A meeting of the (twisted) minds: The directors of The Witch and Hereditary talk horror on The A24 Podcast
Aux Features Podmass
Are You Afraid Of The Podcast?
The Tale Of The Carved Stone
Summer is the perfect time for sitting around the campfire to revisit the nostalgia of ’90s Nickelodeon classic Are You Afraid Of The Dark? Hosted in the heartfelt way that only folks from Springfield, Illinois can pull off, Sara Laurel Goeckner and Jeremy Goeckner, the wife-and-husband team behind Are You Afraid Of The Podcast? present a watch-through that is entertaining for new and old viewers alike. Their spot-on analysis of this bonkers show pokes holes in ridiculous plot points, highlights unfortunate outfits, and even includes interviews with actors from the show’s original run. Although the podcast is billed as biweekly, you might have to wait a bit longer for new episodes since the hosts are deep in summer stock season, but it’s worth the wait. “The Tale Of The Carved Stone,” episode 33 of Are You Afraid of The Dark?, features the “new to town” trope that dumps poor Alison Denny in the middle of nowhere with zero friends. Can Sardo’s Magic Mansion help her find a friendship charm to change her luck? A dissection of the episode’s non-sequitur time-travel plot is the highlight of the episode. [Morgan McNaught]
Armchair Expert With Dax Shepard
Lake Bell
Joining hosts Dax Shepard and Monica Padman this week is actress/director/screenwriter Lake Bell, who plays Shepard’s wife in the new show Bless This Mess. After pondering the feminine equivalent of a man’s musk, the trio discusses the current art exhibition of Bell’s husband, Scott Campbell, a celebrated tattoo artist whose show literally changes the people who see it—they put their arm through a hole in a wall to allow Campbell to tattoo them, sight unseen. Transitioning to an in-depth discussion of commitment and the nature of marriage, Bell shares her own insights on how a long-term, intimate, and trusting relationship allows humans to evolve. She’s found that spouses challenge each other in different ways and furthers the relationship by having children, a jumping-off point for unpacking the life-and-death stakes navigated by Bell and Campbell during their kids’ home births. As a guest, Bell is candid and personable, going deep into personal conversations as well as offering a compelling perspective on topics like careers, too. [Jose Nateras]
Bizarre Albums
The Wrestling Album
Every album has a story, especially the weird ones. With his new podcast, Bizarre Albums, host Tony Thaxton (Motion City Soundtrack, Feliz Navipod) will celebrate those stories through weekly mini-documentaries that explore the who, how, and why of history’s most infamous audio oddities. His inaugural episode takes us back to the year 1985 when the nation was suffering from a pandemic scientists have come to refer to as Hulkamania. Riding off the soaring popularity of Hulk Hogan and professional wrestling in general, WWF executives leaped at the opportunity to churn out an album of covers, parody songs, and truly twisted originals performed by their very own roster of leotard-clad brawlers. Despite the comedy album facade, the personnel listing on this record is nothing to sneeze at. Noted wrestling fan Cyndi Lauper provides backing vocals on a couple songs and legendary songwriter-producer Jim Steinman even lends a hand with production. In the end, the most bizarre thing about this album is the complete lack of the decade’s biggest star and the impetus for the whole project, Hulk Hogan. [Dan Neilan]
Hello From The Magic Tavern
Seaside (w/Justin McElroy)
It’s the season-three premiere of everyone’s favorite show about a guy who fell into a portal behind a Burger King with all his podcasting equipment, landing in a magical world where he records a weekly show with Chunt the shapeshifter and Usidore the wizard. This beloved improv series, now in its fifth year, allows every stated addition to the universe to become canon, no matter how wild. This week they are joined by Rodney the Figurehead (Justin McElroy of the greater My Brother, My Brother And Me universe). Rodney wished upon a star and became an animated wooden man with a limited understanding of time and a truly confusing vocabulary; McElroy brings his humor and contagious laugh to the character. As always, the sound editing in this podcast, complete with background chatter and clinking mugs, lets listeners feel like they’re sitting right inside this seaside tavern, eavesdropping on our protagonists. For those who might be intimidated by this show’s back catalog, this season kicks off a new seafaring story arc, making it a great place to start. [Nichole Williams]
Lisa, Sandra And Kristen Go To The Movies
Fighting Robots With Trace Lysette
As the title implies, this movie podcast isn’t going to be a scholarly deep-dive into the vast, flickering world of cinema—even though it’s slated as the audio companion to CNN’s new show The Movies. Instead, CNN writer Lisa France, CNN reporter Sandra Gonzalez, and professional podcaster Kristen Meinzer record casual conversations about movies, especially popular ones. The opening minutes of this episode feature Gonzalez’s top five audience-friendly desert-island movies (Love Actually! Edward Scissorhands! The Lion King!). This week’s guest is Trace Lysette, a trans actress and activist who discusses being influenced by strong female characters as a kid, how Hollywood needs to start hiring trans women for trans roles, and that time she starred in an action movie that got shelved because her trans identity was revealed. To close things out, Lisa France solemnly reveals her undying love for Martin Scorsese’s Goodfellas. Considering that several people on Twitter last week—of all genders—dropped enough divisive takes on Scorsese to make him a trending topic, it’s like France knew she had to get on the mic and speak on behalf of all her Scorsese-loving sisters. [Craig D. Lindsey]
Pretend
The Norco Bank Heist Part 1
A cop records himself trying to coax a confession out of a wounded bank robber he’s carrying downhill in the cold open of this intimate, documentary-style show. Despite its name, Pretend profiles true events, with special focus on imposters. It’s not entirely clear what George Wayne Smith was pretending to be, unless it was a criminal mastermind. That he had a gifted mind and conditioned body was a given, but prior to May 8, 1980, Smith had nothing in his history to suggest what he was about to do. His military training and born-again-Christian indoctrination combined with a lifelong sense of superiority led him to subscribe to a paranoid fantasy of the world ending in 1981, and for whatever reason, he needed a lot of money before that happened. His bank robbery plan was one part too intricate, two parts overkill. Before it was all over, Smith and three accomplices used their considerable firepower to shoot up 33 cop cars and a helicopter. Host Javier Leiva wisely gets out of the way and lets author Peter Houlahan (who wrote the definitive account of the robbery) color the scenes with his exacting knowledge of the case. [Zach Brooke]
The A24 Podcast
Deep Cuts With Ari Aster & Robert Eggers
It’s almost impossible to talk about horror movies of the last decade without mentioning Robert Eggers’ hyper-superstitious period piece The Witch or Ari Aster’s dread-ridden family drama Hereditary. The two films sparked a conversation around the massive divide between critics and audiences, yet the two films are undoubtedly some of distributor A24’s star children. This year already saw the release of Aster’s latest film, Midsommar, and later in 2019, A24 will release Eggers’ The Lighthouse. The newest episode of The A24 Podcast places microphones in front of the two visionaries to discuss some of their past work and their newest films, sans spoilers. The two directors, who are also friends, nerd out at almost a rapid-fire pace, jumping to topics like CinemaScore, Carrie, the importance of watching films more than once, and directors Paul Thomas Anderson, Stanley Kubrick, and Andrei Tarkovsky, but mostly Ingmar Bergman. Film buffs, get ready to take notes. [Kevin Cortez]
The Graduate’s Cup
Retaliation
Hosted by Marin Buljan, this fictional documentary podcast follows the trial that will determine whether women are allowed to play in the top male soccer league at East Keilor High School. Focusing on the push and pull between men and women and their relationships with sports, the podcast is framed by Marin’s commentary of soccer games, news clips, and interviews with players, their coach, and others. “Retaliation” picks up after Alice, who spearheaded the change and was the first (and for a while, the only) woman to join the team, convinces her friend Grace to join and sees them through their first match, when the boys on the team structure a subtle but devastating retaliation. The games are cleverly time-lapsed, with Marin describing the highlights and interacting with their coach as his anger builds toward his team every time they ignore his instruction. The Graduate’s Cup unabashedly points out how an administration can (and does) turn their backs on the people they’re supposed to be supporting. [Elena Fernández Collins]
The Outcast
Voguing Is Everywhere, And Now Ballroom Is In Charge
Host Fran Tirado kicks off this new weekly series with a discussion of all things ballroom, the competitive performance and pageantry originating in queer and trans communities of color. Out magazine senior editor and ballroom scholar Mikelle Street joins Tirado for a look back at the origins of voguing and ballroom dating back to the 1920s, as well as major moments in pop culture visibility long before RuPaul’s Drag Race launched ballroom into mainstream consciousness. Now, ballroom culture and language is everywhere: “It has seeped into every nook and cranny of the mainstream in a way that I personally have never seen before,” Tirado says. Terms like “reading,” “kiki,” and other catch phrases popularized on Drag Race all have roots in ballroom, but correct usage and exact definitions can sometimes get lost in translation (fans of the show might be surprised to learn that a “death drop” is actually called a “dip”). Tirado concludes with “Week In Gay” (WIG), a light news recap segment. [Sofia Barrett-Ibarria]
44 Comments
I have such mixed feelings about A24. On one hand, I’m absolutely thrilled that there’s a distributor out there that’s proving to be successful without relying on reboots or comic book schlock, and A Ghost Story was genuinely breathtaking and brilliant. On the other, JFC, they put out some bullshit. The Witch was the most unintentionally hilarious movie I’ve seen in years, and the two Ari Aster weeping pustules made me roll my eyes so much I got dizzy.
i agree to your first point and disagree whole-heartedly on your later.
And wouldn’t you know it, I’m the inverse! Opinions!(Though I’m not as proportionately harsh on Hereditary; I just don’t love it like a lot of people. I thought the mental health angle was way more interesting than the done-to-death satanic ritual part.)
Well, I loved The VVitch, and Hereditary, and Midsommar. It’s me. I’m the reason they keep making these movies you hate.
I was wondering how long it would take for someone in the comment section to incorrectly spell The Witch.
I really liked The Witch but did not like Hereditary. The Witch I think really kept the eery tone for the whole movie. Hereditary tried to pull a Pshyco switch of character focus and the mom was that interesting in general. Hereditary had that great jump scene but then kind of went out on a strange whimper. When I saw Hereditary in theatre and most of the crowd was trying to suppress laughing out loud for most of the second half of the movie.
I just….. Can we all agree to cut it the fuck out with the “my whole theater was laughing/holding back laughter” absolute horseshit? Who REALLY looks around at a darkened theater of strangers and gauges all of their reactions at once, which is sooo often whatever bullshit singular reaction the tall tale teller needs it to be? This is the same stupid go-to dismissal that everyone uses.
I take your point. Personally, the first half was interesting and it was just the rest that did work for me. The shift of focus to the mom and brother really deflated the interest level. I think the brother was the cause for most of the unintentional laughter I had. The seance scene, in particular, really just did not work (I am not sure if it was on purpose or not but it was pretty funny).
Opinions will obviously vary but I think there *was* purposeful humor there. My reason to believe so is Byrne’s line “What language is even that?” It’s such an odd phrasing. It struck me as unintentional, possibly a line flub that Aster kept in because there *is* some absurdity at work in the film. If purposeful, that line still underscores my belief. I love the movie so much, but if someone held a gun to my head I would admit that there are a few moments of tonal inconsistency which feel like Aster mistakenly trying to offer up some light comic relief. The movie is pretty oppressive up until the crazy (lovely, adorable) third act, it seems reasonable that he would want to lighten things up.You’re not the first person I’ve seen talk about how “laughable” the movie is. All due respect and knowing it’s slightly antagonistic to ask, is it possible that your amusement was a relief response to the oppressive mood of the film? I saw American Beauty in the theater. There’s a scene where Annette Bening berates herself and then slaps herself in the face hard. A lot of people laughed at that. It’s not a funny moment, though. It’s a very uncomfortable moment. Those people were clearly relieving their tension.Having said all that, I recently watched Midsommar and was ultimately disappointed. There’s much to like about it but there does seem to be a tone issue. So maybe Hereditary has a tone issue. If so, I’m deaf to it. It’s my favorite film of the last 10 years at least and given a little more time will probably end up in my top 5 favorite horror films.
I think people laugh because some of the scenes have so much emotional tension, it’s all one can do.Funny, but my girlfriend was genuinely scared of Midsommer, which I enjoyed more as a gonzo freakout.Aster knows the horror of family dysfunction and shame. I don’t think most people can appreciate that. Maybe it’s denial.
I do think there was some anxious laughter especially given people where on edge after the car scene. I was thinking before about the movie Logan where Professor X is wheeling himself in circles talking nonsensically. In a few reviews, it was mentioned how there was laughter in the theatre even though it is a pretty depressing image of a once-powerful character. So it is possible that is what happened.I was talking to someone else once who said she connected with the mom as a parent so maybe I am not in the right stage of my life to really connect to it. There is also the fact Hereditary takes on a bit of a ghost story feel at times when it might not have needed to do that. I would have to probably have to watch it one last time because a small part of me was just disapointed about the daughter and the rest of the movie felt like filler after that scene.
I agree that it starts out looking like a ghost movie about Colette’s grandmother and then daughter. With some “Is she really just insane with grief?” doubt. It seems like a lot of people are on board for that much. When it starts to get Omen/Rosemary in the third act I know many people who were fans check out. Me? That doubled my enjoyment. The cult weirdness leading into demon possession ending hits a bunch of my horror buttons.I don’t bemoan anyone having a less enthusiastic opinion or outright disliking the film. I do bemoan unnecessarily hyperbolic takedowns.
The VVitch and both of Ari Aster’s movies kicked ass. It’s almost as if people have different opinions on movies or something. Just because some random ass dude typed that he hated those movies than it must be a universal truth now.
I offered my reaction. You made an assertion. Troll harder.
Wait, so just because some other random ass dude says they loved those movies, it must be a universal truth now?
I genuinely enjoyed The Witch, but also cracked up when The Devil was tempting her. Exiles love them some butter, I guess.
yo The Witch was awesome, you’re way off there
I liked The Witch, although I don’t have any argument with anyone who didn’t. But Hereditary is a cringy family drama that only becomes horror in the last 20 minutes. It was awful.
I loved the Witch, one of the most genuinely unsettling horror films I’ve seen in ages, and Eggers is the first person I know of that really seems to share my appreciation for how freaky goats’ eyes are.Hereditary was kinda scary, but could’ve done with a lot less hype. Naked smiling man in the doorway seriously wrecked me though.Midsommar was… Actually not scary at all, and kind of long, but weird enough that I’m willing to give it a pass.
I think I would have hated Midsommar were it not for the fantastic lead actress. The weird seemed like…try-hard weird, if that makes sense. Not
‘A Field In England’-what-the-fuck-is-happening weird, which is what I was unfortunately expecting.
One tiny counterpoint: many of the rituals including the first big shock of the movie are (supposedly) based in real-life stuff, which I’m generally a fan of. But overall yeah, I kind of get what you’re saying. I wouldn’t blame anyone for disliking the movie at least.
Oh that’s fascinating! The cliff?
Actually, checking it out – maybe ‘real’ isn’t the right word for it, but certainly based in legend. And yep, the cliff thing is one of them. (SPOILERS FOR MIDSOMMAR BEHIND THIS LINK) https://en.wikipedia.org/wiki/%C3%84ttestupa
I loved all of Hereditary. Like…. every single second. If we’re talking wrecked, I have to go with Colette on the hallway ceiling smashing her head against the attic door trying to get in.Nope. Nope. Nope. Fuuuuuuuuck that moment. (shudder)Followed by the accusatory stare as she piano wire self-decapitates.Please don’t anyone try to argue with me about it. I don’t fucking care about your arguments. I’ve heard plenty and 1000000% disagree.
Hereditary is my favorite horror movie. There’s something so raw and overwhelming about the guilt and fear in not wanting her son, or him knowing he was responsible for his sister’s death.And that fucking ending with the crowning with the parent’s corpses kneeling in worship… Jesus fucking Christ.I can’t hear “Both Sides Now” without having a cold shiver run up my spine.
Since everyone else is doing it, my two cents: The Witch was good, Hereditary and Midsommar were dogshit.
I walked out of Midsommar actively angry about what I had just watched. Look, people like it, and that’s great. But it was personally one of the most boring, most uneventful, least scary, least suspenseful, least unsettling yet most beautifully shot “horror” films I’ve ever seen. Different strokes and all that but Ari Aster’s two for two on disappointment for me. The Witch did it for me though.
ASTROBLASTand also Hollywood Handbook #300 whipped ass
I listened again to Triumph at Comic-Con before this newest episode and it made my week. I love the boys.
I don’t know about many examples of unisex soccer leagues, but there was an informal scrimmage.
Much like It Follows & The VVitch, Midsommar There was hardly any bear in a cage!
Agreed. It was well made and beautifully shot but other than that….I did not not leave the movie theater impressed, which is two for two for me with Ari Aster’s films I absolutely loved The Witch though.
Really well-done website, Matthew.
Jesus fuck if that’s what you think passes for a website then I have no interest in your opinion on other artistic endeavors. My eyes are bleeding.
I love the combined picture. It looks like she’s screaming in horror at some little girl in a washed out renfaire picture.
“After pondering the feminine equivalent of a man’s musk”
would that be that recent elisabeth moss movie?
So glad to see Bizarre Albums get recognized right out of the gate. The sheer web of semi connected famous people that made the Wrestling Album possible is insane. Also I had no idea how many WWF personnel were in 1960s singing groups.
Love to see the A24 haters come out of the woodwork expecting some kind of silent validation for not liking The Witch or Hereditary.
So one talented director and one hack?(Please, tell me what a hot take this is because I made this comment without intentionally meaning it as a hot take.)
fuck hereditary and any movie that needs to gruesomely murder a child. fucking paranormal activity rip off.
Holy shit, I can’t watch Hereditary. I have a special needs daughter that the daughter in that movie is WAAAAAAAAYYYYY too close to, both in terms of how she looks and how she behaves. (potential spoiler! I am trying not to, but you’ve been warned!) I got to the fun car ride part (trying not to spoil…) and immediately turned the movie off, then bawled my eyes out for the next hour. The movie looks well done and I was engrossed by it until that part that destroyed me, so if you don’t have the hang-ups I do with the movie, I recommend watching it.
The Witch (right) and Hereditary…except The Witch is on the left, Hereditary is on the right?
Anyway, I watched both of these films within a few weeks of each other. While I found Hereditary to be absolute genius, The Witch was incredibly disappointing. The pace was sooooo sloooooow and the dialogue was almost impossible to understand. Nothing really happened aside from an ambiguous scene or two at the beginning and one at the end. I absolutely loved Hereditary though, and couldn’t wait for Midsommar, which was also a great film, but ultimately just not as interesting and frightening as Hereditary.
How about you make actually scary movies. These half asses attempts lately with trademark “scary noises.” Retards making pop noises and shit.
Hey, remember when podcasts were fun?