The Bulwark Goes to Hollywood

Latest Episodes:

How ‘Tuner’ Found the Perfect Pitch Nov 06, 2026

Show notes

On this week’s episode, I’m joined by Daniel Roher, the Oscar-winning director of Navalny, to talk about his first narrative feature, Tuner, which is streaming now on Paramount+. It’s one of my favorite movies of the year, so I was pretty thrilled to get him on the show and pick his brain about how the movie came to be, the importance of sound design for creating an unforgettable theatrical experience, and how he nabbed Leo Woodall, who has shot up my list of best young actors on the planet following this and Tony.

And really, seriously: you should watch Tuner. It’s streaming now and available for rental. It’s a propulsive 107 minutes, the perfect length for a high-concept thriller like this. And I guarantee you’ll be blown away by the cast: Dustin Hoffman, Havana Rose Liu, and Woodall are all pretty amazing.

The Tao of Norm Macdonald Oct 23, 2026

Show notes

On this week’s episode, I’m rejoined by Geoff Edgers of the Washington Post to discuss The Tale of Norm Macdonald and prod Geoff about his forthcoming* book on the great comedian who sadly died in 2021. Geoff wrote one of the defining profiles of Macdonald in 2016 for the Washington Post and appears, briefly, in the new Netflix documentary. (You’ll see him; he’s the one being served a sandwich by Norm’s mom.) But he does not appear as a talking head, as this documentary has no talking heads: It’s a compilation of clips with some voiceover narration provided by Norm himself from the grave! (Or, possibly, the audiobook of his novelistic memoir, Based on a Memoir: Not a True Story.)

*In 2028! Very forth. But Geoff’s book on The Police (the band, not the law enforcement) comes out in March of next year. I bet he’ll come back on the show if you ask real nice! He talked to all three members; it’s a really good book, I’m reading it now.

Book a Room at the ‘Haunted Hotel’ Oct 16, 2026

Show notes

I’m rejoined this week by Matt Roller, the showrunner of Netflix’s Haunted Hotel, to discuss the second season of his hit animated show. We talked about the difficulties of getting a new season done in just one year, how the fandom has reacted to the show (and why he tries to avoid letting the fanfic influence his work), and whether or not season three is on the way. If you haven’t watched Haunted Hotel and are a fan of similar shows like Bob’s Burgers or Futurama, you should really check it out. And if you enjoyed this episode, I hope you share it with a friend!

Let the Oscar Race Begin! Oct 09, 2026

Show notes

On this week’s episode, I’m rejoined by Katey Rich and Christopher Rosen, the Prestige Junkies over at The Ankler, to talk about the early days of the Oscar campaign. It’s finally heating up now that we’re hitting awards season and the prestige pictures are making their debuts; you can find our early preferred nominees at the Ankler Pundits landing page. But we cover a ton of ground in this episode, including how early favorites like The Odyssey will hold up, why La Bola Negra may well be Netflix’s best chance for a Best Picture trophy, and whether or not Inde Navarette of Obsession fame has a shot at a nomination. Plus: Wild Horse Nine! You Can See Everything! Fjord! So much to discuss, such little time. But we crammed a lot in for you. Leave your favorites of the year so far in the comments below!

Paramount’s Done Deal, Federal Tax Credits, and More Oct 02, 2026

Show notes

On this week’s episode, I’m rejoined by Sean McNulty of The Ankler’s excellent morning newsletter, The Wakeup, to discuss some of the big stories in the news. We start with the Paramount-Skydance/Warner Bros. deal going through its final phases before approval, before heading into some discussion of the federal film tax credits (17:10), and then wrapping up with a discussion of the state of sports rights and plateauing audience numbers there (29:30).

How ‘V for Vendetta’ Perfectly Explains Our Age Sep 25, 2026

Show notes

On this week’s episode, I’m joined by V for Vendetta director James McTeigue, whose film is returning to theaters on the first and fifth of November (“Remember, remember!”) via Saga Arts and Fathom Entertainment. We had a really interesting discussion both about the making of the film (I had no idea Hugo Weaving replaced another actor you may well know several weeks into production) and its continued relevance. What was intended as a metaphor for the War on Terror now holds up pretty well in our current age—arguably, much better, given the state of things now compared to then.

Chris McKenna on co-writing Spider-Man: Brand New Day, the highest-grossing film in domestic history. Sep 18, 2026

Show notes

On this week’s episode, I’m rejoined by the one and only Chris McKenna who, alongside writing partner Erik Sommers, cowrote the highest-grossing film of all time, domestically: Spider-Man: Brand New Day. He broke down the thought process that went into getting Peter Parker back together with his friends, the tricky negotiations between Marvel and Sony over who could use which characters and when, and posited some alternate futures about what the story could have looked like. On the episode, we also discussed Haunted Hotel, which comes back for season number two on October 9. Chris is an Executive Producer on that show; you may remember that I interviewed the showrunner, Matt Roller, about it last year. It’s fun! Add it to your watchlist! Go see Spider-Man: Brand New Day again! If you enjoyed this episode, share it with a friend or leave a comment!

A Witness to Film History Sep 04, 2026

Show notes

This week I’m joined by Godfrey Cheshire to discuss his new book, Cheshire on Film: Life & Writings. Cheshire is a long-time critic—in addition to writing for Variety and RogerEbert.com, among many other outlets, his stint at the New York Press with Matt Zoller Seitz and Armond White was a legendary run during the golden age of the alt-weeklies and was recently collected in The Press Gang—and his new book highlights a number of his seminal pieces, including interviews with David Lynch and Charlton Heston.

But it also functions as a memoir of sorts, a remembrance of a vibrant time in film and film writing that is hard to imagine today. And it serves as a crash course on Iranian and Chinese cinema for those who need one. This is a must-read for anyone who is interested in the world of cinema.

You can check out his Substack here. If you’re in North Carolina on September 9, Chesire will be at the Rialto hosting a Q&A and signing books. And New York City residents should make sure to check out Cheshire’s appearance at the IFC Film Center with filmmaker (and Bill and Ted costar) Alex Winter on Monday, September 21. If you make it out there for either of these shows, please say hi from The Bulwark!

How Copyright Law Is Being Used to Squelch Speech Aug 28, 2026

Show notes

This week I’m joined by Puck’s Eriq Gardner to discuss his fascinating piece on Warner Bros. efforts to keep a lid on spoilers for their new show, Lanterns, including some potential abuse of the Digital Millennium Copyright Act’s ability to remove infringing content from the Internet. We discussed what’s happening and how it could reflect a broader effort to stifle speech in contexts other than spoiler warnings. You can read Eriq’s reporting on the topic here. And if you enjoyed this episode, make sure to share it with a friend!

Life Is a Highway: The Terror of ‘It Ends’ Aug 21, 2026

Show notes

This week’s episode is a real treat: I’m joined by Alex Ullom, the 28-year-old writer/director of It Ends, and he provided a real window into the process of getting a low-budget indie movie made. His story has everything: fundraising from professional magicians; a first cut that didn’t work at all; acceptance into SXSW followed by no offers to buy the movie; a grassroots groundswell that got it the attention of Letterboxd; and, finally, a pickup by leading indie distributor Neon for release this week.

It’s playing in Los Angeles and New York City this week before expanding wide next week, and I cannot stress this enough: if you liked Backrooms or enjoyed the existential dread of Exit 8, you have GOT to go see It Ends.

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