Critical Darlings

By the power of Grayskull, we have cartoonist and co-host of the No Gods No Mayors podcast, Mattie Lubchansky, in studio to discuss Masters of the Universe! The movie is a test for Mattel, who are going all-in on IP management in the post-Barbie era but Masters has underperformed at the box office and with critics. Has the He-Man IP run out of gas? Did it ever have gas? What would a coherent He-Man movie even look like? Where’s Orko? On this episode, we try and figure it out. We discuss the movie’s patchwork approach to plot and character, its history in development hell, its mostly-winning cast including Nicholas Galitzine, Jared Leto, and do a sidebar on Idris Elba’s history on the big screen. Finally, we wonder if this movie signals an approaching end to the toyetic IP boom of the last couple of decades, or if this is just a blip, with movies like Spider-Man and Doomsday on the horizon. Next week, we’ll be staring at the camera wistfully, eyes aglow with childlike wonder, to discuss Disclosure Day! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, it’s springtime for sad boys, with “Obsession!” a horror flick from Blumhouse and director Curry Barker. The movie has exceeded all expectations and is currently doing better than its opening weekend, largely thanks to great word-of-mouth. The movie tells a monkey’s paw story about a one-sided, obsessive relationship that’s taken to horrific, supernatural heights. It’s both fun and genuinely upsetting, thanks to two excellent lead performances and confident direction that makes the most of a very low budget. We also explore the history of YouTubers who’ve made it big in Hollywood (where Barker started his career) and why directors seem to transition into Hollywood more easily than other youtube talent. Plus, we give a quick rundown of Alison and Richard’s Cannes experiences to give you a sneak peek of what we’ll be discussing later this year. And we have a special guest appearance from Critical Darling’s straight boy correspondent, Griffin Newman, who’ll share his thoughts on the movie in a Straight Boy Corner segment. Next week, we’re all yellow, and exploring The Backrooms with a special guest, see you then. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wake up sheeple, it’s The Sheep Detectives! This week we’re joined by our very own executive sheepherder Griffin Newman to discuss the new cozy mystery for families. After the mysterious death of their shepherd, played by Hugh Jackman, his band of sheep team up to solve the mystery in a picturesque British countryside. Surprisingly, it’s very good! Knitting together themes of memory and grief, tied up in a wooly bow. We discuss the plot and characters, our histories with upsetting kid’s movies, the exceptional voice performance of Julia Louis-Dreyfus and more. We get into Amazon and MGM’s current play for the box office, fall down a He-Man rabbit hole, and also talk about some other cozy mysteries. Next week, we look back at the year so far, and look forward with a Summer movie preview. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael is many things: a box-office triumph, a savvy piece of IP management, and a Frankenstein stitched together from a movie we’ll never get to see. Today on the show, we’re joined by two journalists who have reported on Michael Jackson for the Think Twice: Michael Jackson podcast: our own producer Benjamin Frisch, and Danielle Hewitt, to try and make sense of a deeply flawed film that also features some of the best pop music of all time. We get into the drawn-out trajectory of the movie, its legal woes and reshoots, the casting of Michael’s nephew Jaafar in the lead role, and the film’s rose-colored view of its main subject. We also dip into Jackson family history to think about how a more effective Jackson biopic might work, and get into the story of Michael’s career and the legacy of the now-impossible-to-stream Leaving Neverland. Next week, we’re off to fashion week with The Devil Wears Prada 2, with Who Weekly! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re confessing the worst thing we’ve ever done with Zendaya and Batman himself with The Drama. The twist premise of A24’s newest hit throws a grenade into the idyllic romance of a beautiful couple in Boston in the days before their wedding. The movie hinges on the question of whether we can really know the people we love, but the premise, the worst thing Zendaya’s character has ever done, is what audiences are talking about. Is it a purposeful provocation or an empty one? We discuss the movie’s masterful marketing campaign and how it harnesses its premise as an extension of A24’s edgy branding. Beyond the marketing, much of the movie’s success must also be credited to Zendaya’s stardom. We go deep on her career and her big 2026 lineup before digging into director Kristoffer Borgli’s work as a provocateur, and ponder the current state of provocation in Hollywood today, before giving our recommendations for the week. Next week, we’re off to the English countryside, discussing Mother Mary. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we’re eating the rich with two new horror films that share devilishly similar premises: Ready Or Not 2: Here I Come and They Will Kill You both feature women fighting back against satanic cults run by rich elites in order to protect an estranged younger sister, written with wry humor aimed at the ultra-wealthy. Neither film did particularly well critically or at the box office, but they raise a fascinating question for Critical Darlings: Has the Trump-era social satire horror film finally run out of steam? In this episode, Richard and Alison trace this specific strain of metaphor-driven social horror, deconstruct it, and try to distinguish it from socially aware classics like Rosemary’s Baby. From racial allegories like Get Out, the trauma-informed The Babadook, class satires like The Menu, and alternate-reality anthology TV like Black Mirror, we ask why the recent crop of these types of movies are starting to feel so creaky, while less directly metaphorical films like Weapons feel more fresh. Next week, we’re trading our cult robes for overalls as we hop on a Launch Star and blast off with our best friends Mario, Luigi, and of course Birdo, to orbit The Super Mario Galaxy Movie.' Read and subscribe to Richard's newsletter at ⁠Premiere Party,⁠ and read Alison at ⁠Vulture. Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s Critical Darlings’ biggest morning! After a marathon season, we react to this year’s Academy Awards: the winners, losers, presenters, performances, and awkward play-offs. One Battle After Another and Sinners nearly split the ballot with One Battle and Paul Thomas Anderson taking the biggest prizes in Best Director and Best Picture, while Sinners took home Best Actor, Score, Adapted Screenplay, and Cinematography. But for as many questions as the ceremony answered, it raised more: Do Sinners and Amy Madigan’s wins signal a shift in how the Academy sees horror? What exactly is the Best Casting Oscar tracking? Are we now doomed to see Timmy eat a raw elk in an Iñárritu film? As part of this special episode, we also check in with Critical Darlings fashion correspondent Ben “The Other Ben” Hosley on this year's Oscars fashion, review the best popcorn buckets of the year with Vulture’s Rebecca Alter, and reveal the future of Critical Darlings. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

What time is it? It’s time to study the revolutionary texts with David “Rocketman” Sims! On our last episode before The Oscars, we’re talking about One Battle After Another, Paul Thomas Anderson’s epic about parental legacy, revolutionary identity, and a dad trying to charge his Goddamn phone. But first we reflect on the influx of last-minute Oscar narratives, before getting into One Battle After Another’s plot and politics, sidebar on Leonardo DiCaprio’s legacy at the Oscars, and finally give our official Critical Darlings Oscar Predictions for Sunday’s ceremony. Read more about Richard’s predictions at ⁠Premiere Party,⁠ See you on the other side! Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we’re in hygge mode, uncovering traumas in our generational home with the host of This Had Oscar Buzz, Joe Reid! One of the breakout Oscar films of the year is Joachim Trier’s Sentimental Value, a warm, realist Norwegian film about a difficult but brilliant director (Stellan Skarsgard), his two daughters (Renate Reinsve and Inga Ibsdotter Lilleaas), and an American actress cast in the auteur’s new film (Elle Fanning). All four performances earned Oscar nominations, along with nominations for Best Picture, Best International Feature, Best Film Editing, and Best Original Screenplay. Sentimental Value also highlights a recurring phenomenon in Hollywood, wherein the Academy will pass over a director’s breakout film but shower the follow-up with nominations. In Trier’s case, his previous film The Worst Person in the World received nominations for Best International Film and Original Screenplay but, in our opinion, deserved many more. We try to break down how and why this happens, whether films about filmmaking have an innate appeal to Oscar voters, how Fanning’s star power helps bridge the international gap for voters, and the film itself, including its deft intermingling of artistic expression and sublimated generational trauma. With Joe's guidance, we also check in on some of the Oscar-buzziest films of the year that didn't pan out, check in on the state of the acting category race and some potential upsets, and celebrate The Secret Agent's breakout star Tânia Maria and her new role as Burger King spokeswoman. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Viva Brazil! Today we discuss Best Picture nominee The Secret Agent, the simmering, colorful Brazilian thriller about a man on the run, starring the dreamy Wagner Moura and directed by Kleber Mendonça Filho. The story, about retaining personal and political memory under authoritarianism, has proven resonant with an international audience and awards bodies, garnering three additional Oscar nominations for Best International Feature, Best Casting, and Best Actor for Moura. On this episode, we discuss The Secret Agent itself, how it fits into and subverts the tropes of international films at the Oscars, the Eurovision-like process for international nominations, check in on the Berlin Film Festival, and do a very special Il Postino corner. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today’s show, Richard and Alison hop on a boxcar and stare wistfully as the 20th century passes them by with Best Picture nominee Train Dreams. They discuss director Clint Bentley’s lush, if somewhat sanded-down take on Denis Johnson’s novella about a lumberman haunted by his past, starring a very quiet Joel Edgerton. Train Dreams is one of Netflix’s Best Picture nominees this year, but the film was not an original production. It was acquired by the streamer at last year’s Sundance Film Festival. On the occasion of this year’s festival (which is happening as we speak) we also discuss how Sundance works, and what, exactly gives a movie that ineffable Sundance flavor we have come to associate with small-scale American indies like Little Miss Sunshine. We also discuss Netflix’s seemingly endless quest to win Best Picture, why the Academy is so resistant to giving them the big prize, and why the most popular streamer in the world is so desperate for Academy validation in the first place. Subscribe to Richard's newsletter, ⁠⁠Premiere Party,⁠⁠ and read Alison's work ⁠⁠at Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re joined by David Sims as we orbit the Golden Globes and their Best Drama winner, Chloé Zhao’s Hamnet. In the vibes-based reality of awards season predictions, Hamnet has emerged as a potential spoiler to the season’s other favorites, including Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. But what, exactly, makes something an Oscar villain? We also get into the film itself, the historical Shakespeare, why people are weird about Chloé Zhao, and our predictions for next week's Oscar nominations. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture.⁠ ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Critical Darlings, a new podcast miniseries from Blank Check: A conversation about the awards season conversation, one contender at a time. On Critical Darlings, critics and Blank Check alumni Richard Lawson and Alison Willmore guide you through the state of the Oscars race, from the precursors, to the campaigns, to the nominees themselves. To get things started, we begin with a discussion of the festival circuit and the curious state of this year's race; where many promising films have floundered upon their public release. Sidebars include the host's Oscar history, watching festival features on no sleep, Brazilian film Twitter, The Oscars on Youtube, Leonardo DiCaprio at Cannes, and Allison's shocking Il Postino experiment. Critical Darlings is crashing the Blank Check feed every Thursday through the end of Oscar season. Starting next week we'll have video clips to share produced by our friends at Vulture, stay tuned. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture. Follow Critical Darlings on Instagram⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices