JustinCChang), Mary McNamara (@marymacTV) and Glenn Whipp (@GlennWhipp) about how real change may have arrived at the Academy. Plus, Jen Yamato (@jenyamato) and Amy Kaufman (@AmyKinLA) get their Gaga fix on, and share the scoop on what was going on off-camera at the Academy Awards.

On this week’s episode of The Reel, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) previews the 2019 Academy Awards with Justin Chang (@JustinCChang), Mary McNamara (@marymacTV) and Glenn Whipp (@GlennWhipp). They discuss their favorite films of the year and explore some of the possible outcomes in this year's top award categories.

On this week’s episode of The Reel, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) is joined by Director Spike Lee and two of his longtime collaborators, composer Terence Blanchard and editor Barry Alexander Brown. They discuss the success of their latest, “BlacKkKlansman” and the lasting impact of the film.

On this week’s episode of The Reel, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) was joined by Director Steven Soderbergh, to talk about his new film “High Flying Bird,” which premiered at Slamdance Film Festival last month. The Oscar-winning filmmaker takes us inside his movie-making process, including what it's like shooting a movie entirely on a smartphone.

On this week’s episode of The Reel, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) was live in Park City, Utah for the 2019 Sundance Film Festival. After watching many of this year's movies and documentaries, he sat down with Justin Chang (@JustinCChang), Amy Kaufman (@AmyKinLA), Kenneth Turan (@KennethTuran) and Jen Yamato (@jenyamato) to discuss the best films they saw and why.

On this week’s episode of The Reel, L.A. Times feature writer and reviewer Mark Olsen (@IndieFocus) sits down with Glenn Whipp (@GlennWhipp) and Justin Chang (@JustinCChang) to take an early look at the 2019 Oscar nominations. They discuss key takeaways from the nominated films, including an increase in internationally focused nominations and the significance behind the “best director” category.

On this week’s episode of The Reel, LA Times feature writer and reviewer Mark Olsen (@IndieFocus) sits down with Meredith Blake (@MeredithBlake), Robert Lloyd (@LATimesTVLloyd), and Yvonne Villarreal (@villarrealy) to discuss HBO’s latest season of 'True Detective' starring Mahershala Ali. They also reflect back on David Chase's HBO series ‘The Sopranos’ 20 years after its premiere.

This week Mark Olsen (@IndieFocus) leads a discussion about the importance of last week's Golden Globes and how they might shine a light on what we can expect from the Oscars as we start to wrap up awards season.

This week Mark Olsen (@IndieFocus) talks to reporter Carolina Miranda (@cmonstah) after she and director Alfonso Cuarón walked through the streets of the Mexico City neighborhood where he shot his film Roma.

Mark Olsen (@IndieFocus) and TV writers Yvonne Villarreal (@villarrealy), Lorraine Ali (@LorraineAli) and Robert Lloyd (@LATimesTVLLoyd) break down whether 2018 was a good year for TV. They talk about Barry, Killing Eve, and more as they make their assessment about whether we've gone beyond the "peak TV" era.

Mark Olsen (@IndieFocus) and film critics Kenneth Turan (@KennethTuran) and Justin Chang (@JustinCChang) break down their favorite movies of 2018, including Vox Lux, Can You Ever Forgive Me?, and Black Panther. Sifting through the big studio blockbusters, independent films, foreign-language films, and documentaries their recommendations will add to your list of the "must watch" movies of the year.

This week LA Times music reporters Gerrick Kennedy (@GerrickKennedy), Mikael Wood (@mikaelwood), and Randy Lewis (@RandyLewis2) join Mark Olsen (@IndieFocus) to discuss the intermingling of music and film. First, the group focuses on capturing live performance on film, as seen in the new Springsteen on Broadway special on Netflix and the archival the Aretha Franklin documentary, Amazing Grace. Then, the group discusses the act of music creation and recording on film, with A Star Is Born, Bohemian Rhapsody and Green Book as the main examples.

This week Mark Olsen (@IndieFocus) leads a conversation breaking down the Golden Globe nominations and what they mean for the awards season landscape. We discuss the controversial nominee Green Book, how Black Panther earned Marvel Studios it's first nomination, the crowd-pleasing results from the Globe's distinct drama and comedy categories, and what we might expect from the unusual host pairing of Andy Samberg and Sandra Oh. Mark is joined by Glenn Whipp (@GlennWhipp), Amy Kaufman (@AmyKinLA) and Ashley Lee (@cashleelee).

This week, host Mark Olsen (@indiefocus) hands the mic to reporter Yvonne Villarreal (@villarrealy) as she interviews Alex Cunningham, the show-runner of Bravo's new TV series Dirty John. Based on the L.A. Times podcast by the same name, the show further explores the complicated and manipulative relationship between Debra Newell and John Meehan. Cunningham breaks down the show's casting choices, how the the series gives Debra a stronger voice and what fans of the podcast might expect to see on the TV adaptation.

Focusing this week on the music business, Mark Olsen (@IndieFocus) sits down with music reporter Randy Lewis (@RandyLewis2), pop music critic Mikael Wood (@mikaelwood) and Times television critic and former music editor Lorraine Ali (@LorraineAli) to discuss the recent releases of Bob Dylan's "More Blood, More Tracks," which features unreleased takes from the session for his 1975 album "Blood on the Tracks," and the 50th anniversary remastered release The Beatles' "The White Album" with unheard demos and session tracks. What do these two pillars of the classic rock era still have to say to the modern ears of current audiences, and how does the contemporary music industry treat their legacy artists?

This week our team breaks down what to expect next year at the Academy Awards and which movies have already started to make a splash. Mark Olsen (@IndieFocus) is joined by Glenn Whipp (@GlennWhipp) and Amy Kaufman (@AmyKinLA) to break down Marvel's history at the Oscars and Black Panther's potential for success, Netflix's drama Roma, and which movies have passed Amy's "cry test" this year.

This week, Mark Olsen (@IndieFocus) sits down with critics Justin Chang (@JustinCChang) and Kenneth Turan (@KennethTuran) to discuss the demise of FilmStruck, how streaming services like Netflix have impacted the types of classical films that were once available on FilmStruck, and, specifically, a brand new Orson Welles film now on Netflix that is one of Hollywood's most famous unfinished projects. There are mixed feelings about all of the topics, and the conversation foreshadows what may happen to films like Orson Welles' Other Side of the Wind.

This week, host Mark Olsen (@IndieFocus) interviews Luca Guadagnino, the director of the remade film Suspiria and also recently known for directing the award-winning movie, Call Me By Your Name. Guadagnino talks, among many other things, about the inspirations for his remake, his friendship with Tilda Swinton and her three roles in the film, and what the movie is actually about.

It's Halloween time, and to celebrate the occasion our team of reporters dives deep into some recent horror hits in film and television. Film critic Justin Chang (@JustinCChang) and reporters Libby Hill (@midwestspitfire) and Jen Yamato (@JenYamato) join host Mark Olsen (@IndieFocus) to discuss the newest Halloween sequel as well as the remake of cult classic Suspiria and the new Netflix horror show Haunting of Hill House.

This week, the L.A. Times team is joined by Joy Press, a former LAT staffer and writer of Stealing the Show: How Women Are Transforming Television, to discuss two recent TV reboots: The Conners and Murphy Brown. The group discusses how ABC dealt with Roseanne leaving her namesake show, the big reveal at the start of The Conners, and how Murphy Brown is faring in comparison.

Film critic Kenneth Turan (@KennethTuran) and reporters Amy Kaufman (@AmyKinLA) and Jen Yamato (@JenYamato) join host Mark Olsen (@IndieFocus) to discuss the new hit movie, A Star is Born. They talk all about Bradley Cooper's directing debut, how the movie compares to previous iterations, and Lady Gaga's performance.

On the heels of producer Suge Knight's murder trial, LA Times reporters James Queally (@JamesQueallyLAT), Marisa Gerber (@marisagerber), and Gerrick Kennedy (@GerrickKennedy) join Mark Olsen (@IndieFocus) for a deep dive discussion about his life, the trial proceedings, and particularly how the proceedings reflect his impact on the music industry.

Numerous recent movies have been charged by an immediacy of anxiety, as many of the same feelings from the world-at-large have made their way onto our movie screens with an alarming speed and connection. Mark Olsen (@IndieFocus) is joined by Times film reporters Jen Yamato (@JenYamato) and Tre'vell Anderson (@TrevellAnderson) and film critic Justin Chang (@JustinCChang) to talk about his current phenomenon and what we expect from our movies, what they can do to inform, explain or even distract us, taking in a broad range of titles from "Monsters and Men," "Fahrenheit 11/9," "Assassination Nation," "The Lie," "Suspiria" and others to get some sense of our Cinematic Now.

This week, we're recapping everything that happened at the Emmys. Reporter Yvonne Villarreal (@villarrealy) and TV critics Lorraine Ali (@LorraineAli) and Glenn Whipp (@GlennWhipp) join host Mark Olsen (@IndieFocus) to break down the surprises and disappointments, the performances of this year's hosts, and the unexpected visit from Teddy Perkins.

The Reel is at Toronto International Film Festival!Mark Olsen (@IndieFocus) breaks down the last few days at the film festival with reporters Tre'vell Anderson (@TrevellAnderson) and Jen Yamato (@Jen Yamato) and film critic Justin Chang (@JustinCChang). Hear about the festival's new diversity initiatives and this year's biggest films.

Our team breaks down what they think will be the best fall movies this year. Mark Olsen (@IndieFocus), Tre'vell Anderson (@TrevellAnderson) and Amy Kaufman (@AmyKinLA) pick their favorites and talk about memorable interviews they've had with the stars--including Lady Gaga.

In this week's episode, Mark Olsen (@IndieFocus) starts off leading a discussion about this year's Emmys contenders with Lorraine Ali (@LorraineAli) and Glenn Whipp (@GlennWhipp). Then, hear Yvonne Villarreal (@villarrealy) interview The Crown's Matt Smith on the show's last two seasons and how he feels about the United States' fascination with the royal family.