Intoducing: Filmspotting Podcast - Top 5 Spider-Man Scenes

Summary

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Table Read Presents: Filmspotting Podcast – Top 5 Spider-Man Scenes

Release Date: July 31, 2026
Host: Adam Kempenaar and Josh Larson

Episode Overview

This special Table Read presentation features an episode from the acclaimed Filmspotting podcast, where Adam Kempenaar and Josh Larson count down their Top 5 Spider-Man movie scenes to celebrate the new film, Spider-Man: Brand New Day. The hosts engage in an insightful, nostalgic, and often humorous conversation, analyzing what makes these scenes iconic, emotionally resonant, and visually inventive. Their discussion spans live-action and animated Spider-Man films, reflects on generational shifts in superhero storytelling, and highlights Spider-Man’s enduring status as a cultural touchstone.

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Main Themes & Purpose

• Spider-Man’s Cinematic Legacy: Revisiting 25 years of Spider-Man films, both live-action and animated, and their impact on viewers.
• Defining Spider-Man Moments: Analyzing scenes that encapsulate the character’s ethos—vulnerability, community connection, humor, romance, and visual ingenuity.
• Generational Perspective: Adam and Josh reflect on their childhood relationships with Spider-Man and the differences between growing up with comics/cartoons vs. an era of blockbuster movies.
• Emotional & Artistic Resonance: Exploring how specific scenes use performance, directing, and animation to leave a lasting impression.

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Notable Quotes & Memorable Moments

• “With no power comes great responsibility.” – Josh Larson, using and riffing on the famous Spider-Man line (03:23)
• “This is who I wanted to be... After seeing Spider-Man, I added the walls of our home to that list and would try to be Spider-Man. To my mom’s chagrin.” – Josh, on Spider-Man’s childhood appeal (06:59)
• “Do you think we need to explain Underoos to younger generations?” – Adam, reflecting nostalgia and generational divide (07:17)
• “That imagery, which seems almost like Christ imagery... is really a stunning image.” – Adam, on Spider-Man 2 train scene (16:57)
• “Who needs CGI when you have Michael Keaton’s eyebrows?” – Josh, discussing the tense ‘Dad Talk’ scene in Spider-Man: Homecoming (24:03)
• “I remember seeing this in the theater and laughing out loud at it... I was shaking my head at how the filmmakers took something familiar and made it feel brand new.” – Adam, on Spider-Man: Into the Spider-Verse (34:44)

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Key Discussion Points and Segment Breakdowns

Introduction & Personal Histories [03:36–10:12]

• Adam and Josh recount their childhood relationships with Spider-Man—primarily via comics and cartoons, not movies.
  • Generational differences: Superman had “the movie,” while Spider-Man was mostly TV or print.
  • Spider-Man’s unique appeal: climbing, web-slinging, playfulness, and relatability.

The Joys of Nostalgia: Spider-Man’s Evolution [10:12–12:05]

• The hosts admit to gaps in watching every Spider-Man film, detailing efforts to “do their homework” and achieve “completist” status.
• Adam confesses to not recalling much from the Andrew Garfield films, adding humor about “straining credulity” as a top scenes list-maker.

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Countdown: The Top 5 Spider-Man Scenes

#5 Picks

Josh: The Train Rescue – Spider-Man 2 (2004)
Tobey Maguire’s Spider-Man stopping an out-of-control train and being rescued and protected by New Yorkers who discover his vulnerability as “just a kid.”

• [12:18–15:46]
• Emphasizes Spider-Man’s unique bond with the people of New York—he’s “the friendly neighborhood Spider-Man,” not a mythic god.
  • Quote: “A man says, ‘He’s just a kid. No older than my son.’”
• Adam gives this an “honorable mention,” praising the scene’s emotional and visual resonance.

Adam: ‘Dad Talk’ in the Car – Spider-Man: Homecoming (2017)
The chilling, intimate car ride as Michael Keaton’s Vulture unravels Peter Parker’s secret identity before prom night.

• [15:46–23:40]
• An intense non-action scene demonstrating Michael Keaton’s subtle menace and the film’s well-written villain.
  • Quote: “‘You walk through those doors, you forget any of this happened... Cause if you do, I'll kill you and everybody you love.’”
• Josh has this scene even higher on his list, highlighting its effectiveness in both superhero and teen drama modes.

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#4 Picks

Adam: Peter B. Parker’s Introduction – Spider-Man: Into the Spider-Verse (2018)
The voiceover sequence introducing the “washed-up” Peter B. Parker, subverting expectations with wit, pathos, and inventive animation.

• [28:42–34:44]
• Praised for its humor and meta-commentary, as well as Jake Johnson’s ironic-but-genuine vocal performance.
• Shows Spider-Verse’s ability to make the familiar feel fresh.

Josh: 1967 Spider-Man Animated Series Title Sequence
The iconic theme song and opening, cementing Spider-Man’s playfulness and accessibility in popular imagination.

• [35:02–38:50]
• Chosen for its nostalgic impact and foundational influence on Spider-Man’s image for generations.

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#3 Picks

Josh: ‘Dad Talk’ Scene (see #5 Adam)

• Josh moves this to his #3, emphasizing Holland’s performance as an anxious teen and the dual layers of “boyfriend vs. nemesis” tension.
• [23:40–26:33]

Adam: The Planetarium Party – Spider-Man 2 (2004)
Peter Parker, at his lowest, is humorously denied food and comfort at a high-society gala while witnessing MJ’s engagement, all rendered wordlessly by Sam Raimi’s comic, almost slapstick direction.

• [38:50–45:35]
• Praised as a standout of Raimi’s ability to blend drama with physical comedy and poignancy.

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#2 Picks

Josh: The Upside-Down Kiss – Spider-Man (2002)
The wet, rain-soaked, romantic kiss between Tobey Maguire’s Spider-Man and Kirsten Dunst’s MJ, considered one of Hollywood’s most iconic kisses.

• [80:47–84:45]
• Origin story of the scene discussed; not directly from comics but emerging from the filmmakers’ visual ingenuity.
  • Quote: “A unique and asymmetrical composition of rain-soaked interlocked lips never seen before on the big screen.”

Adam: Miles & Gwen at the Williamsburg Clock Tower – Spider-Man: Across the Spider-Verse (2023)
The emotional, visually inventive sequence where Miles and Gwen reconnect, walking and sitting upside-down atop the city, embodying their unique bond and the film’s animation bravura.

• [84:45–92:17]
  • Quote: “It feels magical and romantic... The visuals are letting you feel the romanticism of the moment quietly.”

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#1 Picks

Josh: Miles & Gwen Clock Tower Scene (see Adam’s #2)

• Josh echoes Adam’s praise, calling it “mesmerizing and moving,” with subtle animation choices amplifying the romance and emotional stakes.
• [92:17–95:08]
  • Noted for its use of color, painterly backgrounds, and “oddly beautiful” sense of intimacy and vertigo.

Adam: Peter Discovers His Powers – Spider-Man (2002)
Sam Raimi’s tactile, funny, and thrilling sequence as Peter Parker realizes he can climb walls, transitioning from horror-tinged confusion to joyous self-discovery.

• [99:23–104:55]
• Chosen as the “definitive” adaptation of the childhood Spider-Man fantasy; practical effects prioritized over CGI.
  • Quote: “These hands are about to walk up the wall and you’re going to watch it... This is a fun sequence, a funny sequence, but I think it’s so memorable in part because of the layers Raimi brings to it.”

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Honorable Mentions & Listener Input

• Special voicemail from Drew Jeffries (university superhero cinema professor) advocating for a “crane swing” scene in The Amazing Spider-Man (2012), and the chemistry between Andrew Garfield and Emma Stone. [77:35–80:10]
  • Quote: “I have that meme with the two Spider-Men pointing at each other literally tattooed on my body. I have one Spider-Man on each thigh.”
• Additional honorable mentions include:
  • The Leap of Faith (Into the Spider-Verse)
  • Aunt May chiding Norman Osborn (Spider-Man 2002)
  • Spider-Men reunion in No Way Home
  • Peter giving his mask to comfort a scared kid (Amazing Spider-Man)
• Discussion on why Avengers team-up films, despite featuring Spider-Man, don’t produce individual scenes as iconic as the standalones. [110:17–111:52]

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The Great Spider-Man Debate: Poll Segment [65:59–72:10]

• Which Spider-Man film is “definitive”? Choices: The original 2002 Spider-Man, Spider-Man 2, Into the Spider-Verse, Across the Spider-Verse, Homecoming, or “Other.”
  • Both hosts ultimately select Sam Raimi’s Spider-Man (2002) due to its foundational achievement and capturing the long-awaited big-screen magic of the hero.
• Conversation acknowledges generational differences and evolving tastes in superhero cinema.

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Additional Features

• Discussion of Chicago’s famed Lake Street screening room and its likely closure—a beloved hub for film critics including Siskel and Ebert. [59:19–65:59]
• Promotion of Filmspotting’s community, poll archive, and new podcast content.
• Brief plugs about upcoming films and bonus content.

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Timestamps for Important Segments

• [03:36] – Childhood connections to Spider-Man
• [12:18] – Josh’s #5: Spider-Man 2, Train Scene
• [15:46] – Adam’s #5: ‘Dad Talk’ with the Vulture
• [23:40] – Josh’s #3: ‘Dad Talk’ higher on his list
• [28:42] – Adam’s #4: Spider-Verse, Peter B. Parker intro
• [35:02] – Josh’s #4: 1967 cartoon title sequence
• [38:50] – Adam’s #3: Planetarium Party, Spider-Man 2
• [80:47] – Josh’s #2: Upside-Down Kiss
• [84:45] – Adam’s #2: Miles & Gwen, Across the Spider-Verse
• [92:17] – Josh’s #1: Same scene, Miles & Gwen
• [99:23] – Adam’s #1: Peter discovers his powers
• [110:17] – Honorable mentions & Avengers discussion

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Closing Thoughts

This lively, in-depth episode covers the spectrum of Spider-Man’s cinematic history, balancing critical analysis with personal nostalgia. The hosts not only revisit the most significant scenes but also articulate why Spider-Man continues to resonate: his relatability, his connection to the city and its people, and the way filmmakers—especially Sam Raimi and the Spider-Verse teams—use cinematic language to reinvent and deepen familiar stories.

Whether you’re entering the Spider-Verse for the first time or returning for the hundredth, this episode offers a passionate and illuminating exploration of Spider-Man’s greatest moments on screen.

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For a full scene archive and more top five lists, visit filmspotting.net. Vote in the “definitive Spider-Man” poll and share your feedback!

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Transcript

[Yamaneika Saunders]

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[Adam Kempenaar]

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[Sam J.]

favorite songs in your playlist.

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Add us to your entertainment lineup now

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This is Chelsea Handler from Dear Chelsea. Every week the news gets worse, the world gets crazier, and Yamaneka is here to tell whoever's responsible, you're the problem.

[Yamaneika Saunders]

Do you know I just found out who Sydney Sweeney was. If he got a bunch of women, then I should have a bunch of men do better or do less so I don't have to do so much. I'm Yamaneka, and I'm out. Listen to youo're the Problem with Yamaneka on the iHeartRadio app, Apple Podcasts, or. Or wherever you get your podcasts.

[Nick Turturro]

I'm Nick Turturro. You probably know me from NYPD Blue, the Longest Yard, or Spike Lee's blackkklansman. And on my new podcast, Delivering Happiness with Nick Turturro, I deliver pizza to a new guest. I've shared a slice with everyone from Seth Rollins.

[Guest or Supporting Speaker]

What are you doing?

[Drew Jeffries]

My belt.

[Nick Turturro]

To Bill Burr. I don't think I've ever met somebody so exactly out of their mind as I am. And now we even have more great guests coming up, including the the great John Turturro. It's called Happiness, Delivering Happiness and many, many more. Open your free iHeartradio app, search delivering Happiness with Nick Turturro and listen.

[Raiders of the Lost Podcast Host]

Now on Raiders of the Lost podcast, we explore cinema like no one else, including huge interviews with stars like Ryan Gosling on Project Hail Mary.

[Adam Kempenaar]

It was like the Jaws shark.

[Josh Larson]

Didn't always work, came with its own problems.

[Adam Kempenaar]

That's what made it great.

[Raiders of the Lost Podcast Host]

The cast of Obsession on set, there

[Josh Larson]

was so much magic happening with each scene.

[Adam Kempenaar]

We were putting together deep dives into

[Raiders of the Lost Podcast Host]

classics like 2001 A Space Odyssey or Fight Club, plus weekly episodes on all industry news. Listen to Raiders of the Lost podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And for more, follow aidersofthelostpodcast and ICTOK Podcast Network on TikTok.

[Josh Larson]

Film spotting is presented by Regal Unlimited. The all you can watch movie subscription pass that pays for itself in just two visits. See any standard 2D movie anytime with no blackout dates or restrictions. Sign up now on the Regal app or at the link in our description and use code filmspot26 to receive 15% off.

[Adam Kempenaar]

What kind of a show are you guys putting on here today?

[Josh Larson]

You're not interested in art?

[Guest or Supporting Speaker]

No, no.

[Adam Kempenaar]

Look, we're going to do this thing.

[Josh Larson]

We're going to have a convers

[Adam Kempenaar]

from Chicago. This is film spotting. I'm Adam Kempenaar.

[Josh Larson]

And I'm Josh Larson.

[Adam Kempenaar]

You are amazing. Some people don't think so,

[Sam J.]

but you

[Jake Brennan]

are nice to have a fan.

[Adam Kempenaar]

Do I get to say thank you this time? With the world's spidey sense activated, Marvel's brand new day opens this weekend. We take a look back at 25 years of the web slinger on screen with our top five Spider man scenes.

[Josh Larson]

With no power comes great responsibility.

[Adam Kempenaar]

Let's go with that.

[Josh Larson]

That and more ahead on film spotting.

[Adam Kempenaar]

Welcome to film Spotting, Josh. We are back from our Odysseus review, standalone review and our Odyssean like adventure. Our annual trek up to Spring Green and American Players theater. Saw some great theater. Got to hang out with Sam on the Wisconsin River. Not quite as tr. Treacherous is what Odysseus had to put up with.

[Josh Larson]

It wasn't. We made it. We survived. No one drifted away. I think that's the main danger on that slow river is you're not paying attention and before you know it you're 100 yards down. But that is such a beautiful place. And it had been a couple years since Debbie and I were able to get up there with you all. So it was so good to be back. A lot. A lot had changed. All of our kids. It's like we're walking around mostly with adults now.

[Drew Jeffries]

Yes.

[Josh Larson]

And a lot hadn't changed. Apt still doing wonderful theater. I think Casey and Diana was maybe the best. Certainly one of the best productions we've seen. I've seen since we've been there. And yeah, it was a good time. It already feels like it was a month or two ago, but I know that's how the summers work.

[Adam Kempenaar]

I guess it really does. And if you really do want to see what it was like on the Wisconsin River. Yes. We did post a picture on the film spotting and Larson on film social medias. You got some fine feedback on your hat, Josh. Always, always play it safe. Safety first.

[Josh Larson]

Be prepared.

[Adam Kempenaar]

Yes. Later in the show we will have a new poll for you asking you to Name the definitive Spider man movie. I am eager to see those results. Maybe it will break out along generational lines, Josh, maybe it won't. We have a reminder that film spotting is available as a video podcast. You can watch us Talk [e-mail] filmspotting we are anticipating Spider man brand new day. This is a film, Josh, that you did just see, I believe a night or two ago you were able to get to the critics screening in Chicago. I am seeing it this weekend. We do plan to talk about it next week here on film spotting. So anticipatory programming. We thought why not look back at this entire, I was going to say cycle, but there's been so many iterations and different studios making movies. Of course we're going to look back at all of these Spider man movies and see if we can cull together our individual top five lists. I anticipated that we would have some overlap and it seems that we do, and that's fine. I am eager to see where we fall on these films and where we fall in terms of why we like these individual scenes. So we will get to that as we make our way through our list. We have our top five Spider man scenes. Any preface to your list?

[Josh Larson]

Just that this was way easier for me than our Superman moments list, which we just did last summer. And the main reason for that, Spider man has always been my superhero. If I were asked to pick the one that I followed the longest, been most enamored with. And you know, I mentioned before on the show, I think that when I was a kid, this is who I wanted to be, this is who I pretended to be. It worked out well that for whatever reason, climbing was my thing as a kid. You name it, trees, jungle gyms, sheds, if you could climb it, I was, I was trying to do that. And after seeing Spider man.

[Drew Jeffries]

Yeah.

[Josh Larson]

I added the walls of our home to that list and would try to be Spider man. To my mom chagrin. This is probably done while wearing my Spider Man Underoos, which I know have been mentioned on the show before. Do you think we need to explain Underoos to younger generations at this point, Adam?

[Adam Kempenaar]

It's sad because I don't think they make them anymore. Right. And they were wonderful.

[Josh Larson]

They were amazing. Yeah. They late 70s, early 80s I think meant sort of as pajamas or underwear. Yeah, they were match a T shirt, T shirt top, matching bottoms in your favorite superhero's costume, essentially. What more could, you know, a seven, eight year old want? I mean, it was just wonderful. So, yeah, definitely had Spider Man Underoos. And I think this was interesting compared to Superman, where I had to do a lot of research and kind of bring myself up to speed on the history of this character. When we talked about doing this list, immediately four scenes came to mind, just right in the first conversation I had with, you know, with family and to. To my head as well. That's rare for me for a top five, you know, I'll have one or two maybe, depending on the topic. And I ended up just sticking with those four. I, you know, considered others, gave it some more thought, but it was one of those instances where if it's, you know, pop culture, personal like this, you kind of have to go with what hits you first. And then I did a little bit of searching for what could be my number five, and it wound up being a moment that a listener reminded me of that I'm happy to make as a pick as well. I think it's a great pick. So. So, yeah, this was a fun one. Basically.

[Adam Kempenaar]

I will get into this a little bit more as we get into the list. I did have to do one piece of homework. I don't know that I should have done this homework, Josh, But I had to do one piece of homework because as I was preparing, I got a little nervous. I thought, despite my love for Spider man, and I think we've accurately dated ourselves here, and everyone is clear. But we didn't grow up with Spider man movies. We grew up with Spider man, the comic book. We grew up with Spider Man TV shows, the animated cartoons, Justice League. So Spider man was a big part of our childhoods. But Superman, we had Superman the movie that was the. That was the originator of a lot of these comic book superhero movies. And that was, of course, the first one we saw. So I think I was a lot like you and that I immediately became obsessed with Superman. But then Spider man came in, and there was something about the playfulness of Spider Man. There was something about. For me, there was the strength, despite the fact that he was such a lithe figure, but he was so strong. He was so powerful. That is something that appealed to me. And who didn't want, for whatever reason. What was it about web slinging that just seemed so cool. You just wanted to be able to do it because it was shooting something which, as young boys, you have to admit, we're drawn to for whatever reason. But it wasn't. It wasn't destructive. It wasn't. It was a hyper aggressive.

[Josh Larson]

I think that's it. And part of it is, you know, I can remember Too, Just like swings just swinging on or. Or the. Like the swing that just had the disc on the bottom. So there was a single rope. You know, I would rarely be sitting on that. I would be hanging on it. And this was probably influenced by seeing the Spider man cartoon or something like that. I think as we got a little older, Indiana Jones played into this swinging from the whip.

[Adam Kempenaar]

Yeah, right.

[Guest or Supporting Speaker]

It's.

[Josh Larson]

It's all sort of the same. The same motion that we gravitated towards. And then you see this superhero doing it and it's like, oh, man.

[Adam Kempenaar]

I was. I was worried, though, because I was thinking we didn't even review, or we avoided for a long time reviewing one of the last Spider man movies with Tom Holland. And I knew, or I was pretty certain I hadn't seen at least one of the Andrew Garfield. There are only two. I knew I hadn't seen at least one of the Andrew Garfield movies. And I thought it was possible I hadn't seen both of them because I couldn't remember either of them. So I'm sitting here going, am I just not going to bring up the fact that we're doing a top five Spider man scenes? And I don't think I've seen like three of these ten movies or something. I'm straining credulity here. And then I did the research and I realized that I have seen all these movies. We did talk about, I think almost all of them on the show. The only exception, including the Amazing Spider man, the first Garfield Stone that was reviewed on the show and I did see it, just have no recollection of it. The only one I did not see was the Amazing Spider Man 2. So the second. The second one with Garfield and Stone.

[Josh Larson]

Rough.

[Adam Kempenaar]

I. I did that homework, Josh. And, and it will come up. It will come up in the context of this top five. But no, it did not make. It did not make my top five. I will just leave it at that. So I've now. I have now seen all of them. I'm a completist.

[Josh Larson]

Good on you. Good for doing your due diligence. I look forward to your letterboxd ranking soon.

[Adam Kempenaar]

Yes, that is. That is coming next. So let's go ahead and jump in your number five Spider man scene.

[Josh Larson]

So, yeah, this suggestion comes from a longtime listener, Jonathan Anderson, and it comes From Spider Man 2, directed by Sam Raimi. It's Spider man being lifted by the crowd in the train.

[Carrie Brownstein]

And.

[Josh Larson]

And I think that particular moment is my pick, the lifting and carrying him. But it works because it's prefaced by this great action sequence that Raimi stages. They're directly connected. So Tobey Maguire here, Spider Man's at the front of this elevated train high up above the city. It's careening out of control toward the end of the track, which essentially the track just ends there. And so if you go past it, essentially like a cliff. Spidey tries a couple things to stop it. Eventually casting webs onto the buildings on either side of the tracks. And then holding them with his arms as he's at the very front, kind of turning himself into this human break. And the effort nearly kills him. So this is when the train stops. He succeeded, but he's completely exhausted and loses consciousness and almost falls forward off the platform. And that's when the passenger's hand. So the people who are in the car, they reach out of the broken windows at the front of the train, just one, and then another, another, another. And they. They kind of grab him and hold him there, catch him. They save him. And then they bring him into the car, pass him over their heads to the back of the train where they lay him down. He doesn't have his mask on. And so a man observes. I think this speaks to a little bit of what you were talking about, Adam, about. Why are we. Were we so drawn to this character that a man says, he's just a kid.

[Adam Kempenaar]

Just a kid.

[Guest or Supporting Speaker]

He's just a kid.

[Josh Larson]

No older than my son. And I think as kids to. Obviously a teenager. But still, like, this was different than Superman, who was not only an adult, but like an alien, Right? This is a kid. So in this scene, he does revive. And then a couple of really little kids, they hand him his mask and, you know, promise we won't tell anybody here. There's that contract between Spider man and the people that he protects. And I think that's what this whole sequence really speaks to. The intimate relationship that this particular superhero has to the people he's protecting. And I do think this scene, I like how they set it up where during that whole action portion, as Spider man is trying different things to get the train to stop, some of the passengers kind of get snarky with him. Like, well, that didn't work. Or. And there's a back and forth. So there's already been this connection established. These aren't just faceless victims, basically. And it made me wonder, I wonder if Spider man is the superhero who people in the story feel the closest to almost on a personal level. I mean, he is the friendly neighborhood Spider man. Right? It's right there. And I do think there's something unique. Maybe there's someone. I'm forgetting about that where these aren't, you know, people talk about superheroes being the contemporary modern day mythical gods and a lot of times that's how we think of them. Right. These superior beings. But not in the case of Spider Man. And a key portion of that is the relationship he has with the people on the streets that, that he, he walks and serves. So yeah, I think that's, I think it's a great pick of Jonathan's. Definitely one of my favorite scenes among all the movies. So I'm going to start there.

[Adam Kempenaar]

That would have been one of the, the top three or four that immediately came to mind for me and that I would have. I would have said am I going with this because it, it in a way seemed obvious to me and I mean obvious just because it was one of the first ones I thought of. Am I, am I giving enough thought to this for me or is this a greatest hit and it has to be considered. Josh. And I am giving it an honorable mention. It is a moving scene. And you're right about the intimate relationship between Spider man and the city and its citizens is such a crucial part of these films. Obviously the, the whole saga. I don't know and I'd love to hear from some new, some New Yorkers on this. I don't know as I rewatch scenes. Whether or not the way New Yorkers are depicted is one of the strengths of, of these films. It definitely seems to. For comedic reasons. It seems to resort to the most obvious cliches.

[Josh Larson]

My guess is people would say the spider verse movies get this the closest.

[Drew Jeffries]

Yes.

[Adam Kempenaar]

Is what I would think that's probably, that's probably.

[Josh Larson]

It's cartoonish otherwise though.

[Adam Kempenaar]

So that imagery which, which seems almost like Christ imagery obviously with him being held aloft with his. With his arms out as he's being taken back in is, is really a stunning image about him being just a kid is one that sticks with you. And the last thing I'll say is that even in the really bad Spider man movies and some of these films that we considered are bad, there are moments like that maybe not on that level. That's why this one's on your list and why it's an honorable mention for me. But, but every, every one of these movies gives you at least one visual moment like that that, that you can, that you can take away from it. And that's maybe that's why something about Spider man in these, these films at least stays in our imagination and why we want to do lists like this one. My number five is one that involves dialog and no, no great imagery, Josh, unless you consider a couple of really effectively deployed close ups and I suppose I will. I'm going to start with a Spider man scene that doesn't involve anyone in a SP suit, nor anyone in any kind of superhero or super villain suit at all. There's certainly no cgi. There's no spectacle to it whatsoever, unless you consider watching Michael Keaton perform on screen a spectacle. When I think of these Tom Holland MCU Spider man movies, the scene that I have to admit is most memorable for me, it's not any of these big show stopping action sequences and it's still a treat to watch. It's the dad talk between Keaton's Adrian Toomes and Holland's Peter Parker when he's taken his daughter out on a date and they're in the backseat together as Keaton's vulture is chauffeuring them around. And he has put together what Peter has already put together, having recognized him because he doesn't wear a mask, that he is the villain, he's the bad guy. But here Adrian's putting it together that through some of the conversation that Peter Parker, his daughter's date, is in fact his nemesis. Now, Spider man, does she know?

[Guest or Supporting Speaker]

Know what? So she does. Good. Close to the vest. I admire that. I've got a few secrets of my own. Of all the reasons I didn't want my daughter to date comic book villains,

[Adam Kempenaar]

this is why I also wanted to give a little bit of love to this scene and not just give it to Spider Man. As we're doing our top five Spider man moments, comic book villains on screen are just so hard to pull off. When you think about the best superhero movies, period, so often aren't the ones that are. That are near the top of the list. They're the ones that have the most memorable villains, like three right off the top of my head. The Dark Knight with the Joker, Eric Killmonger is one of the great villains in Black Panther. Spider Man 2, you just talked about it and Doc Ock, Alfred Molina is a key part of that. And you might be listening and saying, well, yeah, duh. The villains, they're the antagonists, they're a huge part of the movie. They're major characters. They're driving the action. Of course the villains are important. That's my point, though it should be obvious. And yet there are plenty of examples where the filmmakers try to provide some Psychological motivation and mostly hope. The cool effects will wow the audience. They give him a cool suit or whatever and some cool powers, and that's about it. And this will come up again when I do bring up the amazing Spider Man 2. Electro, anyone? You know, I think Electro kind of fits this bill and is one of the reasons why the. No. No offense to Jamie Foxx, who I think gives it his best, but he's not a good villain. And you watch this scene between Keaton and Holland, and Keaton is just delivering what I said at the time was a masterclass in menace. It's so intense without ever raising his voice. He's so scary, despite having a smile on his face for much of the conversation. I mean, it's a twisted smile, but it's a smile.

[Guest or Supporting Speaker]

Peter, nothing is more important than family. You saved my daughter's life, and I could never forget something like that. So I'm gonna give you one chance. Are you ready? You walk through those doors, you forget any of this happened. And don't you ever, ever interfere with my business again. Cause if you do, I'll kill you and everybody you love. I'll kill you dead. That's what I'll do to protect my family.

[Adam Kempenaar]

Pete, you understand villains, if you really go back and think about them, they almost always have a grudge, of course, against someone. And it's usually Spider man or whoever they're fighting or against the world. And they believe they're justified in their actions. Why else are they doing whatever? Why else are they doing it? Unless maybe. I can't believe I'm mentioning it again, unless maybe they're the Rhino. Paul Giamatti's character in the Amazing Spider man two who just seems to want to wreak havoc for no good reason. But with the Vulture, it's very clear that Keaton tapped into a character who just wants to take care of his family and believes that his business has been screwed over by the government. And when you watch the movie, it's hard to argue with him. You. You absolutely understand the predicament that he's in and you sympathize with him. He certainly feels like, even though it's just these two guys sitting in a car, he feels like a real threat to Spider man here as. As a villain. He's. He's, of course, a threat, despite just being a man. That's it. He's. He's not imbued with any special powers. He is. He is just a man. All of these other villains, or almost all the other villains, you can Think of have been transformed in some way and are not really human or fully human anymore. Vulture stands out because of his humanity. And you see it. You see it come through in his overprotectiveness of his family in this scene. Like I said, it was one of the first few scenes that came to mind for me, maybe because it's one of the most recent, but of all the MCU incarnations, this one had to be on my list.

[Josh Larson]

Yeah, it came to mind to me immediately as well, unfairly, probably, because I walked into the family room maybe two or three weeks ago, and this was playing on the tv. This is what my kids were watching. And I just had to stop. I had to sit down. I had to finish it because it's such a great scene. As a matter of fact, I've got it higher on my list. So I'm going to do some jumping around here.

[Adam Kempenaar]

Okay.

[Josh Larson]

And I'll get back to my number four. And right now, talk about my number three, which is where I have the dad talk. It is, if we have to, like, give a majority of the credit, it is Keaton. You're right. This is a character, as you laid out well, so smartly conceived and motivated, believably so. And then what Keaton does with it. I mean, those. Who needs CGI when you have Michael Keaton's eyebrows? You're good. That's definitely a huge part of the tension. And in this scene, I do think Holland is also quite good here, though, even though it's not his moment. This is Keaton's moment. But I like how he plays Peter, trying to be cool, but clearly not only intimidated, but scared. Yes, I agree on a multiple. Multiple reasons. Because of his relationship with Vulture's daughter. Right. Laura Harrier is the actress here, and she's at the beginning of the scene, and I love the dynamic there where she's like, okay, I'm gonna go in and leave you two alone to have your talk. And this is. I think this is what's so great about this scene as well, is the genius, the simple genius of Homecoming, let's say, to a lesser degree, far from home. And I think this gets lost a bit in no Way Home, but in Homecoming, is that it was a high school movie first and a Spider man movie second. And so your emotional investment is equally, at least, let's say, in that scene, in this familiar, uncomfortable dynamic of being, you know, a teen couple in a car with one of your parents. And what you're going to talk about how your parent is going to act how your boyfriend or girlfriend is going to act. However that goes. Already you've got natural anxiety. And then the context that this story brings into it just amps that up. And I think that's the line that Holland plays really well in the movie overall. But here in particular, he's anxious as the boyfriend and he's anxious as the hero facing his nemesis here. So it goes back to that, you know, he's just a kid thing we already touched on. Right. That's definitely at play here. I think the best thing about these Holland movies are the way they kind of capture the acute anxiety of that. So. So, yeah, totally with you there. My number three pick is. Is the dad talk.

[Guest or Supporting Speaker]

Now you want in there? You show my daughter a good time. Okay, just not too good.

[Adam Kempenaar]

Part of the fun of that scene as a viewer is the way it plays with our expectations and our understanding of these familiar scenes. And that's a familiar cultural scene, whether we've been involved in it ourselves or not. We understand the dad talk, as the dad in that scene even refers to it. I'm going to have the dad talk. And the daughter knows what that means as she gets out of the. The car. And it doesn't go the way it should go at all. So it subverts that. But then also it subverts the superhero, villain, hero, conversation, confrontation scene. Because there are plenty examples in those movies where. And in Spider man movies where one of the two in the scene is kind of on to the other and their real identity, and so they have that teasing conversation where they're kind of trying to suss it out or they're. They're. They're prodding the other one a little bit, but it doesn't really go anywhere. They don't actually. They don't say it. They don't bluntly say what they're really thinking and feeling, and they don't actually call the other person out on it. And in this scene, they just. He just puts the pleasantries completely aside and. And does that. So I think it. It just confounds our expectations in that way in a really. In a really great way. You may have already seen it, Josh, but I need to go see Spider Man Brand New Day in order to review it here next week on the show. That's one I am excited to see in the theater. Have a couple of kids in my house, actually, who are excited to see the new Spider man movie as well. So I'll have company for that one. It will be fun to watch that now through the lens of having revisited all of these films and thinking about some things in common.

[Josh Larson]

There are definitely some callbacks to a few of the moments we we talked about.

[Adam Kempenaar]

The invite is the big movie I still haven't caught in the theater and you can still see that at Regal Cinemas. And here's one more I'm going to call out because we were just in Spring Green and we were hanging out seeing some theater with our producer Sam and he talked about a musical that I've never seen any kind of production of. It's playing on the big screen. Hadestown the Musical. Sam swears by how good this musical is and this stars the original Broadway cast. Hadestown the Musical available now on the big screen and you can see that for free with Regal Unlimited, the all you can watch movie subscription pass that pays for itself in just two visits. If you sign up for Regal Unlimited, just use the code Filmspot26 to get 15% off. Regal Unlimited is the only truly limitless movie subscription pass. You can see any standard 2D movie anytime with no blackout dates or restrictions. And you don't just save money on tickets, you also save on snacks. You get 10% off all non alcoholic concessions. Again, just sign up now in the Regal app or at the link in our podcast notes and use code filmspot26 to get your discount. So we've got your number five, we've got my number five and we've got your number three. That means then we do have to go back to my number four and we're going to stick with recent vintage Spider Man. And this is from Spider man into the Spider verse. And the sequence is My name is Peter B. Parker Jake Johnson when we learn about the backstory of his character. And I guess this is. This is what I'm looking for or something that I need from these scenes in order to make my list. Anyway, Josh that subversion of expectations. We're not used to seeing Spider man with the five o' clock shadow or with the bee in his name, so something's a little bit off. Our Spidey sense is tingling a little, but he more or less looks like the Spider man we know from the movies. Everything's checking out. He even says let's do this one last time, suggesting that he's going to give us the familiar yarn. Let's just bring you up to speed. But it's everything you already know. And as he's saying it, the story and the imagery lines up, including a scene we may hear about later. Right? The upside down kiss. The famous Upside down kiss with MJ and his dialogue, the narration includes. You see, I saved the city, fell in love. Okay, I got married. Well, that's, that's maybe a new wrinkle, but I can buy that. Save the city some more. Maybe too much. I'm still buying this. I'm thinking, congratulations, Spidey. I'm glad things worked out. You fell in love, and then I'm

[Josh Larson]

pretty sure you know the rest.

[Adam Kempenaar]

You see, I saved the city, fell

[Josh Larson]

in love, I got married, saved the city some more. Maybe too much. My marriage got testy, made some dicey money choices. Don't invest in a spider themed restaurant.

[Adam Kempenaar]

Then like 15 years passed, blah, blah, blah, super bone. I broke my back, a drone flew into my face. I, I buried Aunt May.

[Jake Brennan]

My wife and I split up.

[Adam Kempenaar]

But I handled it like a champion. It's the part about the marriage getting testy and making some dicey money choices and him warning us, Josh, to not invest in any spider themed restaurants. Did you know, Josh, that seahorses mate for life? I can't imagine a seahorse seeing another seahorse and making it work. This, this is funny stuff, genuinely funny stuff. And even though those movies, these superhero movies are largely about the conflict between, between two identities trying to reconcile being a hero versus just being a man, I don't think any of us actually do really consider the possibility that any of these, any of these heroes are ever going to be washed up. And so this movie makes us think about that and the ironic juxtapositions of the visuals and Peter's narration. I remember seeing this in the theater and laughing out loud at it. But I handled it like a champ. And he's sobbing in the shower and no matter how many times I get hit, I always get back up. And he's just, you know, crouched in bed, completely despondent. The way too that Jake Johnson lowers his voice. At the beginning. He's talking in that normal kind of Jake Johnson way. But then when he says the one and only Spider man, the one and only Spider man, as if he knows as the character, he has to say it with some authority. But he also, he also means it. It's not just out of some sense of duty and it's not, it's not performative. He wants to put that authority behind it. I think that's why Johnson is so perfect in that role as Peter B. Parker, is that he is inherently an ironic actor. There's always an element of winking at the audience, but he does not overplay it at all. There is something still deeply genuine that he brings to, certainly this character. And I think this scene for me may be a microcosm of. Of spider verse, where I remember not only finding it legitimately hilarious, but also I was shaking my head at how the filmmakers took something, took a narrative and took imagery that was so familiar and made it feel brand new.

[Josh Larson]

Yeah. That quality of Jake Johnson's performance, I think, works really well with the progression you get in this scene, because it's. It does start out, as you were saying, with the familiar things and showing us what we knew or we've heard in other iterations. And then there's the slight diversion. He starts to use euphemisms.

[Adam Kempenaar]

Right.

[Josh Larson]

Like the money thing. He doesn't exactly say what happened. It's way worse than the phrase he uses. And then, as you said, by the time the scene comes to its end, what he's saying is exactly the opposite of what we're seeing. So that vocal quality works well with this progression towards complete denial that the visuals. That the visuals are giving us. Yeah. So smart. Such a smart move movie. Able to be funny and thrilling in so many ways. And, you know, even this character, I think, works well because he is a supporting character to this larger story we're telling. And so we can get these qualities before they become rote or too familiar or too much of a joke. Instead, they're informing the larger narrative in crucial ways, but also really entertaining ones, like this scene. All right, so I need to jump back to my number four to get us back on track here. And I have a bit of a cheat here. I did this with Superman 2. This is going to be a title, sequence and theme song. I am choosing that from the Spider man animated series that ran from 1967 to 1970. With the Superman list we did, I chose the opening for those Fleischer studios shorts from 1941. A listener keyed me in on those, and I ended up watching I don't know how many because they were just fascinating and had that great opening sequence. And part of my reasoning for picking it there is because that sequence from 1941 cemented crucial qualities of the Superman character in our collective imagination. And I think this one, even though it's borrowing quite heavily from the comic books, this did so in the late 60s and onward. I mean, we were watching this Adam, not during its initial run. We would have been watching this maybe 10 years after on reruns. Right. But it had been, I'm sure, playing the whole time for multiple generations of kids. So if you look at The Spider Man. If you look at Spider man as a character basically debuting in a Marvel comic in 62, got his first solo series in 63, and obviously that set the foundation for the character. But for me, born in 74, I think this was my first encounter with Spider Man. That would be my. My guess. I didn't really read comic books for whatever reason until I was an adult actually. And so this Spider man cartoon was my first encounter and I was locked in that opening has everything I wanted. It had the swinging you talked about, the web, slinging, radioactive blood. Sure. I probably had no idea what that meant, but sure, sounds great. And yeah, lots and lots and lots of climbing. And I think this also captures a quality that is a crucial one for Spider man beyond his youth. But maybe related, that's emphasized here. He was friendly. He was a friendly Spider Man. The lyrics are telling us this, but the image I'll never forget. It's this great little bit, kind of a winking bit in this opening credit sequence where he's swinging through the air and we get a close up and he just waves to the, you know, quote unquote camera waving, waving at me, you know, like six or seven year old me. However old I was, there was this superhero who paused in his heroics to give me a little wave.

[Adam Kempenaar]

He arrives just in time.

[Sam J.]

Spider Man.

[Josh Larson]

Spider Man. So it's a delightful piece of Spider man iconography. It still resonates today. This is where the Spider man pointing at himself meme comes from. So I did have to have it on my list even though it's from a TV series.

[Adam Kempenaar]

Yeah, watching that clip just a little bit earlier today definitely took me back. Talk about a wave of nostalgia. It did bring me back to my childhood. My number three is from Spider Man 2, Sam Raimi's Spider Man 2 and it's the planetarium party. I have to give credit to the host of Film Spotting svu, one of the hosts of Film Spotting svu, Matt Singer, for reminding me of this scene and the way I was reminded of this scene. Josh is via our upcoming episode of Movie Deathmatch. This will drop in listeners feed. If you follow Film Spotting it will drop in your feed. On Monday, August 3rd with brand new day coming out, we did a deathmatch between what a lot of people contend are the two best Spider man movies, Old School, Spider Man 2 and New School. Into the Spider Verse. Matt advocating For Spider Man 2, Daisy Rosario defending into the Spider verse had a really great conversation about it. Again, that show will be coming into your Feed soon. Matt mentions a scene from Spider Man 2. And when I was scanning through the movie and I went back and broke this scene down, I knew it had to be on my list. And the reason why Matt brought it up in the context of Deathmatch is he was mentioning how during this scene, you really recognize Sam Raimi's sadistic tendencies as a director. How they really come out. And we'll get into that, because this is the scene that's this big high society gala. And Peter has been hired by J. Jonah Jameson to be the photographer for the event. There is a lot of story unfolding here. Harry Osborne and Peter are fighting about Spider Man. Peter is watching mj. He doesn't know it when he gets there, but Peter is watching MJ get engaged to another man, John Jameson. And it all could have just unfolded, rendering all of that drama with a very dramatic expression. Like, I honestly could have picked this scene, Josh, forgetting all the sadistic stuff and just focusing on this moment. It could be a top five contender. Just for the moment. The dramatic expression of Peter's torment when he has to watch MJ descend the staircase with John. Hearing about this perfect man and then seeing her so happy, well, seemingly happy as she comes down the stairs. And the way camera and editing work together, kind of swirling around him to show how devastated he is. And it's very, very effective. But where this scene really becomes special for me is that it could have just been all of that. It could have been just about showing his heartache and devastation. But what layers does Sam Raimi add being Sam Raimi? And I assume it's a Raimi touch here because it could have been written into the script by David Koepp. But not only do I trust Matt Singer, at least in giving the credit to Raimi, it also is part of it, Josh, where there's no dialogue. It's all just physical action that happens. So here again, I'm going to give the credit to Raimi in the. In the blocking. Think about everything that is going wrong for Peter at this point in the movie, beyond his best friend hating both him and Spider Man. Two parts of him and MJ forsaking him for another guy. He's doubting whether he should continue to be a superhero at all. And his powers are fading. Like he's at this low point, the lowest point he could possibly be. How does Raimi portray the emotional wringer that Peter is going through? How everything he wants seems to be just out of his reach? How he is both part of society, but also Excluded from it. Well, the whole sequence begins with him walking into the party and seeing one last hors d' oeuvre on a tray and reaching for it. And right as he reaches for it, someone else comes along and grabs it. So there you go. He can't get just that little treat that he wants. Okay, fine. Then he sees. We have that great mini sequence where he sees MJ arm in army with this perfect man, it seems, John. So he goes outside, another waitress walking around with a tray, this one. Raimi shoots it so it's at his exact eye level, like, almost beckoning him to come over and take it. One more on the tray, same thing. Someone grabs it just before. Like he can't even get a bite of food here at this party. Josh. It's. It's that bad. So now he's. He's having a conversation outside with MJ and she tells him off how this is just not going to work, that she has to move on, that she's going to have to, you know, go with this. This other. You know, why she's going with this other man. And another. A waiter passes by and they have one drink. And it seems like a fancy drink, you know, it's got a little Tiki hut or something in it. And he reaches for it, parched, goes to take the large gulp, and it's an empty. It's somebody's empty glass. He can't even get his thirst satisfied there in the moment. And as if that wasn't bad enough, we get that, followed by the indignity of Harry slapping him twice. And then he has to take a photo of the newly engaged M.J. and John. So, I don't know, Sadist might be putting it mildly. Raimi's a monster when you watch this scene, in terms of the way he treats Peter Parker over the course of this four or five minutes, it's kind of horrible, but also undeniably funny watching poor Peter at all these little steps get denied when the poor guy just wants, like, a crab cake and a drink of whatever is in that glass. But that's the sensibility that, like I said, almost certainly wasn't in the script, that an imaginative director like Raimi brings to those films that makes those first. Those first two films in particular, but parts of the third film as well, that makes those films so special.

[Josh Larson]

Yeah, and the comic aspect is related to, you know, slapstick. There's a slapstick element, maybe a slower, slower pace slapstick going on here, which I think of as a part of Raimi's style as well. And yeah, can't wait to hear that episode with Matt. We should repeat and mention maybe to plug more his book Spider Man. Marvel's Spider Man. From Amazing to Spectacular. It's really. I mean, there's so much information in it, but it looks beautiful too. And I remember when that came out a number of years ago. That was when I was trying to get my younger daughter into Spider man, so bought that for her to move her along. It's a really great book.

[Ari Chambers]

What's up, fam? I'm sports journalist Ari Chambers.

[Sam J.]

Hey, what's up, y'?

[Fred Armisen]

All?

[Sam J.]

It's your girl, Sam J.

[Ari Chambers]

And we're the host of Everyone Watches Women's Sports, a new podcast from together and I heart women's sports because, let's

[Sam J.]

be real, women's sports is giving us way too much to talk about these days.

[Ari Chambers]

So Kelsey Finler, she became the first female solo rower to go from California to Hawaii.

[Sam J.]

My first thought is, like, what's up with the snacks? Like, what do we.

[Adam Kempenaar]

What do we eat?

[Ari Chambers]

The highlights, the rivalries, the breakout stars, the moments that take over your entire

[Sam J.]

timeline, and the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports.

[Ari Chambers]

Naomi Osaka showing out. She beat Sabalenka.

[Sam J.]

Shout outs to you, Naomi, you get the Palm.

[Ari Chambers]

Naomi, you get the palm for that.

[Sam J.]

Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone's. Everyone watches women's sports. Listen to everyone watches women's Sports on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Carrie Brownstein]

Hey, Portlandia fans.

[Fred Armisen]

Kerry Brownstein and Fred Armisen here, you

[Carrie Brownstein]

know us, or rather, you know them. Toni and Candace, Nina and Lance, Spike and yes, the chicken.

[Fred Armisen]

We've played a lot of iconic characters over the years, but today we're showing up as ourselves. To tell you about Podlandia. AO rewatch our brand new podcast.

[Carrie Brownstein]

Each week, we'll revisit an episode of Portlandia from the very beginning, breaking down the sketches, exploring the backstories of our most iconic characters, revisiting the Portland locations you know and love, and opening up about our creative process.

[Fred Armisen]

How did any of this get made? Why do we think that was a good idea? We're ready to talk about it.

[Carrie Brownstein]

And we'll also be joined by the people who helped bring it all to life. Guest stars, collaborators, and friends, including director Jonathan Krisel, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann and many more.

[Fred Armisen]

Kyle is going for it. Here you fully improvised, not just words, but a song about.

[Josh Larson]

Well, I thought he was gonna write. I thought you were all gonna write a song.

[Fred Armisen]

I remember you thinking that.

[Carrie Brownstein]

Listen to Podlandia Ayo rewatch on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Nick Turturro]

I'm Nick Turturro. You probably know me from NYPD Blue, the Longest Yard, or Spike Lee's blackkklansman. But I'm also from Queens, which means I know pizza. And on my new podcast, Delivering Happiness with Nick Turturro, I deliver pizza from Prince Street Pizza to a new guest.

[Adam Kempenaar]

Are you delivering pizza now?

[Nick Turturro]

Then we sit down for a real conversation. I've shared a slice with everyone from Seth Rollins.

[Josh Larson]

What are you doing?

[Nick Turturro]

My belt. To Alex Rodriguez.

[Josh Larson]

Just to let you people know we're

[Nick Turturro]

talking to one of the goats here. To Bill Burr. I don't think I've ever met somebody so exactly out of the mind as I am. And now we even have more great guests coming up, including the great John Turturro.

[Josh Larson]

It's called Happiness.

[Nick Turturro]

Delivering Happiness, Mariano Rivera, and many, many more. Open your free iHeartradio app search delivering Happiness with Nick Turturro and listen now.

[Jake Brennan]

I'm Jake Brennan, and on the Disgraceland podcast, I explore the wild lives of rock stars and unbelievable true crime crime stories from music history. These are the stories you haven't heard, the kind you'll end up telling someone else. Like the time Paul McCartney spent in one of the world's most notorious prisons. Imagine that you're Paul McCartney. It's 1980, you're an ex Beatle, and you're doing time in one of Japan's worst prisons right there alongside Yakuza gangsters. And for a ridiculous charge or the bizarre crime Lady Gaga is accused of, who is the artist Lady Gaga is being accused of doing the unthinkable to after allegedly stealing her music in style to become famous. And what about that time Blondie's Debbie Harry escaped a serial killer? The man who had given her that ride she barely escaped from was Ted Bundy. Listen to Disgraceland on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Adam Kempenaar]

Before we get to our top two, we would like to remind you that you can find all of our picks and all of our top five lists over at our top five archive, filmspotting.net, just click on lists right there at the top of the page. We also do link to these scenes whenever we do have the clips available. And I think with all of our picks for this list, the scenes are available if you'd like to watch along as we discuss them. Let's also take a minute, Josh, to thank the Film Spotting Family Membership is the single largest support source of support for the show. It does keep us doing what we've been doing for over 21 years and we normally shout out a couple of Film Spotting Family members. We will get back to doing that, but we wanted to highlight again Summer Madness Summer Film Spotting Family Madness the best of the 1920s and 30s. When we left off, I think maybe we were announcing the play in round, but with our week off we did have round one. It played out and we should give some props, I suppose, to the selection committee in this case, myself and Sam, because all the favorites won, as I thought would happen. Sure. It wasn't a case of any major upsets here. We did have the favorites advance. So there were a couple close matchups. That does mean that round two is live as we are recording this. There are eight matchups then, and that includes the wizard of Oz versus Chaplin's Modern Times, Metropolis versus King Kong, the Passion of Joan of Arc versus Bringing Up Baby. I mean, I can vote fairly easily in all three of those. What about you?

[Josh Larson]

Well, this is basically asking me to rethink and agonize over my Sight and sound top 10 of all time list in the constantly shifting order because I believe wizard of Oz, Modern Times, King Kong, Metropolis. I think all four of those have either been on my top 10 of all time list or circling that honor in the various iterations we've done over the years on the show here. So I don't know how to start thinking about this. I'm going to need a little bit of. A little bit of time. I can say Passion of Joan of Arc versus Bringing Up Baby. That's the easy one for me because I only like Bringing Up Baby. Whereas Passion, Joan of Arc, you know that. Yes, it's Alzheimer, so that's an easy answer for me. I don't know where I'm going to go with the other ones, how to even begin thinking about it, which is, I suppose, why we do this thing.

[Adam Kempenaar]

Yeah, well, that's. That's part of it. And certainly a reason why we do madness proper on the show. We've always said is discovery, even though sometimes we're talking about movies. You would think everyone knows when we've been doing more recent decades. As we go farther back, it is about sharing titles that Maybe some of our audience hasn't seen and in some cases we haven't seen and we're doing the homework that we need to do as well. So case in point, David Kolb, a listener who is a film spotting family member participating in this madness and had a comment in the film spotting discord that we wanted to share in this. Josh, you can read it. This is, this is an example. It's an interesting query that we can just throw out to film spotting listeners to consider. But also I think it just speaks to why we do tournaments, silly madness tournaments like this. Because of a reaction that David could have to a film like the Passion of Joan of Arc.

[Josh Larson]

David says, I caught up with the Passion of Joan of Arc for this tournament and I'm confident I will be voting for it as long as it survives one of my all time great home viewing experiences and a film I could see putting in my letterbox top four at some point. That said, a significant part of my love for the film was the score that Criterion uses, which is a 1990s classical work performed by the Voices of Light Ensemble that was written to accompany the film. For the purposes of this tournament, how do you all evaluate silent films that have soundtracks that were written much later? Is it possible to separate these aspects of the film? And if so, should we? Well, thank you, David, for participating and, yeah, taking the time to watch Joan of Arc. This is a question that has long bedeviled me and I've avoided trying to come up with a conclusive answer because oftentimes when you're trying to track down older films like this, your viewing options are limited, let alone your score options. But I think it's a really important question and I'm sure a film historian would have a decisive opinion on it. I think my instinct usually if I'm looking for options, is if there is any sort of original. Now, with silent films, of course, there's no like, original original, right. But if there has been historical work done where this piece was often used to accompany, you know, the earliest screenings of the silent film that we can go back and actually pinpoint, then I would go with that just to kind of be sort of a purist historically. But there are many films that older films that have used contemporary scores in the way the one David is talking about that probably work better and sound better and serve the story better. So I don't know if the historical purity route is necessarily the best defense.

[Adam Kempenaar]

It is so tough. But maybe this is obvious and not really what David is getting into because I Understand, as you're suggesting, there's a larger philosophical conundrum here, but for the purposes of something like madness, your choice is your choice and it's what you're limited to. It may simply be a case that if you only have access to something like the Criterion version of it with the score and for our arbitrary needs, you're weighing it against the Adventures of Robin Hood. And you watch both films and you have to pick one that you, that you like more. All you can do is go off the version of the Passion of Joan of Arc that you saw. And I don't need to overthink it any more than that. I think we always want to default to as close to original versions as we can find of something. But, but if it, if it proves to be too difficult, I don't know what else you can do.

[Guest or Supporting Speaker]

Right.

[Adam Kempenaar]

So it is a very interesting question and I haven't had a chance yet to look. I'm curious what people in the Film Spotting Family Discord have had to say in response to David. I will check that out. Other film spotting family members can do that as well because they have access to that discord. They have access to the tournament. They get other benefits like our Film Spotting Family newsletter where these matchups and the polls go live every week. You can get access to all of this stuff, including our monthly bonus shows for as little as $5 a month. And we do have a current promotion going on now where it's even less than that through the month of August, our summer promotion. And all you have to do is use the promo code summer. You'll get 20% off any filmspotting family membership. That's any monthly or annual membership, 20% off through August. Just use the promo code Summer. We thank all of our film Spotting family members for their support. A couple of quick notes before we round out our top five Spider man scenes. We have two more picks left. You brought brought to my attention a really fine article by Richard Roper talking about something I don't know how many of our listeners are aware of. They've maybe heard about it a little bit over the years. This, this mysterious Lake street screening room that the two of us have both had the honor, quite frankly, the privilege of, of sitting in. And it does seem it's, it's maybe not imminent. We don't know the exact route it's going to take or what the timing is going to be. But it does certainly seem based on Richard Roper's article which we will link to in our show notes, if you would like to read it. It does seem like the Lake street screening room may be no more, which is really sad to think of when you consider all the history that is in that room. So this may be a little inside baseball, but hey, this is a film criticism show and it's something that we did want to spend a minute on.

[Josh Larson]

We have to. The history is so rich. This article by Richard Roper is really good, just very reflective. Reflective and based on my experience attending there over the, I guess decades now captures it quite well. So we'll link to it. It'[e-mail] appropriately because this was the home of Roger Ebert and Gene Siskel from the early newspaper years all throughout their television show. And I do remember when I first got a chance to go probably mid to late 90s, maybe a 40 seat. It's probably in the article. I should should know this offhand, but not a very big room. And when I got a chance to go writing a freelance movie review for a newspaper, feeling like I was entering the holy of holies. Yeah, because they were all there, Ebert and Siskel, but also at the time, Michael Wilmington Chicago Tribune Critic as well, alongside Siskel. JONATHAN Rosenbaum Chicago Reader Critic I mean, people I had been had grown up reading religiously and here I was sitting in an intimidatingly small screening room with them. And so it was that it was also just the idiosyncratic nature of it. It's in this high rise, you know, 16th floor of an unassuming high rise, which I think the building's being sold, which is why the occasion for this article or has been sold. And yeah, you just walked in and you'd go up and there would be this room and there'd be all these folks and you'd get to watch these movies in advance. And it's faded. You know, I think I've only been there once, maybe within the last year or so. More screenings are being held just in, you know, larger theater chains around the city. And yeah, the quality is the other thing of the presentation, though. And Richard Roeper interviews Steve Krause, who's been the projectionist and really the running the whole space all this time. And you just knew that it was going to be pristine no matter what the format. And that's something, you know, when you're going to a wider chain for press screenings, you don't always get let's just say the framing for the Odyssey press screening was, was a little bit, you know, it wasn't quite even on the screen. It wasn't Disastrous. We got the whole picture. But just being there reminded me again of what you would get from the Lake street screening room. So, yeah, I don't know if. Were we ever there together, Adam? I think by the time I was doing the show, it was being used less and less. But I'm sure there were a couple instances where we caught something there.

[Adam Kempenaar]

Absolutely there. There were. And it's so funny how over the years now, it's hard to remember exactly how many times, but I. I know for sure because I remember referencing. And this doesn't happen very often that I do this, but I remember referencing the muted response to the Grand Budapest Hotel the first time I reviewed it, and it was the critics response in the room, and we were all together watching it in the Lake street screening room the first time I saw that movie, I think 2000, late 2006, early 2007. So just about a year and a half or two years into film spotting was when we finally did get access to that room and. And absolutely feeling like you had arrived. And you especially felt like you'd arrived when you walk in and there's Roger Ebert. And no one had to tell you that that was his place in the back.

[Josh Larson]

You backlogged.

[Adam Kempenaar]

You knew that if he was sitting there, that had to be his spot, and he was going to sit there every time, and you would not ever dare to sit in that seat. And I. I did pretty much always find a seat just in, like, the third row middle. But that's the other thing about this that I did want to mention, Josh, is that I think when you hear about this place and you think about, like, Siskel and Ebert being here at this private screening room for critics, the image in your mind, you talk about the great presentation, which it was. The image in your mind is of this pristine, immaculate sort of place. And it's not that it was run down or tawdry or anything, but it also always felt to me just very working class and just very much a space where working, working critics were there to see the movie they had to see and then go do the work that they had to do in response to that movie. It wasn't there to be some. Some hallowed movie house. It was. It was there to project to you a. A good picture and good sound and a comfortable seat.

[Josh Larson]

It was not. It was not gilded, and there was a lot of food being brought in. No, I can remember, you know, in. In my heyday, when I was, you know, working as a daily critic, I would see three in a day. You'd have 15 minutes between the. The 10am Got out and the 12, 15 would start to run down to a hot dog stand and bring it back up before the next one started. So there's a lot of crinkling of papers and yeah, you're right, it was not like this hallowed museum, which was part of its charm. And it's interesting you mentioned that about the hushed reception to Grand Budapest Hotel. You know, one of the things I do appreciate about these larger screenings we have more often now, often with audiences who have won tickets to see it, is there's not that sort of this didn't always happen, but that sort of reserved air of caution that would definitely be in that room. And I was a part of it. Like, you know, especially when you're new, you don't want your, your reactions to be heard by Roger because what if he's not feeling the same? You know, so you're dealing with that sort of thing. And I think that just kind of became. Or people just wanted to keep their reactions close, you know, not let it known, let it be known how they feel about the movie, which is maybe one of the downsides of a situation like that compared to a bigger theater where you could let loose a little bit. But yeah, you know, there probably won't be anything like it again, just the way media has gone and, you know, film, film reviewing and the whole, the whole process has changed. There's, you know, as many influencers as critics at some of these screenings now, which is fine, but it's just a different. It's a whole different experience than what could be had at the Lake street screening room, for sure.

[Adam Kempenaar]

Again, we will link to the article in our show notes. It is a very interesting read. If you're curious to check out Richard Roper's piece, we now move on to our deeply flawed film spotting poll. It probably is deeply flawed because we don't need all of these choices, but we're going to give them to you anyway. Your task is to choose one and only one Spider man film. I guess that's how we do it. We're applying. It's unwritten here, but it is implicit that the incinerator is at work here, Josh, behind the scenes. And only one of these movies survives. So which one is it? In chronological order, the options are.

[Josh Larson]

Yeah, the incinerator has a generator, so it's never offline. Okay, so our options. Spider Man 2002, Spider Man 2 from 2004 into the Spider Verse, Homecoming, and then across the Spider Verse. So There's a couple of challenges here. We are going to include the option of other as well. For you Andrew Garfield fans, there's two things you have to decide. Am I going Spider Verse or live action? And then among that choice, which Live action or which Spider Verse? I'm gonna. I'm. I'm still thinking my way through this, so give me, give me 20 seconds or so. Do you have. Do you have.

[Adam Kempenaar]

Well, I guess yeah, I can banter a little bit, but I'm just going to stall as well because I've been thinking about this, but I was thinking about it before we'd even come to this poll question, just as I was doing the top five list because I feel like I'm a little bit on the outside when it comes to the conventional wisdom on this, and that is that there's a reason why we picked for movie Deathmatch and we did consider what various people had to say and consult various lists. There's a reason why we picked. To represent the live action, we picked Spider Man 2. And there's a reason why we picked into the Spider Verse. Now, part of picking into the Spider Verse may have actually had to do with it being the first animated one. And so it felt revolutionary. And Spider Man 2 actually felt more like the culmination, the pinnacle of, of what Raimi was doing. I'm not going to get into it any more than that, but that's my, my quick armchair assessment for me. And I want to note I have not rewatched other than scanning scenes for the top five. I have not sat and re. Watched in one sitting, fully focused, taking notes for a review. Spider Man 2. But I have done that fairly recently with, well, fairly recently, like eight years ago or whenever it was for Spider. Not eight years ago, three years ago, four years ago for Spider Man. For Spider man, the original. Right. Because it was its 20th anniversary in 2022. So that is lingering in my mind. But my point is, is that when I think about those first two movies, I feel like the conventional wisdom is that Spider Man 2 is the greater achievement and. And Spider man, the first one is the one that is stronger in my memory. There are scenes that have stayed with me, Josh, in a greater way. And I feel like it has edged out Spider Man 2 for me if I'm just picking between them. So I'm off on that. And here's where I'm off on the animated films, especially if you look at. Which I did. If you look back at my notes for those two films, I have way More interesting things to say and in my mind deeper things to say about across the Spider Verse than I do into the Spider Verse. Across the Spider Verse connected with me and resonated with me in a way more meaningful way than into the Spider Verse did. Now maybe, maybe I just saw it on a better day and I was more in tune to what was happening and I was paying closer attention. But I can't change that. I had the deeper reaction to across the Spider Verse. So I feel like in both cases I'm going against the grain a little bit.

[Josh Larson]

I think you're right. That consensus would say not overall but between the live action Spider Man 2. I'm not sure I don't have a good sense for which Spider Verse is considered better. It might be across as you're saying. I'm going to lean on and I know it's not in the language here we just presented, but somewhere, maybe it was in slack somewhere. I think Sam used the word definitive and I'm latching onto that because I found it very helpful.

[Adam Kempenaar]

Okay.

[Josh Larson]

It's going to help me weave a path towards my choice here. I think one of the Spider Verse films are probably better as films just in terms of the inventiveness, the craft the and the live action have these but the level at which it's operating, inventiveness, craft visual elements and balance of action and humor. One of those is probably the better film. But I'm going to stick with definitive and for me neither of those is possible. Those are the movies we need now where we've been churning our way through superheroes, let alone Spider man for decades now. We need those types of movies now that are rethinking the entire superhero project in very smart and entertaining ways. Not exhaustive ways which we've also seen elsewhere, but definitive. For me, I go back to live action and I do as well as you go back to the first Spider Man. I just think it's where and maybe we should get back to our list soon because I think we'll be talking about this with one of the picks. It's where what I had been waiting for my whole life to see on the big screen and hoping they wouldn't mess it up. And not only did they not mess it up, but they actually made it work. And so that's why I'm going to go back to the first for Spider Man.

[Adam Kempenaar]

That is where I'm going to vote as well. Spider man, we would like to know your thoughts. Can't wait to see how this one comes out. You can vote in that poll and leave a comment. We'll share your feedback here in a couple of weeks. [e-mail] what's up, fam?

[Ari Chambers]

I'm sports journalist Ari Chambers.

[Sam J.]

Hey, what's up, y'?

[Josh Larson]

All?

[Sam J.]

It's your girl, Sam J.

[Ari Chambers]

And we're the host of Everyone Watches Women's Sports, a new podcast from together. And I heart women's sports sports, because,

[Sam J.]

let's be real, women's sports is giving us way too much to talk about these days.

[Ari Chambers]

So Kelsey Finler, she became the first female solo rower to go from California to Hawaii.

[Sam J.]

My first thought is, like, what's up with the snacks? Like, what are we?

[Adam Kempenaar]

What are we eating?

[Ari Chambers]

The highlights, the rivalries, the breakout stars, the moments that take over your entire

[Sam J.]

timeline and the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports.

[Ari Chambers]

Naomi Osaka showing out. She beat Sabalenka.

[Sam J.]

Shout outs to you, Naomi.

[Ari Chambers]

You get the palm. Naomi, you get the palm for that.

[Sam J.]

Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone watches women's sports. Listen to everyone watches women's Sports on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Carrie Brownstein]

Hey, Portlandia fans, Carrie Brownstein and Fred Armisen here, you know us, or rather, you know them. Tony and Candace, Nina and Lance, Spike and yes, the chicken.

[Fred Armisen]

We've played a lot of iconic characters over the years, but today we're showing up as ourselves to tell you about Podlandia. AO rewatch our brand new podcast.

[Carrie Brownstein]

Each week we'll revisit an episode of Portlandia from the very beginning, breaking down the sketches, exploring the backstories of our most iconic characters, revisiting the Portland locations you know and love, and opening up about our creative process.

[Fred Armisen]

How did any of this get made? Why did he think that was a good idea? We're ready to talk about it.

[Carrie Brownstein]

And we'll also be joined by the people who helped bring it all to life. Guest stars, collaborators and friends, including director Jonathan Krisel, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more.

[Fred Armisen]

Kyle is going for it. Here you fully improvised, not just words, but a song about.

[Josh Larson]

I thought he was going to write. I thought you were all going to write a song.

[Fred Armisen]

I remember you thinking that.

[Carrie Brownstein]

Listen to Podlandia. AO rewatch on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Chelsea Handler]

This is Chelsea Handler. From Dear Chelsea. Every week the news gets worse, the world gets crazier, and Yamanika is here to tell whoever's responsible, you're the problem.

[Yamaneika Saunders]

If you come over here to play games, I' ma check you. Okay? If you do some in the news that don't sound good, I' ma play you.

[Chelsea Handler]

Join Yamaneka Saunders as she breaks down the week's most problematic stories on her new podcast. You're the Problem with Yamaneika.

[Yamaneika Saunders]

Do you know I just found out who Sydney Sweeney was.

[Chelsea Handler]

New episodes weekly every Wednesday as part of my new network, the Dear Chelsea Network.

[Yamaneika Saunders]

If he got a bunch of women, then I should have of a bunch bunch of men. Do better or do less so I don't have to do so much.

[Chelsea Handler]

So join Yamaneika each episode as she answers one question. Who's the problem?

[Yamaneika Saunders]

I'm Yamaneika and I'm out. Listen to youo're the Problem with yamaneika on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Jake Brennan]

I'm Jake Brennan and on the Disgraceland podcast, I explore the wild lives of rock stars and unbelievable, believable true crime stories from music history. These are the stories you haven't heard, the kind you'll end up telling someone else. Like the time Paul McCartney spent in one of the world's most notorious prisons. Imagine that you're Paul McCartney. It's 1980, you're an ex Beatle and you're doing time in one of Japan's worst prisons right there alongside Yakuza gangsters in fort a ridiculous charge? Or the bizarre crime Lady Gaga is accused of? Who is the artist? Lady Gaga is being accused of doing the unthinkable to after allegedly stealing her music in style to become famous. And what about that time Blondie's Debbie Harry escaped a serial killer? The man who had given her that ride, she barely escaped from Washington. Ted Bundy. Listen to Disgraceland on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Adam Kempenaar]

Let's do then transition Josh very smoothly back into our top five. And honestly, based on the conversation we just had, I don't know that it could go any smoother, at least with my top two picks. But we have a listener voicemail came in just under the wire and I think it will help us because it will make this list feel complete. It will allow us to feel like we gave every Spider man his due. It turns out that there is some love for Andrew Garfield's Spider Man. And it comes from a bonafide expert on Spider Man. Let's go ahead and hear the credentials and the choice of Drew Jeffries.

[Drew Jeffries]

Hi, film spotting longtime listener Drew Jeffries here. So I teach a university class on superhero films. I'm also the author of an academic book called Comic Book Film Style. But perhaps more pertinent to this week's top five, I also have that meme with the two spider men pointing at each other literally tattooed on my body. I have one spider man on each thigh. So when I found out y' all were doing your top five Spider man scenes, I knew I had to send in a quick note. Now, I have love for every iteration of Spider man, but the Andrew Garfield of a Stone Amazing Spider man is actually at the top of my list. In part. I just find their chemistry as a couple to be so undeniable, I'd actually put them at number one on my personal list of movie couples, full stop.

[Guest or Supporting Speaker]

And no offense, but you're wrong. You're wrong about us being on different paths.

[Adam Kempenaar]

We're not on different paths.

[Guest or Supporting Speaker]

You're my path, and you're always going to be my path.

[Drew Jeffries]

But I'm going with a more traditional Spidey scene for my pick, which is a swing scene across New York City. This one comes towards the end of the movie. Spidey's hurt. He needs a bit of help to swing over to Oscorp to save the day. And wouldn't you know it, the cranes reconstructing the city all start slowly turning inward, giving our guys something to swing from. Cue the water. Works for me every damn time. Superhero movies are so bound up with the post 911 moment, but this scene really beautifully articulates the united we stand ethos instead of just restaging the attacks themselves as movies like Batman Begins or the Avengers or Man of Steel would do. Anyway, I can't wait to hear your picks.

[Josh Larson]

Thanks, guys.

[Adam Kempenaar]

There it is. Andrew Garfield, Marc Webb. Spider Mans. They're. They're not going to come up in any of our top two picks. But Drew did get that choice in, and I don't think you can argue with his credentials. I think he makes a compelling choice there. And I said it earlier, Josh, that even the bad ones, and I don't think the Amazing Spider man, the first one, is necessarily one of the bad ones. It may not be one of the better ones, but it's not a. It's not a terrible movie, but it has a moment like that. And Drew is right. It has a moment like that. A nice visual moment like that where those cranes come together and you go, oh, a Spider man movie can give me a nice. A nice touch like that with that character. And it speaks to what you said earlier, that intimate connection between Spider man and the citizenry of New York.

[Josh Larson]

Well, thank you for the voicemail, Drew, but where's the photo? I mean, I. I'm not saying I don't believe you, but when we did our top five tattoos, tattoos we would get. We were flooded with braver souls who have gotten their movie tattoo tattoos. They would send pictures, so.

[Adam Kempenaar]

Oh, I bet it's coming now.

[Josh Larson]

Yeah.

[Sam J.]

Yeah.

[Josh Larson]

Let's talk about something for the film. Spotting family discord. Can't wait to see it up in the future.

[Adam Kempenaar]

I like it.

[Josh Larson]

Thank you, Drew.

[Adam Kempenaar]

You know the email address? Yeah, you know the email address. We do appreciate the feedback. Let's get to our final two choices. Josh, your number two Spider man scene.

[Josh Larson]

Let's get back to praise for 2002's Spider Man. And it's the upside down kiss. When I started rewatching and researching this pick, Adam, because I knew it was gonna be on my list, I really expected to find out that the scene, or at least the image, at least this image, was pulled from a comic book run at one point that I wasn't aware of, but apparently not. What I did Find was a 2022 Ringer article that was a deep dive just on this scene written by Jake Kring Schreifels. And in there, he talks a little bit about how the scene came about, doesn't mention that it appeared in the comics, a comic run earlier. Maybe a listener might know of something similar that they can share. We'll link to this as well if you want all the details on this deep dive. But basically, the moment arose after director Sam Raimi scrapped plans to film a fairly standard kiss atop Rockefeller Center. And so they were looking for another option. And second unit director and storyboard artist Doug Leffler thought about some earlier jobs he'd been on. Earlier work he had done that featured characters falling into the frame. And so that was in his mind, and he started sketching out possibilities, and he sketched out the basics for this scene. So this is Tobey Maguire's Peter lowering himself next to Kirsten Dunst's Mary Jane in this rainy alley.

[Adam Kempenaar]

You have a knack for getting in trouble.

[Fred Armisen]

You have a knack for saving my life. I think I have a superhero stalker.

[Josh Larson]

I was in the neighborhood, and I can't really say much better why this works than what Kring Schreifel does in this article. So let me quote here. If this is in the ringer within the context of the story, the scene is a cathartic release for Peter Parker. A rare opportunity to embrace his dual identity and be vulnerable with the girl he loves. On a much larger scale, it's one of the most iconic and romantic kisses in Hollywood history. A unique and asymmetrical composition of rain soaked interlocked lips never seen before on the big screen. So I have this at number two. I do think this is another element of the character is the romantic nature. And the only thing I'll say about Brand New Day is that is definitely explored. If this is something you love about the Spider man and Peter Parker character, that is definitely explored in the new movie, in Brand New Day, what that means for this iteration of the character. But here, yeah, it is the, the composition and what it means in terms of character. And you have. When you think of this in terms of all the versions of Spider man, it is such a unique. I mean, this idea of a Spider man presents so many unique visual possibilities. It would be easy to just stop there and say the things we started with as kids. Like, wouldn't it be cool to see them swinging across the screen? I mean, we got it, we're good. But to take that next step and imagine ways for those visual possibilities to echo thematic ideas, to echo emotional beats, to capture character qualities, that's when you're really working at a higher level of artistry. And in a single shot, really. I mean, there's a lot going on here that goes into this. I think Kirsten Dunst makes this a pretty sexy scene in the way she plays it, actually. So the actors are definitely involved in making this work, but just in a single shot, in the framing, to be able to invest it, infuse it with so much emotion and thematic purpose for me, makes it, you know, could easily be the number one for a lot of people. Probably is their number one Spider man scene or moment. I have it here at number two.

[Adam Kempenaar]

Yeah. Tough not to put on my list. It's an honorable mention. It's what I was trying to say. Or we'll go back to with your number five, I believe the stopping the train moment. There are some moments. There are reason, reasons why you consider them Mount Rushmore type moments. They belong on that list. And from the train, Josh, it's not just them, them holding him, but even when he, when he faints in their, their hands. Right? Hold him, hold him up. And, and here that, that image is so vivid. And. And I understand why the Ringer has devoted an entire article to it. I think for a lot of people, you're right. It probably is the number one scene that said everything you just articulated about it in terms of composition being so important and taking the unique visual possibilities of a spider character so perfectly, even better, I think, applies to my number two. It's like the filmmakers here in across the Spider Verse said, let's take that moment. And maybe they did, Josh, because it also involves characters who are upside down. They took that moment and said, how can we extend this even more? Extend the. The emotional and thematic possibilities of that imagery? And when you think about these films. So the moment is Miles and Gwen at the Williamsburg Clock Tower in Across the Spider Verse. In both of the films, there's plenty of examples of impressive animation, thrilling imagery, great action moments, but also just great compositions where you recognize the artists responsible for these films are elevating the craft. And as you said earlier, talking about the poll, questions that maybe in some ways these are even just better films. But for me, the single scene that best harnesses those capabilities is this scene. It's a reunion scene. It's been, I think, like a year and a half since these two characters last saw each other. So they're catching up. They're. They're feeling each other out, but they also know each other so well. They know each other in a way, like great friends do. And people who are connected the way they are, they. They know each other uniquely. There's also that other dynamic at play where Miles has a crush on. On Gwen. Daniel Pemberton's score is so lovely. During this sequence. They're high above the city. They're. They're in this fantasy sort of realm.

[Guest or Supporting Speaker]

And it.

[Adam Kempenaar]

Everything about it captures the way you feel when you're seeing someone special to you who you haven't seen in a long time. And the director, Justin K. Thompson, he seems to want to keep it grounded in character. It's not about showing off with the animation, but it is about trying to heighten that. That sensation, this fantasy sort of feeling, this special feeling that these two characters have when they're together. And the first time we see them, it is kind of subtle, right? Because they're vertical in the frame. The first time we see them together, it feels like a normal shot. So you and your dad, it's a little off because the horizon is also vertical. We're not used to seeing horizons be vertical. And we can kind of start to put together that, oh, they must be walking sideways In a way that only characters like they could do. And then when Gwen starts walking backwards along the dome and we with the camera follow her, almost like we're on a roller coaster, but a gentle roller coaster that's going over the edge with her. It's one of those kind of take your breath away moments. But not again, not in a roller coaster drop. Take your breath away just kind of of eases you into it. It's. It's really something. And then there's that incredible 180 degree move that, that follows her as she moves to the underside of the ledge and she's standing upside down. And I honestly just love the, the tilt up then that we get where Miles is standing on top and she's sitting up upside down. And it's still keeping some distance between them because I think it's still about he. He is still trying to figure out how to kind of move into her space and, and how to. How to fully reconnect with each other so there's still some distance between them. But then he does move closer and he joins her and they spend the next, the next few minutes together talking while sitting upside down. I'm just a really emotionally intelligent guy beyond my years. Some of the lines of dialogue in that scene while they're sitting there or just about to sit there together, I think really explain the motivation for the sequence and the way it's portrayed. At one point Miles says, well, maybe some things are supposed to be just for us. And she says, how many people could you talk to about this stuff? Speaking to again, that special connection, how they are. Obviously they're different and there aren't a lot of people who have their special skills and they need each other. And if they are, then these types of figures who are going to have an experience that are just. The experience is just for them and they're going to talk about things that only they can talk about. Will it make sense that they would do it in an environment and in a way that only they can do, that only they can have in a moment that only they can share, which is them high above the city, sitting upside down. So the whole sequence for me evokes that, that they're, they're having together this singular experience that is just for them. And, and then because of that, we as viewers, it almost feels like a privilege that we get to be a part of it. It feels that intimate that we get to sit there and, and listen in on the conversation that they get to a place, Josh, where the production designer said And I should find his full name. His last name is o'. Keefe. But he talks about the artist Peter Chan, who did the majority of work on the sequence. He says he did such a fantastic job. Peter is an artist that we traditionally use for the most colorful scenes possible because he has this ability to handle a wide variety of colors. For this scene, however, I challenged him to work with a more limited palette and pay very close attention to the sensitivity of the sequence. There are lots and lots of very subtle but huge shifts happening here. The city never feels too flat or boring. Although it feels magical and romantic, it's not telling you directly. The visuals are letting you feel the romanticism of the moment quietly. And I think that. I think that does get to part of why that that scene works again, for all of its showiness in some way. If you think about the way the camera is following the characters and that upside down things are happening, it is so quiet at the end of the day, it is still such a quiet, beautiful scene.

[Josh Larson]

Yeah. There is a real sunset seeping through the clouds. Sense of the color here that. That quote brings to mind. If listeners have not seen this scene, you really gotta check it out. We'll link to it in our show notes as we will for, I think, all the scenes for our picks, because it's kind of hard to describe. Right. But for all the reasons you laid out and a few more I'll get to. This is why I have being Upside down with Spider Gwen as my number one. I have it ahead of the kiss. It's just mesmerizing and moving. Astute listeners will also remember I had it actually as my most moving moment at our 2023 rap party. And so obviously it was gonna be on this list. It was just a matter of where do I rank it with the others. And once I watched all of them again, I. I had to put it at the top. I do think to your point about the dialogue, Shame Moore as Miles here and Hailee Steinfeld as Spider Gwen, I. I do think they're giving really good performances. And the character animation with him moving his hand slightly towards her is just so astute. So in terms of performance, it's wonderful. But it really is a lot of what you were talking about, the visuals accentuating those emotions. I even like. I think the only thing I'll mention that you didn't. I don't think you mentioned Gwen's ponytail, how she puts her hair in a ponytail at the start, but then when the whole screen flips, essentially she looks like she's sitting upright, but her ponytail is poking way up in the air because of gravity. Right. So it's just. It's clever. It's also orientating for us as the audience is. It's like, okay, it's functional, but also, like, really kind of funny and cute. And then to have the skyline in the background be upside down with that happening, it's like, okay, what's happening here? But, okay, I think I know what's happening here. And your brain is registering all that. And it does, you know, it's dizzying and oddly beautiful, but it does speak to what you're talking about. Their unique experiences. These are two teens whose worlds have been completely upended, literally, and, you know, thematically turned upside down. And this is what they're talking about here. The stresses, the pressures of these having these powers and what it means for their family relationships and their personal relationships and to. Yeah. To have that represented by the imagery alone. I. I really, you know, I didn't think the movies could find a way to top the comic book cool and emotionality of the upside down kiss, but I think this scene from across the spider verse manages it. So, yeah, number one for me.

[Ari Chambers]

What's up, fam? I'm sports journalist Ari Chambers.

[Sam J.]

Hey, what's up, y'?

[Guest or Supporting Speaker]

All?

[Sam J.]

It's your girl, Sam J.

[Ari Chambers]

And we're the host of Everyone Watches Women's Sports, a new podcast from Together and iheart Women's Sports.

[Sam J.]

Because, let's be real, women's sports is giving us way too much to talk about these days.

[Ari Chambers]

So Kelsey Findler, she became the first female solo rower to go from California to Hawaii.

[Sam J.]

My first thought is, like, what's up with the snacks? Like, what are we eating?

[Ari Chambers]

The highlights, the rivalries, the breakout stars, the moments that take over your entire

[Sam J.]

timeline and the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports.

[Ari Chambers]

Naomi Osaka showing out. She beat Sabalenka.

[Sam J.]

Shout outs to you, Naomi.

[Nick Turturro]

You get the palm.

[Ari Chambers]

Naomi, you get the palm for that.

[Sam J.]

Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone watches women's sports. Listen to everyone watches women's Sports on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Carrie Brownstein]

Hey, Portlandia fans, Carrie Brownstein and Fred Armisen here, you know us. Or rather, you know them. Tony and Candace, Nina and Lance, Spike and yes, the chicken.

[Fred Armisen]

We've played a lot of iconic characters over the years. But today we're showing up as ourselves to tell you about Podlandia. AO Rewatch our brand new podcast.

[Carrie Brownstein]

Each week we'll revisit an episode of Portlandia from the very beginning, breaking down the sketches, exploring the backstories of our most iconic characters, revisiting the Portland locations you know and love, and opening up about our creative process.

[Fred Armisen]

How did any of this get made? Why do we think that was a good idea? We're ready to talk about it.

[Carrie Brownstein]

And we'll also be joined by the people who helped bring it all to life, guest stars, collaborators and friends, including director Jonathan Krisel, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more.

[Fred Armisen]

Kyle is going for it. Here you fully improvised not just words, but a song about.

[Josh Larson]

Well, I thought he was going to write. I thought you were all going to write a song.

[Fred Armisen]

I remember you thinking that.

[Carrie Brownstein]

Listen to Podlandia. Ayo rewatch on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Chelsea Handler]

This is Chelsea Handler from Dear Chelsea. Every week the news gets worse, the world gets crazier, and Yamanika is here to tell whoever's responsible, you're the problem.

[Yamaneika Saunders]

If you come over here to play games, I'm. I'm a check you. Okay? If you do some in the news that don't sound good, I'mma play you.

[Chelsea Handler]

Join Yamaneika Saunders as she breaks down the week's most problematic stories on her new podcast. You're the Problem with Yamaneika.

[Yamaneika Saunders]

Do you know I just found out who Sydney Sweeney was.

[Chelsea Handler]

New episodes weekly every Wednesday as part of my new network, the Dear Chelsea Network.

[Yamaneika Saunders]

If he got a bunch of women, then I should have a bunch of men do better or do less so I don't have to do so much.

[Chelsea Handler]

So join Yamaneika each episode as she answers one question. Who's the problem?

[Yamaneika Saunders]

I'm Yamanika and I'm out. Listen to youo're the Problem with yamaneika on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Jake Brennan]

I'm Jake Brennan, and on the Disgraceland podcast, I explore the wild lives of rock stars and. And unbelievable true crime stories from music history. These are the stories you haven't heard, the kind you'll end up telling someone else. Like the time Paul McCartney spent in one of the world's most notorious prisons. Imagine that you're Paul McCartney. It's 1980, you're an ex Beatle, and you're doing time in one of Japan's worst prisons right there alongside Yakuza gangster sisters. And for a ridiculous charge or the bizarre crime Lady Gaga is accused of, who is the artist Lady Gaga is being accused of doing the unthinkable to after allegedly stealing her music in style to become famous. And what about that time Blondie's Debbie Harry escaped a serial killer? The man who had given her that ride she barely escaped from was Ted Bundy. Listen to Disgraceland on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Adam Kempenaar]

I guess I'm proving here why I did Pick Spider Man 2002, though, as my definitive Spider man in the poll question. Because when it came down to going with a number one scene, I did resort back to Sam Raimi's 2002 Spider Man. And I went with Peter discovering his powers. And I do think there's a lot here, Josh, in this scene that reflects here again, Sam Raimi's sensibilities as a director and how he applies them to this character. Why these movies work so well, starting with Peter looking down at his hand and that extreme close up of his fingertips with the microscopic hairs. It literally makes his superpowers tactile, which is something we complain about, is these superhero movies not feeling that way, not feeling real, not feeling tangible. Here's where I said I was going to maybe mention the Amazing Spider Man 2 Again, the movie I needed to catch up with. And I watched it as my last film so I could cross off all these Spider man movies. It's. It's definitely the worst of all of them, I would say, without revisiting all of them. I would say it's the worst of them. And I bring it up in this context, Josh, because with my respects to our listener, Drew, who says that these movies on the whole work and that he really likes Gwen and Peter as Emma Stone and Andrew Garfield portray them. I don't really have a problem with them, but I did spend most of the movie making that face. Dennis Leary makes the whole movie when he appears as the ghost of Policeman Past, who just appears every now and again with that scolding face where he

[Josh Larson]

just forgot about him.

[Adam Kempenaar]

He just, he just appears and scowls at. I hope he got paid well to do that, like for just one day of work. Just stand in front of a green screen or whatever and scowl at Tom Holland or nobody. He was probably scowling it. Or not Tom Holland. Andrew Garfield probably was scowling at nobody. I do hope Dennis Leary got paid well for that day. That's how I Felt mostly disappointed watching this movie. And my biggest disappointment was maybe that at no point did I feel, not just during the set pieces, the major set pieces, but during any single moment of Spider man being Spider Man. At no point did I feel like I believed it. At every. At every turn, the effects jolted me out of my suspension of disbelief. Felt like they had to apply some kind of computer, computerized moment, computer generated effect at every single leap or wall climb, whatever it was. And it took me out of it at every turn. And here Rainy is signaling to you. These hands are about to walk up the wall and you're going to watch it. Yeah, it's going to be great. This is a fun sequence. It's a funny sequence, but I think it's so memorable in part too, because of the layers that Raimi brings to it. You don't need a PhD in child psychology to read Spider man as a metaphor for puberty and adolescence with sudden physical transformations and the way that can be scary for young boys. And not surprisingly, with Raimi, this sequence starts with some ominousness. It's in this dark kind of alley out of the sun, and he looks up and sees the spider in the web crawling around. And there's barbed wire right next to it. And the Danny Elfman score even heightens that a little bit. And then when Peter initially starts crawling up the wall slowly, it. It doesn't feel like this joyous thing. It actually feels like something out of a horror movie where a scary monster starts crawling slowly toward the main character and then picks up speed. But then once he fully realizes what he can do, that's where the excitement begins. And I suppose watching that sequence, Josh, the only part for me watching it again multiple times you could be really nitpicky about is how real a couple of those jumps felt from the aerial shots. But otherwise I bought every single amazing move Peter pulls off there. It completely holds up. And the webs and the webs slinging feel real and don't feel like any kind of computer generated effect. He's a kid acting like a kid, like you believe a kid would act, discovering these powers and going back to where we began. Every single one of us who aspired to be Spider man who dreamed about this moment suddenly actually getting bitten by the radioactive spider. That when we put on our underooves and thought, if only I could actually sling webs and crawl up the walls in this moment, Raimi brought that to life for us. He delivered the confusion, but also the exhilaration that we imagined when we were kids. And I suppose that is a big part of why it will always be this movie. That scene in particular, that's a big reason why this will be the definitive Spider man for me.

[Josh Larson]

Yeah, I remember watching this in a press screening, wasn't at the Lake street screening room, but in a press screening. And my immediate reaction when this scene happened was they did it because you'd been hearing about this movie being in development for so long. And I didn't know if it could work until we saw the scene of Peter actually trying out his powers. And they pulled it off. It absolutely worked. It was thrilling. It was funny. As the character should be. All the things you said. It's my number six. It's the top honorable mention for me. I think it captures the genial enthusiasm which is a core trait of the character as well. Sometimes some of these movies try a little too hard to force that into fights here and there. But it's perfect for this sequence where Peter's response is, yes, confused, maybe a little nervous, but mostly this genial enthusiasm. And you mentioned the Elfman score. The best part of it is when he starts crawling up that wall, the way the music inches up the wall with him. With him. So, yeah, just a really great scene. And my top honorable mention.

[Adam Kempenaar]

Those are our top five Spider man scenes. We would love to hear your picks or any other comments about the show. You can email us feedbackfilmspotting.net Once again, you can find all of our choices and links to the [e-mail] just by clicking on lists right there at the top of the page. Josh, you did list one of your honorable mentions for us already. Do you have any others you would like to throw in?

[Josh Larson]

Well, I feel like I should give a bone to the Andrew Garfield fans. I mean, you know, Drew. Drew came to his defense, but you've been scarred by your amazing Spider Man 2 experience. So how about this? And it speaks to some of the things we've been talking about. But in the Amazing Spider man, there's a rescue sequence where Spider man convinces a kid who is in a car that's dangling from a bridge. And he's trying to convince him to climb out and, you know, come, come to him, come to safety. And the kid is scared. And what he does to convince him is he takes the his masks and gives it to the kid and says, it'll make you strong. And I think that, you know, it's a really nice moment that also speaks to the intimacy that we've touched on. So I would say that for the Andrew Garfield run. I feel like I need to acknowledge the Spider Men reunion that. That takes place in Spider man no Way Home. I think that's not a super successful. I mean, I liked it. Okay. But a super successful Spider man movie. And maybe it's a little hokey that all of the previous Spider man come to join Tom Holland. But if you are a completist or you have a long history with this character, I'm sorry, it. It's kind of cool. I mean, what they asked the actors to do is kind of lame, but the idea is cool enough. Okay, so let's say that the opening of across the Universe is essentially a mini Spider Gwen movie. And it's wonderful. You talked about the color work in the scene we both picked with Miles and Spider Gwen. But this, I think of that sequence where she's having that fight with her father and the background walls just start dripping like watercolors. Incredible. Yeah, I think I'll go with those for my honorable mentions.

[Adam Kempenaar]

Yeah. We have covered a lot of the same ground because I already mentioned to the run your list. The upside down kiss scene, stopping the train, Spider Gwen was one that stood out to me that opening. And you know what? I do. Or I am willing to give a nod to Peters reuniting in the latest Spider man movie. Which one is that again? No Way Home. Is that no way calling that no Way Home? Yes. From. From 2021. In terms of one or two that you didn't mention, I do have a moment that I called out during our Spider man conversation, our 20 year anniversary conversation where Aunt May chides Willem Dafoe, who I think is great. Chides Willem Dafoe's Norman Osborne. I can't remember exactly what he says, but he says something that. That she gives him a little slap on the wrist. And the way she does it and the way he reacts to it, he doesn't like the way she puts him in his place. He's not used to that is really great. Into the spider verse. I mean, this is one of those iconic Mount Rushmore moments perhaps as well. But the Leap of Faith is another great visual and thematic moment as well. I thought, Josh, that I would. And I did the research here. I thought that I would be able to find something from. This was going to be my off the beaten path surprise. Josh, pick. You know, you went with the. I should have known it was coming. Now it's a trend. But just as you went with the theme music or the opening theme moment, I thought here's where I'M gonna surprise Josh. I'm gonna. Even though this isn't that, that risky here or whatever, that much of a surprise, I'm gonna go with a Spider man moment from one of the Avengers movies or Captain.

[Josh Larson]

I thought about that.

[Adam Kempenaar]

Yeah, right. And I went back and watched every scene I could get my hand on. I thought surely one of these scenes, the, the relationship between him and Tony Stark.

[Josh Larson]

Yeah.

[Adam Kempenaar]

His entrance bond is fine. They have such a bond. And, and, and who doesn't love Tony Stark? Who doesn't love Robert Downey Jr. I'm surely going to find a scene that I love. It's going to jog my memory and I'm going to feel like I have to put this in my top five. And not only did I not find a scene from Civil War or Infinity War or Endgame that made my top five, this is the honorable mention I'm giving it is that I really couldn't find one, a single scene from any of those movies.

[Josh Larson]

Josh, your honorable mention is that he does appear in the Avengers.

[Adam Kempenaar]

He appears in those movies. So maybe that's some feedback I'm looking for, for, from listeners in general, but you can give us any feedback on the list. But specifically, is there something, is there a key scene for many of those? And I know there's the death scene and there's the coming back to life scene, but those don't stand out to

[Josh Larson]

me as great scenes in the moment and in the context. I think they're very effective. I think his return is quite moving and I think his presence, what he brings, just even as a character to that battle scene, it's like at an airport or something like that, right?

[Guest or Supporting Speaker]

Yeah.

[Josh Larson]

In Civil War I think is a nice, there's some nice levity there with what else we're getting. So I think he's quite good and a welcome presence in all those movies. I just didn't have anything from them that could rival, you know, the picks that we made.

[Adam Kempenaar]

Okay, once again, our top five Spider man scenes. Email us yours, feedbackfilmspotting. Net. Josh, that's our show.

[Josh Larson]

If you want to find Adam and the show on social media, you can find him on Instagram, Facebook, Letterboxd, YouTube and Blue Sky. At Film Spotting, I'm at those places. At Larson on Film, we are independently produced and listener supported. You can support the show for 20% off right now by joining the Film spotting [e-mail]. just use the code summer to get your 20% off. If you do that, you'll Be able to listen to the show early and ad free. You'll also get monthly bonus episodes, a weekly newsletter and access to the entire show archive. For show T shirts and other merch, go to filmspotting.net shop out in limited

[Adam Kempenaar]

release this weekend is I Want yout Sex, the new movie from director Greg Araki with Olivia Wilde and Cooper Hoffman. Friend of the show Mitchell Beaupre at Letterbox says Iraqi's sex filled riff on something like the Lady Eve or Ball of Fire. Okay, I was in. Now more interested. Boyhood is being re released unfortunately only in Alamo Drafthouse theaters and other independent chains. It does say other independent chains, but not one near me. Josh, I can't see that beloved film of mine back in theaters. The Kidnapping of Arabella is a new film from Italian writer director Carolina Cavalli. Friend of the show Robert Daniels says. And you can't say this isn't intriguing. What if Roy Anderson made Thelma and Louise?

[Josh Larson]

I'm gonna need a few minutes.

[Adam Kempenaar]

Just take process.

[Josh Larson]

Take a minute to process that one.

[Adam Kempenaar]

Okay. We know Roy Anderson's work fairly well. So yeah. Sheep in the Box this is the latest from Hirokazu Koreida. Big year for Sheep at the Movies. A near future set film about a family raising a humanoid robot as a son at the Music Box. Korea. I am. I am interested. Out wide is Spider Man. Brand new day so next week you can expect more Spider man talk. We will get to the latest Spider man movie starring Tom Holland next week in the film spotting feed. That's our show on Friday. Monday is episode three of the movie Deathmatch. It is a lot of Spidey. Sorry. Hopefully you'll be interested. Great conversation though. Matt Singer and Daisy Rosario about Spider Man 2 and into the Spider Verse. See which one gets crowned the definitive Spider man movie. It's going to be one of those two. Host Chris Klemek has to be the judge and make that tough call. And Josh, that's it. Because it's break time for the next picture show and Film Spotting svu. I guess they've earned it.

[Josh Larson]

Sure.

[Guest or Supporting Speaker]

Yeah.

[Josh Larson]

Yeah they do. They do deserve a break. Film Spotting is produced by Golden Joe Dassault and Sam Van Hallgren. Without Sam and Golden Joe, this show wouldn't go. Our production assistant is Sophie Kempenau. Special thanks to everyone at WBEZ Chicago. More information is [e-mail] for film spotting, I'm Josh Larson.

[Adam Kempenaar]

And I'm Adam Kempenaar. Thanks for listening.

[Guest or Supporting Speaker]

This conversation can serve no purpose anymore. Goodbye.

[Chelsea Handler]

This is Chelsea Handler from Dear Chelsea. Every week the news gets worse, the world gets crazier, and Yamanika is here to tell whoever's responsible, you're the problem.

[Yamaneika Saunders]

Do you know I just found out who Sydney Sweeney was? If he got a bunch of women, then I should have a bunch of men do better or do less so I don't have to do so much. I'm Yamanika, and I'm out. Listen to youo're the Problem With Yamanika on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Nick Turturro]

I'm Nick Turturro. You probably know me from NYPD Blue, the Longest Yard, or Spike Lee's Black Klansman. And on my new podcast, Delivering Happiness with Nick Turturro, I deliver pizza to a new guest. I've shared a slice with everyone from Seth Rollins.

[Guest or Supporting Speaker]

What are you doing?

[Drew Jeffries]

My belt.

[Nick Turturro]

To Bill Burr. I don't think I've ever met somebody so exactly out of their mind as I. And now we even have more great guests coming up, including the great John Turturro. It's called Happiness, Delivering Happiness and many, many more. Open your free I Heart radio app search Delivering Happiness with Nick Turturro and listen.

[Raiders of the Lost Podcast Host]

Now on Raiders of the Lost podcast, we explore cinema like no one else, including huge interviews with stars like Ryan Gosling on Project Hail Mary.

[Adam Kempenaar]

It was like the Jaws shark didn't

[Josh Larson]

always work, came with its own problems.

[Adam Kempenaar]

That's what made it great.

[Raiders of the Lost Podcast Host]

The cast of Obsession on set, there

[Adam Kempenaar]

was so much magic happening with each scene. We were putting together deep dives into

[Raiders of the Lost Podcast Host]

classics like 2001 A Space Odyssey or Fight Club, plus weekly episodes on all industry news. Listen to Raiders of the Lost podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And for more, follow aidersofthelost podcast and ICTK Podcast Network on TikTok.

[Carrie Brownstein]

Hey, Portlandia fans, Carrie Brownstein and Fred

[Adam Kempenaar]

Armisen here the dream of the 90s

[Carrie Brownstein]

is alive in podcast form.

[Fred Armisen]

We're launching Podlandia AO Rewatch our brand new podcast where we revisit every episode of Portlandia together, breaking down sketches, going deep on our iconic characters, and pulling back the curtain on how it all got made.

[Carrie Brownstein]

And we'll also be joined by the people who helped bring it all to life, guest stars, collected collaborators and friends, including director Jonathan Krisel, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more.

[Fred Armisen]

Kyle is going for it. Here you fully improvised, not just words, but a song.

[Adam Kempenaar]

Well, I thought you were all going

[Raiders of the Lost Podcast Host]

to write a song.

[Fred Armisen]

I remember you thinking that. Listen to Podlandia AO rewatch on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.