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118: Bela vs. Boris (Bela & Boris Part 4) Nov 07, 2017

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Lugosi and Karloff, the two stars made by Universal’s monster movies, made eight films together. Today we’ll dive deep into some of these movies (including The Black Cat, The Raven, Son of Frankenstein and Val Lewton’s The Body Snatcher), and continue to explore how even when their careers brought them together, Karloff and Lugosi remained worlds apart. Featuring Patton Oswalt as Boris Karloff and Taran Killam as Bela Lugosi.

117: Boris and the Monsters (Bela & Boris Part 3) Oct 31, 2017

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After twenty years as a journeyman actor/laborer, Boris Karloff became an instant superstar as the Monster in Frankenstein (1931). Today we’ll explore how Karloff, unlike Lugosi, managed to maintain a steady stardom throughout the decades, returning to the monster that made him without feeling trapped by the character. Featuring Patton Oswalt as Boris Karloff.

116: Bela and the Vampires (Bela & Boris Part 2) Oct 24, 2017

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With Dracula (1931), Bela Lugosi instantly became the first horror star of sound cinema. It’s not easy being a trailblazer, and Bela would have difficulty capitalizing on his newfound stardom. In this episode we’ll discuss how Dracula made him, and trapped him, and trace the subsequent vampire roles that became his bread and butter.

115: Where the Monsters Came From (Bela & Boris Part 1) Oct 17, 2017

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Bela Lugosi and Boris Karloff were two middle-aged, foreign, struggling actors who became huge stars thanks to Dracula and Frankenstein, the first two of a trend of monster movie hits released by Universal Studios during the 1930s. This season, we’ll discuss their parallel but very different lives and careers. Today, we’ll start by exploring where each man came from, what they were doing before they got to Universal, and why Universal began making monster movies in the first place.

114: The Last of Jean/Jane Works Out (Jean & Jane Part 9) Aug 22, 2017

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Jean Seberg, now plagued with mental illness and alcoholism, comes to a tragic end in Paris. Jane Fonda reinvents herself, once again, for the 80s.

113: Coming Home (Jean & Jane Part 8) Aug 15, 2017

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Jean buries her child in Iowa, and then returns to Paris in a fragile mental state. Increasingly plagued by both justifiable paranoia and delusions, she makes her last significant films (including another misguided collaboration with Romain Gary), and another attempt at marriage. Back in the States, Jane subsumes her passion for activism into her new marriage to Tom Hayden, and works to get her movie career back on track by producing commercial yet socially conscious vehicles in which she can star in. One of these films, Coming Home, would become both an anti-war and feminist landmark, and would win Jane another Oscar.

112: Hanoi Jane & The FBI vs. Jean Seberg’s Baby (Jean & Jane Part 7) Aug 08, 2017

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After shooting a film with a much-changed Jean-Luc Godard, Jane Fonda travels to Vietnam, where she naively participates in a stunt that would leave her branded “Hanoi Jane” for decades. The world media had a field day mocking her, the US government set to work plotting to destroy her, and Jane would seek refuge in a new relationship with activist-turned-politician Tom Hayden. Meanwhile, in the midst of divorcing Romain Gary, Jean found herself pregnant. Having wiretapped a phone call between Jean and a Black Panther about her pregnancy, the FBI decided to “neutralize” both Seberg and her unborn child.

111: Jean and Jane Become Public Enemies (Jean & Jane Part 6) Aug 01, 2017

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On the heels of making her biggest Hollywood movies in years, Jean Seberg becomes involved with two black radicals, one a cousin of Malcolm X who spouted violent, anti-white rhetoric, the other a leader of the Black Panthers. Jean starts offering money and support to these men and their causes, which attracts the attention of the FBI. Meanwhile, Jane leaves Vadim - and Hollywood - to find herself as a political activist, working on behalf of American Indians, the Black Panthers, and Vietnam veterans. Despite all her best efforts, Jane hadn’t yet alienated Hollywood - while she was being watched by the FBI, Jane starred in one of the great surveillance thrillers of the 1970s, Klute.

110: Jane vs "Barbarella" (Jean & Jane Part 5) Jul 25, 2017

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Having coaxed Jane into participating in an open marriage, Vadim began casting her in films as a male fantasy of female sexual liberation. This phase of her career would peak with Barbarella, a sci-fi film based on an erotic comic book featuring Jane as a horny space warrior. Jane’s perfect body was on full display and fetishized the world over, but no one knew the self-destruction that went on behind the scenes in order to maintain her looks. While Vadim was building her up as an international sex kitten, Jane was gradually becoming more socially conscious. For all of his experience with women, Roger Vadim didn’t know what to do with a woke wife.

109: Jean vs "Lilith" (Jean & Jane Part 4) Jul 18, 2017

Show notes

Having left her husband to be the mistress of writer/diplomat Romain Gary, Jean secretly gave birth to a son, and then made the movie that she thought would prove herself as an actress once and for all. In Lilith, Seberg would go all in on her portrayal of madness - perhaps too deep. After a disastrous collaboration with Gary, Jean happily accepted an offer to star in a big budget Hollywood musical. But it was 1969, the studio system had crumbled, and that musical - Paint Your Wagon - would become a symbol of everything that was wrong with the Hollywood establishment.

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