Paul And Corey Cross The Streams

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... This week, Paul wanted to pick a straight-down-the-middle classic. A crowd-pleaser. Grease (1978). Well, it turns out everyone loves Grease except for Corey. Although, that's not quite true. See, there are so many versions of Grease... So, Paul and Corey discuss the production history of the little show from Chicago that became the longest-running Broadway show (for a time) and conquered the world with the film and its soundtrack. Multiple revivals. Reality shows. Sequels and prequels. All that stuff. Grease (the film) is a Frankenstein's monster of a project, and, love it or hate it, it somehow came together into a colossal, beloved success. And the question that Paul and Corey discuss is "at what cost to the original script and concept?" It's a great discussion. (Paul had such a great ti

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... Attend the podcast on Sweeney Todd! Yes, this week Corey chose the Tim Burton/Johnny Depp joint Sweeney Todd (2007). This adaptation of Stephen Sondheim's brilliant musical from 1979, was...bad. Which is too bad because the musical is one that Corey and Paul both love very much. In the episode, they discuss Stephen Sondheim's body of work and his singular style; the history of the archetypical characters of Sweeney Todd and Mrs. Lovett; Tim Burton's career (and artistic limitations); whether the musical is, as original director, Hal Prince, claimed and Sondheim disagreed, a satire of "the Industrial Revolution;" and most importantly why and in what ways this adaptation struggles with its source material. (A factory whistle blows)

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... It may be the Great Depression, but Paul and Corey are in the money! Yes, this week's episode is Gold Diggers of 1933 (1933). Directed by Mervyn Leroy, music & lyrics by Harry Warren and Al Dubin, choreography by Busby Berkeley, and starring Joan Blondell, Dick Powell, Ruby Keeler, Ginger Rogers, and Aline MacMahon (and more), Gold Diggers of 1933 was and is a classic of Hollywood musicals. However, Corey really didn't like it. The boys discuss sexism and the Male Gaze, the Hayes Code, spectacle and Busby Berkeley's impact on filmmaking, the reappraisal of musicals of the '20s and '30s that happened in the '70s, and even the Bonus Army.

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... For his first episode, Corey chose the international smash-hit, the Tollywood (India) film, RRR (2022). Directed and written by S. S. Rajamouli, the film is a fictional and fictionalized account of the meeting of two Indian revolutionaries, Komaram Bheem and Alluri Sitarama Raju, during the British Raj. The film is a blast: action-packed, singing and dancing, compelling drama, excellent VFX, brilliant (fight) choreography, and more, as it tells the exciting story of rising up against colonial oppression. But. The film exists in a political and economic context, specifically the current rule of Hindu nationalism and the long-established caste system in India, that international viewers might not know or understand. And for as much fun as it is to root for our protagonists in their fight against

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... For our first episode, Paul chose his favorite musical, The Music Man (1962), based on the hit show which opened on Broadway in 1957. Written entirely(!) by Meredith Wilson and starring Robert Preston (who also starred in the Broadway production), the film is part of a major run of adaptations that took place in Hollywood in the late '50s and '60s. Paul and Corey talk about their relationships with The Music Man; the differences between the film and show; why The Music Man might be the perfect musical; what was the point of traveling salesmen; whether or not Ron Howard went overboard with the lisping; and a lot more.

It's the grand finale of Season 7! This season we looked at the trends, genres, styles, and more that make up cinema of the first 25 years of the 21st century. This week, Corey looked back to look forward and also sideways, without and within. It's Charlie Kaufman's meta-meditation on evolution and adaptation, Adaptation (2002). Both Paul and Corey were shocked at how much better the film is than they both remembered. It's an absolute treat to watch, and we hope you'll feel the same about our discussion of it. Thank you so much for listening to this season of the show, and we'll see you all in February for Season 8!

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, "What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Paul shot for the moon in his final choice for the season. A film he believes is one of the most important of the 21st century, Ari Aster's Eddington (2025). A period piece about the era of Covid lockdown, this is a razor-sharp satire with a bit of vulgar Marxist analysis. The film courageously tackles all of the hypocrisies, mundanities, ugliness, ignorance, and schizophrenic vibes of our current social-mediated culture(s).

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, "What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Corey reacquainted us with Nepo baby libertarian Jason Reitman's sensitive and insightful examination (I'm being sarcastic, folks.) of the Great Recession... Up in the Air (2009). Like so much of the Obama administration, it seems like this project exists to put a smiling face (quite literally in this case) on the evils of neoliberalism, and this middlebrow slop fits right in with films like school privatization propaganda Waiting for Superman (2010) or torture apologia like Zero Dark Thirty (2012). As Corey says to Paul, "You REALLY hate this movie," and as you can tell by this synopsis, I do. Ultimately, the cast is very charming and talented, and maybe that is enough for a viewer.  

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, "What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Paul took a cue from Corey and his son to canvass the youth to see what else they may be watching in the 21st century. Thanks to his friend, Matt, Paul chose Robert Rodriguez's Spy Kids (2001). Folks, it's good! Paul and Corey discuss the charming, homemade, we're-putting-on-a-show quality to the film. It really is a film for the whole family. The only note is that Eleanor, Paul's cat, woke him up at 4:30 a.m. on the day of recording, so Paul is not operating on his normal level.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, thanks to his son, Logan, Corey chose Oldboy (2003), the critically-acclaimed South Korean film by Park Chan-wook. Folks, this may be the first time that Paul and Corey dreaded going into an episode recording. They HATED this. It was a completely surprising experience for both, and check out the episode to see if you agree!

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Paul chose a film close to his heart, Inside Llewyn Davis (2013). It's the fourth Coens film Paul and Corey have covered, and this discussion was a real treat. Art and life and (the lack of) success. Folk music and (fetishizing) authenticity and Bob Dylan. Schachtmanites.  Enjoy and pass the hat.  

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Corey chose perhaps the most cleanly divisive film in all of PACCTS, Past Lives (2023). Written and directed by Korean-American playwright Celine Song, the film follows 24 years in the lives of childhood sweethearts Na Young/Nora and Hae Sung as they weave in and out of each others' lives. During that time Nora marries an American writer, Arthur. The film examines the nature of human connection and love, and whether fate or another transcendent force, inyeon, explains why there are certain people whom we just...can't shake. As is sometimes the case, a film resonates with one of our hosts and leaves the other cold. See where you land.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, Paul chose Jane Schoenbrun's second feature film, which they wrote and directed, I Saw the TV Glow (2024). The film is an allegory of the trans experience of "the egg crack" - the moment one realizes their identity doesn't correspond to their assigned gender. Throughout, Schoenbrun uses their cinematic, television, and musical influences to create a surreal, dissonant, and (spoiler; literal/figurative) heartbreaking examination of nostalgia, the narcotizing and liberating aspects of art, and a life unlived. A must-see.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. Corey's pick this week - Crazy, Stupid, Love (2011) - is perhaps the most 2011 film ever made. There are so many reasons that tie it to that particular moment in time, from its (unmentioned) celebration of Neil Strauss' The Game to everything with the babysitter to...just...all the female characters. And yet, while watching the film, you kinda enjoy yourself? Crazy stuff.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. Paul really wanted to change it up this time. From the era of Matthew McConaughey leaning on the poster rom-coms, it's How to Lose a Guy in 10 Days (2003). From director Donald Petrie and an assortment of other nepo babies, this film definitely...exists.  Paul chose it with the understanding that HtLaGi10D had come into its own as a sort of reappraised cult classic. Whoever told him that was wrong. Like a New York Knickerbockers' basketball game - all PACCTS picks can't be winners. A lot to discuss.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. Corey takes us back to the heady days of 2013 with "arguably the last good Woody Allen movie," Blue Jasmine (2013). Between Woody, Alec Baldwin, and Louis CK, it's a real Murderers' row of the canceled. Cate Blanchett also returns with another great performance, but is it enough to look past...everything?

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. It's a big discussion today. Martin Scorsese's Killers of the Flower Moon (2023). Adapted from the nonfiction book of the same name, the film opens up a discussion of the consciousness-raising of the 2010s. Paul and Corey have a fairly in-depth discussion of the over four hundred years genocide of the Indigenous people's of the Western hemisphere (most specifically what became the United States of America) and their resistance and struggle throughout that period (and up to today). Much of the information comes from Roxanne Dunbar-Ortiz's book, An Indigenous Peoples' History of the United States. There is a LOT to cover. It's an excellent film with incredible performances, score, editing, and representation and celebration of the Osage nation's

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today’s episode, Paul and Corey look at the (mis?)adventures of an old man, a boy scout (Not capitalized! Some other organization!), a talking dog, a big weird bird, and... a thinly-veiled crypto-N@zi. Yes, it's Disney's Pixar's Up (2009). What's to say here, folks? Not great. Structure messy, YIMBY politics, Disney being Disney. Paul disliked it more, but both he and Corey were on the same page. The balloons look pretty. Sorry if you love this.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today’s episode, we leave the hustle and bustle of the old US of A and relax in a little village two hours outside of Tokyo. The film is the follow-up to the Academy Award-winning Drive My Car - Ryusuke Hamaguchi's Evil Does Not Exist (2023). Equally beautiful, stark, and subtle in its storytelling, as well as performances, the film is a meditation on how the logic of capitalism respects neither the environment nor people (not so coincidentally the sources of its value). And within that system, how do all of us find a sense of meaning and peace? 

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today's episode, we discuss 12 of those 25 years - 12 years during which Richard Linklater and co. shot the film, Boyhood (2014). Not only does the film exist as a series of snapshots of the actors' lives as they age, but it also (in retrospect) becomes a sort of swan song of life before the omnipresence of smartphones and social media. Lots to discuss, so put on your Beatles Black Album and enjoy.