Horror Podcast Writer Stéphanie Munch and Shōgun Ep. 3

Horror podcast writer Stéphanie Munch talked with us this week about her dramatic podcast series, writing horror stories, and how podcasting has opened horizons for creators worldwide. Madison and Tristan wrap up the episode talking about Shōgun Episode 3.

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News:

European Parliament Approves Landmark Artificial Intelligence Act

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“The world’s first major set of regulatory rules to govern artificial intelligence, the AI Act provides a legal framework for the development and use of artificial intelligence within Europe, calling for greater transparency as well as setting parameters for high-risk AI.”
“European Union officials had struck a provisional deal in December following 37 hours of debates. The bill divides up the technology into risk categories and highlights what is prohibited when it comes to AI, key requirements for using high-risk AI and penalties. Ultimately, the AI Act aims to balance innovation with fundamental rights.”
“The bill also states that users should be informed when interacting with a chatbot, and it requires AI systems that generate or manipulate text, image, audio or video content (such as a deep-fake tool) to disclose that the content has been artificially generated or manipulated.”
““Thanks to Parliament, unacceptable AI practices will be banned in Europe and the rights of workers and citizens will be protected,” Benifei continued. He said the AI Office will now be set up to support companies to “start complying with the rules before they enter into force.””

Controversy Grows After ‘Zone of Interest’ Director Jonathan Glazer Uses Oscar Speech to Condemn the Israel-Hamas War

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“At this year’s Oscars, “The Zone of Interest” director Jonathan Glazer took the prize for most polarizing speech. And the swirl surrounding exactly what he said and what he meant — still a matter of debate — doesn’t appear to be dying down.”
“When the British filmmaker took the stage after the Auschwitz-set Holocaust drama was announced as best international film, he was greeted with a standing ovation. He then referred to notes he’d prepared in advance, thanked the requisite players and drew a parallel between “Zone of Interest” and the current conflict in Gaza that was difficult to decipher given the audience applause and his own mumbling.”
““All our choices were made to reflect and confront us in the present, not to say look what they did then, but rather look what we do now,” he said, according to the Academy’s official transcript of the speech. “Our film shows where dehumanization leads at its worst. It’s shaped all of our past and present. Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people. Whether the victims of October — whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist?””
““He used his power and position and the biggest global stage to speak up for people with no power, no voice, or those too afraid to speak up, in an industry which is very conservative and risk adverse and which has a long history of blacklisting people,” Asif Kapadia, who won the 2015 best feature documentary Oscar for “Amy,” tells Variety. “He stood up and told the truth. This is what true artists do.””
“But others slammed Glazer’s speech, like Anti-Defamation League CEO Jonathan Greenblatt, who wrote on X, formerly known as Twitter: “It’s truly disheartening to see someone minimize the Holocaust literally as they are accepting an award for a film they made … about the Holocaust. Glazer talks about understanding where dehumanization can lead, yet is blind to the fact that it’s Hamas’ dehumanization of Jews & Israelis that led to the current war. Let me be clear: Israel is not hijacking anyone’s Jewishness. It’s defending every Jew’s right to exist.””
“Greenblatt declined further comment, but an ADL rep tells Variety that he was referring to the entire speech and not just snippets that have circulated on social media. Many who initially commented on Glazer’s speech, like actor Michael Rapaport, did not appear to have heard or read the speech in full. (Rapaport wrote that Glazer “exploited the HOLOCAUST, its victims, and survivors, while you refute your Jewishness in front of the world.”) Others like commentator Ben Shapiro did not appear to have seen the film based on his well-circulated tweet the day after the Oscars that said, “In Jonathan Glazer’s ‘Zone of Interest,’ you don’t see one Jew. Those are the best Jews, according to Glazer: the faceless victims screaming in the distance. Ironically, he’s the villain: picking up awards from the bodies of those anonymous dead Jews while ignoring the living ones getting slaughtered in the Gaza Envelope by genocidal murderers.’” (There are several Jewish characters depicted in “The Zone of Interest.”)”
“Best supporting actor nominee Ruffalo was one of many Oscar attendees who wore the Artists4Ceasefire pin. He has been an outspoken advocate for the Palestinian cause. But he also has worked behind the scenes on the efforts to free the hostages who remain captives of Hamas. Sources say Ruffalo has met with family members of the hostages as well as people who survived the Hamas attack.”
“While discourse has raged about Glazer’s speech, perhaps an even more controversial move was who he was joined by onstage when he collected the Oscar. Standing silently behind the filmmaker was Len Blavatnik, a Soviet-born billionaire with long ties to sanctioned Russian oligarch Viktor Vekselberg. Blavatnik, who is one of the world’s richest men, has donated millions to GOP causes including a $1 million alone to Donald Trump’s inauguration committee. In addition, he was in business with Harvey Weinstein and Brett Ratner before they were brought down by #MeToo allegations. In an added twist, Blavatnik is reportedly a close friend of Israeli Prime Minister Benjamin Netanyahu and has contributed large sums of money to various Israeli causes. (A spokesperson for Blavatnik, who is listed as an executive producer on the A24 film, says: “Mr. Blavatnik is extremely proud of ‘The Zone of Interest’ and the acclaim it has received. His long-standing support of Israel is unwavering.”)”
“The last time a Holocaust drama won the Oscar for best international feature, it was Hungarian director László Nemes’ harrowing “Son of Saul,” which, like “The Zone of Interest,” was set at Auschwitz. In a statement to Variety, Nemes expressed his thoughts on Glazer’s film and speech.”
““I like ‘The Zone of Interest’ very much and I think it’s an important movie,” he said. “When you make a movie like this, there is a responsibility attached to it. Glazer has clearly failed to measure this responsibility, including vis-a-vis the destruction of the European Jews. And it was appalling that the elite of cinema was applauding him for it.””

‘The Fall Guy’ Review: Ryan Gosling Is a Lover and a (Stunt) Fighter in Surprisingly Romantic Reboot of ’80s Action Show

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“In 99% of Hollywood movies, the goal is to make the stunt work invisible. Audiences are supposed to believe that the star — or better yet, the character he plays — put his own life at risk jumping off buildings, blowing up cars or duking it out with squads of bad guys. In “The Fall Guy,” the stuntman gets to be the hero (of an insanely overcomplicated story), while the star is a prima donna who claims to do all his own stunts but needs his double to step in when things get tough.”
““The Fall Guy” is funny, it’s sexy, and it features the boy’s-toy version of “Barbie” scene-stealer Ryan Gosling — which is to say, after playing a Ken doll, now he embodies the ultimate action figure. This is the charisma-radiating side of Gosling audiences love (as opposed to expressionless “Only God Forgives” Gosling), and though his character doesn’t have much depth, you could hardly wish for better casting.”
“The character of Colt sets Guinness Book records (most notably a crazy cannon roll in which driving ace Logan Holladay flips an SUV eight and a half times), but because the film reveals how such tricks are achieved, audiences are trained to look for the signs: digital face replacements, fancy cutting, doubles shown only from behind. Though we know Gosling just stepped in to give the thumbs-up when each stunt is done, in a classy way, the star is actually sharing credit with the crew — not just the stunt guys either, but everyone who hustles to make a movie. Gosling comes off looking gracious, and at the end of the day, he’s still the one who gets the girl.”
“The girl, in this case, is Jody Moreno (Emily Blunt), the director of a multimillion-dollar sci-fi blockbuster called “Metalstorm” — a camerawoman getting to call the shots for the first time. Clearly, a lot has changed in Hollywood since ABC first aired “The Fall Guy” in 1981, and the feature version does something incredibly smart by making Colt’s old flame the boss on this particular production. (Her boss is also a woman: ballbuster producer Gail Meyer, played with stop-at-nothing brio by “Ted Lasso” star Hannah Waddingham.)”
“Here, the A-list attention hog is an actor named Tom Ryder (Aaron Taylor-Johnson), who looks like Alex Pettyfer with his frosted tips, sounds like Matthew McConaughey with his cowboy drawl, and acts like an egotistical jerk. Colt’s been doubling for Tom for years, until take two of an ultra-dangerous stunt — a plunge of more than 100 feet — leaves him with a broken back. Colt had been seeing Jody, but the injury brings their relationship and his career to an end. Eighteen months later, Colt would give anything for another shot, which is why he leaps at the chance to work on her movie, shooting in Sydney.”
“And yet, the movie never really explores what makes Colt tick: Does he have a death wish? An unusually high pain tolerance? (A flashback to kid Colt’s career-inspiring moment might have been nice.) Leitch is hardly objective on the subject, which could explain why “The Fall Guy” avoids a familiar trope in movies about dudes with dangerous jobs — namely, that their girlfriends don’t want to see them die. It also accounts for several not-so-subtle mentions of how the Academy ought to add a stunt category (Gosling and Blunt paid tribute to the profession at this year’s Oscars ceremony).”
“The explanation for Tom’s disappearance is preposterous, but makes a certain amount of sense within the movie’s underdog view of stunt people. Colt’s been tapped to take the fall, as it were, while the film is designed to educate audiences about all the things — fighting, crashing, jumping, swinging, falling — doubles do. If the movie feels overstuffed, that’s because Leitch wants to give audiences more than just a taste, but the full buffet of what his trade is capable of. By the end, they can’t help but appreciate just how hard it is to make action look easy.”