This week, Malcolm and John David Washington talk about collaborating on a new August Wilson adaptation and screenwriter Justin Kurtizkes discusses his breakout year.

In the latest episode of The Envelope video podcast, Ryan Destiny describes the challenges of making boxing movie "The Fire Inside" and Sean Baker and Mikey Madison explain how they fine-tuned the action, comedy and drama of "Anora." 
 

Oscar-nominated songwriters Billie Eilish and Finneas O'Connell sat with Mark Olsen to talk about 'What Was I Made For?' from 'Barbie' and how they approach writing songs.

We’re taking a short break from our usual format to help guide listeners who may be staying home more often than usual. If you're wondering what to watch, what’s worth streaming now and what you can watch with your kids who are home from school… We’ve got you covered. Host Mark Olsen sits down with film reporter Jen Yamato to talk about specific genre films you may want to check out. Plus, television reporter Lorraine Ali joins the show to talk about the latest season of “Westworld” and how it relates to the real world a little more than you may realize.

Here are some related links mentioned in this episode:

Streaming Deals: https://lat.ms/2QsMVAc

“Westworld”: https://lat.ms/2wlM8ue

(EDITOR’S NOTE: This episode was taped on March 11, 2020. Many new developments have emerged and continue to rapidly develop after the taping of this episode.) Entertainment business reporter Ryan Faughnder joins host Mark Olsen to talk about the impact of the coronavirus and how it’s affecting the Hollywood and entertainment industries. Plus, this week marked the final episode of HBO’s six-part documentary series, McMillions. Olsen is joined by two Los Angeles Times television writers to discuss all the series and how it brought the McDonald’s Monopoly scam to light.

This week we’re following some of the latest in pop culture and Hollywood. First, host Mark Olsen speaks with two reporters who were actually in the courtroom during Harvey Weinstein’s trial in New York. We take a serious look at the trial and discuss what happens next and whether the verdict marks a milestone for survivors. Then, later in the show, we shift toward a lighter conversation about the television sensation that so many people are talking about: “Love Is Blind.” Olsen is joined by Amy Kaufman and Yvonne Villarreal to discuss Netflix’s new reality dating show that has so many viewers talking.

The Netflix movie “To All the Boys: P.S. I Still Love You” is out now and we take an inside look at the highly anticipated sequel. Host Mark Olsen sits down with entertainment reporter Jen Yamato, who recently spoke with star Lana Condor and author Jenny Han about the second installment of “To All the Boys I’ve Loved Before.” Olsen and Yamato discuss the Netflix film series and go behind the scenes of the teen romance movie. Plus, Olsen also talks with entertainment business reporter Ryan Faughnder about the ups and downs of the “Sonic the Hedgehog” movie release.

The Oscars are over and this year’s awards season has come to an end. Host Mark Olsen and a team of entertainment colleagues and critics recap the 92nd Academy Awards and share their thoughts on Parasite’s historic night. Plus, Olsen sits down with “Portrait of a Lady on Fire” writer and director, Céline Sciamma.

The 92nd Academy Awards are almost here. Host Mark Olsen and a team of entertainment reporters and critics sit down for one final roundtable before the big night. Listen to hear final thoughts and predictions for what’s to come at this year’s Oscars. Plus, hear from entertainment, culture writer Carolina Miranda who breaks down this year’s Oscar nominated movies with a unique angle… architecture. Get a full roundup of Oscars talk right here in this week’s episode.

“The Reel” is live in Park City at the 2020 Sundance Film Festival. Host Mark Olsen had a chance to catch up with some actors and filmmakers to explore different storytelling formats. He moderated a panel, taped live at Audible’s Sundance studio setup, which included Tessa Thompson, Colman Domingo and Justin Simien. Plus, Olsen sits down with a group of Times colleagues to recap and talk about the films of the festival.

The 2020 Sundance Film Festival has just begun, and host Mark Olsen and entertainment business reporter Ryan Faughnder sit down to discuss the wheeling and dealing behind the festival. Plus, Olsen is joined by Justin Chang, Glenn Whipp and Jen Yamato, who sit down to talk about this year’s overlooked films and dive into the movies not being considered for major Academy Awards categories.

From this year’s most celebrated films to the biggest surprises, host Mark Olsen looks at the 92nd Academy Awards nominations from every level. First, Olsen sits down with entertainment business reporter Ryan Faughnder to dive into the business of awards season and how streaming services may be impacting the dynamics. Plus, Justin Chang, Mary McNamara and Glenn Whipp join the show to dissect the Oscar nominations and provide unique input on this year’s top films, why some face criticism, and which movies were left behind.

Screenwriting duo Scott Alexander and Larry Karaszewski talk with Mark Olsen about the film “Dolemite is My Name” starring Eddie Murphy as Rudy Ray Moore. Plus, Times film and TV writers discuss highlights from the 77th Golden Globe Awards.

The Oscar-nominated America Ferrara talks to Yvonne Villarreal about how "Barbie" has changed her life and what it's like experiencing all the accolades at this stage of her career. And Mark Olsen sits down with Nadia Stacey, Oscar-nominated for hair and makeup for "Poor Things," to talk about working with Emma Stone for a third time.

Wishing our listeners a Happy New Year! Thanks for joining us every week for “The Reel," we hope you’ve been enjoying the show. We look forward to sharing more episodes with you in the New Year. Keep checking back here every Friday for more. Happy Holidays!

Writer-director Noah Baumbach sits down with Mark Olsen to talk about his latest film “Marriage Story.” He describes the inspiration for his movie and how he was able to find love through divorce while creating the film. Plus, Times entertainment writers Jen Yamato and Justin Chang on "Star Wars: The Rise of Skywalker" and "Cats."

Writer-director brothers Josh and Benny Safdie talk about their latest film, “Uncut Gems,” and why it took them 10 years to finally get it off the ground. Plus, host Mark Olsen talks with Times reporter Amy Kaufman about the latest on Harvey Weinstein.

Mark Olsen talks with director Melina Matsoukas about her transition from directing music videos to her directorial debut in feature film for “Queen & Slim.” Matsoukas is also known for directing Beyoncé’s “Lemonade” as well as “Formation,” which won her a Grammy Award for Best Music Video. Plus, Olsen sits down with Los Angeles Times entertainment reporters to talk everything about the Golden Globes nominations.

Host Mark Olsen talks with Taron Egerton, who plays Elton John in the film “Rocketman.” They discuss how Egerton prepared to portray the music-icon in the film. Egerton also talks about the close friendship he’s formed with the “Goodbye Yellow Brick Road” singer. Plus, Olsen talks with television critic Lorraine Ali about all that’s happening with Gabrielle Union and “America’s Got Talent.”

*** SPOILER ALERT in second half of the show ***

Heading into the Thanksgiving holiday, here's a replay episode from one of our most popular shows. 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.

Host Mark Olsen talks with “Knives Out” director Rian Johnson about his latest Agatha Christie-style whodunit movie. Johnson describes his film as a mystery with a Hitchcockian thrill set in 2019 America. Plus, Olsen talks with corporate media reporter, Meg James, about the so-called Paramount decrees that are being tossed out by the U.S. Justice Department.

Host Mark Olsen sits down with “Ford v Ferrari” Director James Mangold to talk about his latest action film starring Matt Damon and Christian Bale. Mangold also responds to the latest comments from Martin Scorsese about Marvel movies. Plus, you’ll hear from entertainment columnist Glenn Whipp, who talks about his experience following around comedian Louis C.K. on his latest world tour.

Host Mark Olsen speaks with director Lauren Greenfield about her latest documentary, “The Kingmaker,” which explores the extravagant lifestyle and rise to power of former First Lady Imelda Marcos in the Philippines. They discuss the origin of the story and what it was like for Greenfield to meet and cover Imelda Marcos. You’ll also hear from Glenn Whipp about the latest awards season buzz. Plus, Olsen talks with Jen Yamato about the Martin Scorsese controversy over Marvel movies.

Host Mark Olsen sits down with “Harriet” director and co-writer Kasi Lemmons to talk about creating a biopic based on the life of abolitionist leader Harriet Tubman. The movie is based on the true-events of Tubman’s life as freedom fighter. Lemmons tells Olsen that she’s not surprised it had taken so long to make a big-screen biopic of Tubman. She also elaborates on using research to accurately tell Tubman’s story. She says she read multiple books and all the research she could find on the subject so that she could get the story right. Lemmons, whose directorial debut was the 1997 film, “Eve’s Bayou,” also discusses how she landed the opportunity to direct “Harriet.” Plus, on today’s episode you’ll hear from entertainment columnist Glenn Whipp and film business reporter Ryan Faughnder.

Oscar-nominated cinematographer Rodrigo Prieto talks about working with Martin Scorsese on "Killers of the Flower Moon" and  going from that project right to "Barbie." Songwriter Diane Warren chats about her Oscar-nominated song "The Fire Inside" and what it means to her to receive a 15th nomination. Finally, writer-director Justine Triet discusses her film "Anatomy of a Fall."

An empty nest and a midlife sexual awakening do not seem like things that normally go hand in hand. But that is the launching point for “Mrs. Fletcher,” the Tom Perrotta novel that’s now been adapted into a new limited HBO series, starring “Transparent’s” Kathryn Hahn.

Perrotta, who is also the showrunner and executive producer for the series, tells host Mark Olsen that the seed for the story came to him seven years ago, when he dropped his daughter off at college.

“Mrs. Fletcher” also follows the experiences of the title character’s college freshman son. Young, white, straight and self-centered, he finds out the hard way how his sense of entitlement collides with campus culture and sexual identity politics.

Perrotta has had several novels adapted for the screen, including HBO’s “The Leftovers”; the Oscar-nominated “Election” starring Matthew Broderick and Reese Witherspoon; and the Oscar-nominated “Little Children,” starring Kate Winslet.

Also in this episode, as the heated competition in the video subscription world gets underway, Olsen talks with the Times’ TV editor Matt Brennan about the streaming wars.

And in the “Glenn Whipp Awards Minute,” entertainment columnist Whipp discusses this year’s honorary Oscar winners who will be recognized this Sunday at the Academy of Motion Picture Arts and Sciences Governors Awards.

Taika Waititi is not interested in making movies that please everyone — he says that would be too safe and boring.

The writer and director of “Jojo Rabbit” — who also plays a cartoonish Adolph Hitler in a comic coming-of-age story about a Nazi youth who discovers a Jewish girl hiding in his attic — tells host Mark Olsen that he prefers making films that could end his career.

Balancing satire and the Holocaust was always going to be tricky, and “Jojo Rabbit” has already divided critics. But only in America is ‘divisive’ a bad thing, the New Zealand filmmaker says — everywhere else, it’s considered art.

Comedy, the filmmaker argues, is an effective weapon against bigotry and authoritarian leaders.

The movie is based on the book “Caging Skies” by Christine Leunens. Waititi added comedic elements and an imaginary Führer.

Also in this episode, Olsen speaks with the Times culture columnist and critic Mary McNamara about some of the revelations in Ronan Farrow’s new book “Catch and Kill,” including Farrow’s allegations that NBC News shut down his reporting about disgraced movie mogul Harvey Weinstein.

And in the “Glenn Whipp Awards Minute,” entertainment columnist Whipp gives an early survey of the best actress race.

“Parasite” is poised to be South Korea’s first-ever nomination for Best International feature, but it also looks to be competitive for best director, original screenplay and even best picture.

Rave reviews have poured in for the darkly comedic drama about social inequality, with some critics calling it director’s Bong Joon Ho’s masterpiece.

The much-anticipated movie is now out in limited release, and host Mark Olsen (@IndieFocus) talks with film critic Justin Chang (@JustinCChang) and film reporter Jen Yamato. (@jenyamato)

Chang says “Parasite” is one of the best heist movies he has seen in quite some time, and he compares Bong to a conductor masterfully conducting a symphony.

Yamato says the class warfare themes in the film will be recognizable to everyone.

In our new culture news segment, Olsen discusses the official opening of Tyler Perry Studios with reporter Greg Braxton. (@GeBraxton)

And in the “Glenn Whipp Awards Minute,” Whipp (@GlennWhipp) gives the state of the best actor race after the openings of “Joker,” starring Joaquin Phoenix, and “Pain and Glory,” starring Antonio Banderas.

Even before “Joker” opened in theaters, the film sparked debate over its violent content, and a narrative that seemed to track with that of the alienated, white male shooter who’s become our real-life recurring horror story.

An exploration of a familiar comic book character who has scared us for nearly 80 years, this iteration of his creation story is dividing critics over the sympathy it seeks to elicit for the Joker, played by Joaquin Phoenix.

Members of the Times film staff discuss “Joker” and the controversy surrounding it.

Film critic Justin Chang (@JustinCChang) says the film strives to have the sensibility of Christopher Nolan’s “Dark Knight” trilogy, but it’s “nastier” and more “nihilistic and brutal.”

Entertainment columnist Glenn Whipp (@GlennWhipp) calls the movie “a cynical and glib treatment of societal malaise,” and he says it’s neither as edgy nor as nervy as it presents itself.

And film reporter Sonaiya Kelley (@sonaiyak) enjoyed “Joker” but found it “relentlessly dark,” and says that while she watched it, she kept checking the exits because she was afraid someone was going to come in and try to kill members of the audience.

With its premieres at major international film festivals, Warner Bros. is shrewdly positioning “Joker” as more artistically substantial than your average, blockbuster comic book movie, Chang says.

In our new cultural news segment, host Mark Olsen (@IndieFocus) and Kelley discuss how the impeachment inquiry has impacted late-night TV and celebrity culture.

And in the “Glenn Whipp Awards Minute,” Whipp shares his thoughts about Martin Scorsese’s “The Irishman” after seeing it at the New York Film Festival.

Heading into this year’s Emmy Awards, there may have been tension between coronating beloved, long-running series and recognizing impressive, convention-bending newcomers, but in the end voters largely seemed to favor a recent crop of fresh, forward-thinking shows, including “Fleabag.”

That choice may have been because of what fans and critics were saying on social media about the programs they watch, says the Times TV editor Matt Brennan But it could also reflect that in the age of Peak TV with an ecosystem of 500 shows, it’s easier to split the sea of competitors and snap up a nomination — and a win.

The 71st Emmys signaled that the world of TV has changed, with a wide-open landscape that spans multiple platforms, says Times TV Critic Lorraine Ali.

Comedy is having a moment. But, strong limited drama series with cinematic sensibilities — like “Chernobyl” and “When The See Us” — are also real standouts..

Host Mark Olsen talks with Times TV critic Lorraine Ali (@LorraineAli), TV editor Matt Brennan (@thefilmgoer) and TV reporter Yvonne Villareal. (@villareally).

On this week’s episode, “The Reel” is also rolling out a couple of changes. Over the next few months of awards season, Olsen plans to check in with Entertainment Columnist Glenn Whipp (@GlennWhipp) in a segment we’re calling “Glenn Whipp’s Awards Minute.”

We’ll also start each episode off with a conversation on a news item from the world of culture. This week, Olsen and Ali discuss the chatter around “Joker,” and the fear from some people outside Hollywood that the film might inspire violence.

Two films designed for grown-ups hit theaters this weekend.

“Ad Astra,” a space thriller starring Brad Pitt, takes a moody, meditative approach to science fiction.

Director James Gray invests in character development and emotion, and the film is that rare fusion of blockbuster spectacle and thoughtful sensibility, says the Times’ Justin Chang (@JustinCChang).

Chang also tells host Mark Olsen (@IndieFocus) that the plot of “Ad Astra” is “kind of preposterous,” but that’s why he likes it.

Pitt delivers a memorable performance, holding long close-ups as the camera gazes deeply into his eyes — the kind of scrutiny not many actors can pull off.

“Downton Abbey” picks up where the beloved television series left off, with 20 of the regular characters showing up in the theatrical release.

There’s an optimistic, uplifting spirit to the film, and the Times’ Kenneth Turan (@KennethTuran) tells Olsen that “Downton Abbey” offers an escape from the unrelenting news days of 2019. It’s a comforting, far-away world in which problems are solved and everything works out.

In this special bonus episode, a team of Times reporters at the Toronto International Film Festival give the low-down on this year’s crop of films at the festival — both the hits and the misses.

Among the films premiering at this year's festival are “A Beautiful Day in the Neighborhood," starring Tom Hanks as Mister Rogers and Matthew Rhys as a cynical journalist who interviews him; "Knives Out," a whodunit with an all-star cast, including Jamie Lee Curtis, Daniel Craig, Chris Evans and LaKeith Stanfield; and Taika Waititi's "Jojo Rabbit," a satire about a young German boy and his imaginary friend, Adolph Hitler.

Mark Olsen (@IndieFocus), Justin Chang (@JustinCChang), Jen Yamato (@jenyamato), Glenn Whipp (@GlennWhipp) and Amy Kaufman (@AmyKinLA) also discuss films that premiered at the Venice and Telluride Film Festivals, including Noah Baumbach's “Marriage Story,” starring Adam Driver and Scarlett Johansson, and "Uncut Gems," starring Adam Sandler.

Only eight months passed between the green light for “Hustlers” and its release date, but writer-director Lorene Scafaria fought for years to get the project off the ground.

Scafaria said films about women doing “bad things” are always hard to get made, but she found that the stigma associated with sex workers was also being attached to her telling of the real-life story of strippers who turned the tables on their Wall Street clients.

Speaking from the Toronto International Film Festival — where “Hustlers” had its world premiere — she told Mark Olsen that the movie explores what she calls “a broken value system,” where a woman’s worth comes from her beauty and body, and a man is judged for his wealth, power and success.

Starring Jennifer Lopez and Constance Wu, the filmmaker said she drew inspiration from all women who hustle to get by, as well sports-themed films and gangster movies like “Goodfellas.”

Awards season is around the corner and highly anticipated movies are on full blast at film festivals across the world. Mark Olsen (@IndieFocus) talks with Amy Kaufman (@AmyKinLA), Glenn Whipp (@GlennWhipp) and Jen Yamato (@jenyamato) about what to expect from the onslaught of movies premiering across festivals as we head into awards season.

The Venice and Telluride Film Festivals kicked off this fall season, screening major titles like James Gray's “Ad Astra,” Todd Phillips' “Joker,” Steven Soderbergh's “The Laundromat,” and Noah Baumbach's “Marriage Story.” Next, filmmakers turn to Toronto, New York and London, ending the wave of key festivals sure to shape the fate of awards season.It’s the moment of truth for filmmakers who eagerly await reactions from critics and audiences. The post-festival rhetoric often forecasts which movies may receive awards season love, or which films leave audiences wanting more.

The Jennifer Lopez and Constance Wu stripper drama, “Hustlers,” has audiences talking. There’s also Martin Scorsese’s “Irishman,” a three-and-a-half-hour-long crime drama starring Robert De Niro, Joe Pesci and Al Pacino.Last year, movies like “Roma,” “A Star is Born” and “Green Book” left festivals feeling like top Academy Award candidates. We’ll see if the same proves true after this year’s fall festival season wraps up.

Set during World War II and the internment of Japanese Americans, AMC’s “The Terror” weds that real-life horror story with a tale of the supernatural.

But showrunner Alex Woo says the second season of the anthology series, titled “Infamy,” is not just a period piece. Instead, it uses the horror genre to bring a story from the past into the present to represent the fear and terror of American citizens betrayed by their own government.

“Infamy” was intentionally cast with actors of Japanese descent, so the show is very personal for many of the people working on it, including star Derek Mio, who plays Chester Nakayama, a second-generation Nisei, or American-born Japanese. Mio’s grandfather’s family lived in the same Japanese American community portrayed in the show, the one that once existed on Terminal Island in San Pedro. Its residents were forced into internment camps after the attack on Pearl Harbor.

The show also features George Takei, who was interned along with his family when he was 5 years old. Writers, directors and crew members also bring their personal and family experiences with the incarceration.

Mark Olsen (@IndieFocus) talks with Mio ( @derekzmio) Woo (@thealexwoo) and Times film writer Jen Yamato (@jenyamato).

The writer/director talks to Shawn Finnie about the making of her epic film. Also, Yvonne Villarreal gets intimate with 'The Holdovers' Da'Vine Joy Randolph.

While Netflix’s “Mindhunter” is based in a time when serial killers were shocking and terrifying Americans, the second season of David Fincher’s true-crime drama feels especially topical and relevant for our time.

With a primary focus on the Atlanta child murders — a series of killings, mostly of black children in and around the city between 1979 and 1981 — the show examines disturbingly contemporary topics like distrust of police, embedded racism and white supremacist violence.

It also addresses questions of which crimes get investigated and which victims garner wide public sympathy.

The real-life Atlanta case was recently reopened because of continuing questions over whether the crimes were ever truly solved. While Wayne Williams was convicted of killing two adults —and is serving life in prison — he was never tried in the child homicides because of a lack of evidence.

“Mindhunter” also features portrayals of some of the most infamous serial killers in American history, including Charles Manson and David “Son of Sam” Berkowitz.

Mark Olsen (@IndieFocus) talks with Lorraine Ali (@LorraineAli) and Matt Brennan (@thefilmgoer).

From the very first line of dialogue, Craig Mazin makes clear that “Chernobyl” is far more than a dramatization of the 1986 nuclear meltdown in the USSR.

Mazin, the creator and writer of the HBO miniseries, tells a story of the “cost of lies” and the real-life dangers that result from a culture disconnected from the truth. The Soviet system was built on propaganda and misinformation, and the heroes of the nuclear disaster are the people who sought the truth and stuck to the facts — even at great personal cost.

As he developed the story in 2016, Mazin saw parallels in American politics, with whole segments of the public growing untethered from the truth.

The five-part series resonated with viewers, and has drawn the largest audience for an HBO miniseries since “Band of Brothers.” It’s been nominated for 19 Emmys.

Mark Olsen (@IndieFocus) talks with Mazin (@clmazin) about how the medium of episodic television gave him the space to tell a mystery — as well as a story of a culture, a system of government, and the nature of love.

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 actress discusses her leap to a leading role with Mark Olsen: Also, costume designer Francine Jamison-Tanchuck talks to Shawn Finnie about her long "Color Purple" journey.

"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.