Erotic 90s archive

Erotic 90s continues the story of Erotic 80s, with 21 episodes tackling sex in Hollywood movies of the 1999s, spanning the creation—and disastrous rollout—of the NC-17 rating in 1990, through the release of Eyes Wide Shut in 1999.  Listen to all 21 Erotic 90s episodes here.

Erotic 90s Episodes:

• 1988: PROLOGUE: PORN, FEMINISM & THE FOLLY OF NC-17 (EROTIC 90S, PART 1): Erotic 80s began with a prologue about the short-lived heyday of the X rating, pornography, and feminism. Erotic 90s begins with a prologue about the disastrous rollout of NC-17 –the X rating’s replacement  – and the evolving state of both porn and feminism at the dawn of the 90s. Topics include David Lynch, Harvey Weinstein, “pro-porn” feminism, “the new morality,” video stores, Magic Johnson, date rape and much more. Listen

• PRETTY WOMAN, SLEEPING WITH THE ENEMY AND JULIA ROBERTS IN THE EARLY 90S (EROTIC 90S, PART 2): The first blockbuster about sex of the 90s, Pretty Woman both reinvigorated Richard Gere’s career, and turned Julia Roberts into the biggest female movie star of the era. We’ll dissect the gender politics of this fantasy about love between a streetwalker and a corporate villain, analyze its lasting appeal, and trace the wild rollercoaster ride of the first few years of Roberts’ movie stardom. Virtually unknown before 1989, within a year of Pretty Woman’s release Roberts was considered the most bankable woman in movies, a controversial icon of 90s womanhood and, eventually, a romantic antihero whose performances and personal life were put on a pedestal by a breathless media, only to be swiftly knocked down. Listen

• “THE ACTRESS EVERYBODY WANTS TO FUCK”: THERESA RUSSELL AND SONDRA LOCKE (EROTIC 90S, PART 3): An enigmatic sex symbol dating back to the 70s, Theresa Russell made a play for Hollywood stardom in the late 80s and early 90s, making a number of films about the sexual commodification and role playing. Ken Russell’s Whore was marketed as a gritty answer to Pretty Woman, showing the “truth” about Los Angeles street prostitution. In Impulse, a neo-noir romance in which Russell plays an undercover cop posing as a sex working in a hopelessly corrupt LAPD, Russell was directed by Sondra Locke, longtime girlfriend and co-star of Clint Eastwood. When Eastwood dumped Locke while she was directing the movie, she fought back, instigating a series of lawsuits that revealed that Eastwood and his studio had conspired against her. Listen
  

• THELMA & LOUISE (EROTIC 90S, PART 4): One of the most controversial movies of the 1990s, Thelma & Louise pushed every hot button of the new decade: date rape, sexual harassment, the failure of the feminist movement to create real change for the working class, and how pissed off women were, or were not, entitled to be about all of the above. Though it made more noise as a media phenomenon than at the box office, Thelma & Louise made so many people so mad that it had the feeling of a turning point. We’ll talk about the anger the movie communicated, the anger it inspired, and debate its lasting legacy. Listen

• THE BLANKS FROM HELL: FATAL ATTRACTION’S CHILDREN (EROTIC 90’S, PART 5): In the five years after the release of Fatal Attraction, Hollywood scrambled to make one movie after another about homes and workplaces invaded and threatened by sexy outsiders. Today we’ll talk about five of these films: Presumed Innocent (1990), The Hand that Rocks the Cradle (1992), Single White Female (1992), Consenting Adults (1992), and The Temp (1993). Listen

• BASIC INSTINCT (EROTIC 90’S, PART 6): One of the biggest hits of 1992, Basic Instinct was sold as Michael Douglas’s return to Fatal Attraction territory, but its success owed to an alchemy of three other creatives: a writer (Joe Eszterhas) who was driven to become the highest-paid scribe in movies; a director (Paul Verhoeven) who was determined to redefine the amount of sex considered acceptable in a Hollywood movie; and a female lead (Sharon Stone) who had waited a long time for her breakout role, and finally found it in a bisexual murderess with the sheen of a Hitchcock blonde. We’ll talk about all of that, detailing the extremely messy production that was protested by LGBT activists – and its screenwriter – virtually from beginning to end, and examine Basic Instinct as a collision of toxicity and commerce that was emblematic of just-pre-Clinton era. Listen

• MURPHY BROWN, DAN QUAYLE AND DAMAGE (EROTIC 90’S, PART 7): In the early 90s, one of the biggest scripted shows on TV was Murphy Brown, starring 40-something Candice Bergen as a product of the 60s whose high-powered career precluded marriage and family. When the character became a single mother, and was criticized for it by vice president Dan Quayle, a massive conversation about “family values” began that would change the culture – and, arguably, American politics. Off-screen, Bergen was married to French filmmaker Louis Malle. While his wife was in the middle of the “family values” maelstrom, Malle was making Damage, one of the most sexually intense films of the 90s, and one which used sexuality to explicitly critique the hypocrisy of politicians. Listen

• 90S LOLITAS, VOLUME 1: DREW BARRYMORE, AMY FISHER AND ALICIA SILVERSTONE (EROTIC 90’S, PART 8): Culture in the 90s was obsessed with the sex lives of teenagers. This is a theme we will come back to several times throughout the season. In this episode, we’ll talk about Drew Barrymore, who became a massive star at age 7 in E.T., went to rehab at 13, became an emancipated minor at 15, and immediately started pushing buttons with naked photo shoots and her comeback role as a murderously seductive teen in Poison Ivy. With teenaged Drew scantily clad in magazines and on screen – and “Long Island Lolita” Amy Fisher making headlines for shooting her adult lover’s wife – the media was eager to exploit the precocious sexuality of other teen girls. But while she made her film debut in the Poison Ivy-esque The Crush, Alicia Silverstone vocally pushed back on being branded “the next Lolita”. Listen

• RED SHOE DIARIES AND SEX ON TV IN THE 90S. (EROTIC 90’S, PART 9): While the MPAA’s confusing and hypocritical ratings decisions were leaving filmmakers flummoxed in the early 90s, cable TV was opening up new possibilities for erotic content. Today we will offer a brief history of sex on TV, and then focus on Red Shoe Diaries, the cheesy-but-charming late night softcore soap that was the brainchild of 9 ½ Weeks writers/producers Zalman King and Patricia Knop. Listen

• MADONNA: SEX, EROTICA AND BODY OF EVIDENCE (EROTIC 90’S, PART 10): In the early 90s, Madonna was the biggest pop star in the world, and she used – and in the minds of some, squandered – her star capital to launch a multi-media exploration of sexuality: the album Erotica and its companion book Sex, followed by her starring role in the much-maligned erotic thriller Body of Evidence. What was Madonna really trying to do in 1992-1993, how was it perceived and misunderstood at the time, and how does the blowback she experienced then relate to how she is being criticized today? Listen

• INDECENT PROPOSAL (EROTIC 90’S, PART 11): Are men okay? Several films from 1993 answered that question with a resounding no. One of the highest-grossing movies of its year, Adrian Lyne’s Indecent Proposal was misunderstood as a gimmick, and its insight into toxic masculinity and male sexual insecurity got lost in a media frenzy, much of it sparked by feminists. What had changed since Lyne’s Fatal Attraction, in Hollywood and in the culture? We’ll also talk about Proposal star Demi Moore as the controversial “diva” of the moment. Listen
  

• SLIVER AND SHARON STONE AS SUPERSTAR (EROTIC 90’S, PART 12): Sharon Stone and Joe Eszterhas’s post-Basic Instinct reunion film was one of the most troubled productions of the 90s. A post-Hitchcock tale of sexual surveillance given a technological update for the 90s, after a long battle with the MPAA the sanitized, R-rated version of Sliver was rejected by critics and audiences, but the movie and the juicy gossip leaked from its production (which included a love pentagon involving both actress and screenwriter) only enhanced Sharon Stone’s aura as an old-school Hollywood star for a decade that didn’t know what to do with her. Listen

• THE LAST SEDUCTION, DISCLOSURE, & FEAR OF THE FEMALE BOSS (EROTIC 90’S, PART 13): The 90s were obsessed with what magazine writer Tad Friend would describe as “do me feminism” – and the attendant fear that men could be victims of female sexual aggression. Two films from 1994 married these anxieties to the still-lingering bugaboo of the 80s, the powerful career woman. But though the female stars of The Last Seduction and Disclosure (Linda Fiorentino and Demi Moore) were styled almost identically, the films had very different points of view on the panic over female power. Listen

• SHOWGIRLS, JADE, AND THE FALL OF JOE ESZTERHAS (EROTIC 90’S, PART 14): Joe Eszterhas’s tenure as the hottest screenwriter in town ended with two notorious 1995 flops: the NC-17 rated Showgirls (directed, like Basic Instinct, by Paul Verhoeven) and Jade (produced, like Sliver, by Robert Evans), We’ll analyze why these films failed to connect with audiences in 1995, and, more importantly, why the media at the time seized on them as major embarrassments for the industry. Listen

• “LESBIAN CHIC”: BOUND AND ANNE HECHE IN WILD SIDE (EROTIC 90’S, PART 15): At the beginning of the 90s, lesbians were a punchline for a male-gaze-oriented media, an easy target for expressing the anxiety that women might not need men after all. By the middle of the decade, women-loving-women had become the heroes of a number of neo-noir crime films, but the culture at large still rejected lesbianism when not intended to arouse men. While The Matrix has widely been reappraised as a trans allegory after the transitions of its directors the Wachowski sisters, their previous feature Bound was transparently queer, but its reception was complicated by the media’s perception of its makers. Bound was released just a few months after the burial of an extremely similar film called Wild Side. Barely seen on its initial release amidst studio recutting and the suicide of its director, today Wild Side plays as a heartbreaking and troubling example of what could have been for its star Anne Heche, who would soon after become one-half of the most famous lesbian couple in Hollywood – and suffer the career consequences. Listen

• CRASH AND DAVID CRONENBERG (EROTIC 90’S, PART 16): One of the only high-profile NC-17 releases post-Showgirls, David Cronenberg’s Crash was the kind of dark adult art film that the rating was supposedly created to support. We’ll talk about how Crash fits into Cronenberg’s filmography, why it was controversial when it premiered at the Cannes Film Festival in 1996 and when it was released in the US in 1997, how it played into the UK general election of 1997, how it functioned as an early warning against charismatic billionaires, and how it embodied a post-Prozac and pre-Viagara moment. Listen

• THE LYNCH FAMILY: BOXING HELENA & LOST HIGHWAY (EROTIC 90’S, PART 17): One of the most notorious – and least seen – erotic narrative films of the 90s, Boxing Helena was the misbegotten passion project of Jennifer Lynch, daughter of David Lynch. Four years after Boxing Helena, the elder Lynch released one of his most controversial films, Lost Highway, which tackles similar themes as Boxing Helena, including male sexual fragility and the “Madonna-Whore” complex. Today, we’ll talk about how Boxing Helena became bigger as a punchline than a movie, and we’ll trace David Lynch’s career as a provocateur to try to explain why his excavation of the dark, sexual core of Americana was celebrated when he made Blue Velvet, and pilloried a dozen years later when he made Lost Highway. Listen

• 90’S LOLITAS VOLUME 2: ADRIAN LYNE’S LOLITA (EROTIC 90’S, PART 18): In the previous decade, Adrian Lyne had made two movies (Fatal Attraction and Indecent Proposal) that had grossed over $100 million in the US alone. With carte blanche to do whatever he wanted, he adapted the Nabokov novel about a 40-year-old pedophile’s obsession with his adolescent step-daughter – and no distributor wanted to release it. In a decade rife with the commodification and sexualization of young teens (see our previous episode on Drew Barrymore), what lines did Lyne’s Lolita cross? Listen

• 90S LOLITAS VOLUME 3: WILD THINGS, CRUEL INTENTIONS AND BRITNEY SPEARS (EROTIC 90’S, PART 19): If Adrian Lyne’s Lolita became a case study of what Hollywood and America didn’t want to acknowledge about its sexualization of young girls, as the 90s came to a close, the culture was full of “acceptable” depictions of teens in heat. Two hit films from 1998 and 1999, Wild Things and Cruel Intentions, adapted classic templates of adult sexual manipulation to turn teen girls into femme fatales (probably not coincidentally, both featured actresses Neve Campbell and Sarah Michelle Gellar, who were famous for playing high school students on TV). Also, no coincidence: these films entered the culture simultaneous to the debut of 17-year-old Britney Spears, whose videos and persona centered her status as “not a girl, not yet a woman.” Listen

• EYES WIDE SHUT, PART 1 (EROTIC 90’S, PART 20): At the peak of their careers, Tom Cruise and Nicole Kidman left Hollywood for two years to collaborate with legendary filmmaker Stanley Kubrick on an erotic drama that the media speculated would pull back the curtain on maybe the most fascinating famous couple in the world. Though the meta element can’t be ignored, what Eyes Wide Shut actually ended up being is much more interesting. It’s a culmination of every theme and trope we’ve discussed across Erotic 80s and 90s, and the last film of the twentieth century headlined by American superstars to question the moral rot of the rich and powerful. In part 1 of the Eyes Wide Shut story, we’ll analyze the film and the media frenzy over the mystery of its making. Listen
  

• EYES WIDE SHUT, PART 2, AND THE SEXIEST MAN ALIVE IN 1999 (EROTIC 90S, PART 21): In part 2 of the Eyes Wide Shut story, the movie is finally unveiled, and critics are divided on its quality and the use of digital effects to evade an NC-17 rating. Where could Hollywood eroticism go from here? We’ll wrap up the Erotic 90s story with some thoughts on Richard Gere’s two-decade journey from American Gigolo to becoming PEOPLE Magazine’s 1999 “Sexiest Man Alive,” and other ways in which time and politics combined to make that which was once transgressive harmlessly mainstream. Listen

Erotic 80s archive

Here in 2022, there is more public conversation about the nuances of human sexuality–and sexual abuse and harassment–than at any time in modern history. And yet, sex has all but disappeared from mainstream American movies, most of which would pass the sexual standard set by the strict censorship of the Production Code of the 1930s.

This season of You Must Remember This will explore the relatively brief period, beginning in the 1970s and ending around the end of the millennium, when Hollywood movies explored the sexual lives, mores and fantasies of adults with degrees of candor, realism and imagination not seen before or since. Why did genres like the erotic thriller, body horror, neo-noir and the sex comedy flourish in the 80s and 90s, what was happening culturally that made these movies possible and popular, and why did Hollywood stop taking sex seriously? 

Each episode of Erotic 80s examines a single year, and one or more films that share a genre, a theme or a star, with topics ranging from the politics of porn, to the first camcorder sex tape scandal, to the sexualization of teens, to Hollywood’s lingering fear of interracial coupling. Some of the stars and filmmakers covered include Tom Cruise, Melanie Griffith, Richard Gere, Glenn Close, Rob Lowe, Mickey Rourke, Kevin Costner, Sean Young, Adrian Lyne, Amy Heckerling, Brian DePalma and much, much more.

Erotic 80s Episodes:

• PORNO CHIC AND THE BRIEF HEYDAY OF X RATINGS (EROTIC 80S PART 1) : In 1968, the Production Code gave way to the ratings system, and the brief legitimacy of the X-rated movie. Today we’ll focus on two massive, X-rated hits released within a year of one another in 1972-1973: Deep Throat, the first hardcore porn movie to become a mainstream blockbuster; and the international art film sensation Last Tango in Paris. Both of these hits were products of a male-centered sexual revolution, and both of their female stars later described making these movies as equivalent to being raped. We’ll talk about how both films gave Hollywood permission to intermingle sex and violence in the name of both profits and art, and how both have been reassessed as documents of violence against women. Listen

• 1979: BO DEREK AND 10 (EROTIC 80S PART 2): The sleeper hit of late 1979 was Blake Edwards’s sex farce 10, a comedic vivisection of a male midlife crisis, which turned 23-year-old California girl Bo Derek into a controversial cultural phenomenon. Derek’s early fame was framed in the media through the lens of her marriage to John Derek, who was 30 years her senior and who she met when she was 16. Today we’ll talk about Derek’s reign as a sex-positive bombshell in a time of extreme double standards, 10’s strangely prescient understanding of toxic masculinity, and the problem of how to frame teenage sexuality for adult consumption. Listen

• 1980: RICHARD GERE AND AMERICAN GIGOLO (EROTIC 80S PART 3): One of the most aesthetically influential movies of the ‘80s, Paul Schrader’s American Gigolo sets a template for much of what we’re going to discuss this season: it’s about sex as a conduit for wealth, masks and double lives, and the role of danger in desire. Today we’ll talk about the sexual persona of Gigolo star Richard Gere in the early 1980s; the ways in which Gigolo and other films from 1980 (Dressed to Kill, Cruising) grapple with straight male anxiety over gay male visibility; and the tension between the promotion of sex-positivity for women and the anti-feminist backlash. Listen

• 1981: NEONOIR, BODY HEAT AND POSTMAN ALWAYS RINGS TWICE (EROTIC 80S PART 4): The New Hollywood directors of the late 1960s and 70s were the first generation of Hollywood filmmakers to grow up studying Hollywood movies as art. In 1981-1982, a number of those directors made actual or virtual remakes of classic Hollywood noir films, including Lawrence Kasdan’s Body Heat, and Bob Rafelson’s The Postman Always Rings Twice; and Paul Schrader’s Cat People. What was the value of revisiting the tropes and narratives of 1940s noirs in the 80s, beyond the fact that the sexual relationships implied in the original movies could now be depicted graphically? Today we’ll talk about how these films played into the personas of stars Jack Nicholson and Kathleen Turner, how they challenged the standards of what could be shown in movies of the 80s – and how and why they were received extremely differently. Listen

• 1982: TEEN SEXPLOITATION, FAST TIMES AT RIDGEMONT HIGH, PORKY'S AND THE BLUE LAGOON (EROTIC 80S PART 5): 1982 saw the release of three hit high school-set comedies about sex: Porky’s, The Last American Virgin and Fast Times at Ridgemont High. The only one to survive as a classic, Fast Times turned Phoebe Cates – who also appeared in the Blue Lagoon rip-off Paradise the same year – into a frozen-in-time icon of adolescent sexuality. Today we’ll talk about this sudden explosion of teen sex on movie screens, and compare Cates’s public persona and attitude to on-screen sexuality to that of Blue Lagoon star Brooke Shields. Listen

• 1983: MTV AESTHETICS, FLASHDANCE AND RISKY BUSINESS (EROTIC 80S PART 6): While the music video was still in its infancy as a cultural phenomenon, two films were released that were accused of aping the “MTV aesthetic”: Adrian Lyne’s Flashdance, and Risky Business, which turned Tom Cruise into a major star. Today we’ll talk about what the “MTV aesthetic” was and why it was considered a big deal for movies to be influenced about it, and we’ll examine how both of these movies treated sex work and race within the context of 80s social mores and Reagan capitalism. Listen

• "VIOPORN," BODY DOUBLE AND CRIMES OF PASSION (EROTIC 80S PART 7): In a time of bombastic blockbusters (and Reagan’s re-election), two auteurs defy the norms by releases violent films about sexual obsession, sparking a controversial mini-trend which one critic dubs “Vioporn.” Kathleen Turner, then also starring in a family-friendly blockbuster, plays a sex worker with a double life in Ken Russell’s Crimes of Passion. Brian DePalma, the most talked-about director of the moment, takes his tribute/critique of Hitchcock to the next level by casting Melanie Griffith – daughter of Hitchcock blonde Tippi Hedren – as a porn star in Body Double. Listen
  
  

• 1985: FEAR SEX. JAGGED EDGE & AIDS (EROTIC 80S PART 8) : Just as the AIDS-related death of Rock Hudson was finally forcing straight people – and Hollywood – to acknowledge that epidemic, a film was released that transposed the new climate of sexual fear onto a murder mystery. The sleeper hit of 1985, Jagged Edge turned Glenn Close from a respected actress into a star, and established the brand of screenwriter Joe Eszterhas, who would later write Basic Instinct and Showgirls. Almost a decade after radical feminists began to call for a crackdown on violent sexual imagery, Jagged Edge tried to have its cake and eat it, too: infusing its sex and violence – and its depiction of a career woman – with a fundamentally conservative point of view. Listen
  
  

• 1986: 9 ½ WEEKS, MICKEY ROURKE & ZALMAN KING (EROTIC 80S PART 9): Billed as the hottest Hollywood film since Last Tango, 9 ½ Weeks was considered to have missed the mark by everyone who made it – including director Adrian Lyne, stars Mickey Rourke and Kim Basinger, producer/writer Zalman King and his wife, writer Patricia Knop. Today we’ll talk about why this intoxicating and troubling film is worth a second look, how to square away the arguably feminist finished product from a production process that robbed Basinger of agency, and we’ll explore the film Rourke and King re-teamed on as a re-do, Wild Orchid. We’ll also talk about Rourke’s “bad boy” persona, and his problematic relationship with his second wife and co-star, supermodel Carre Otis. Listen
  
  

• 1987: FATAL ATTRACTION AND DIRTY DANCING (EROTIC 80S PART 10): The erotic thriller goes commercially mainstream with Fatal Attraction, a film which starts a national conversation about whether or not women can “have it all” – “it all” meaning both careers and marriage. Is Fatal Attraction an indictment of working women as “witches” and a call to roll back women’s rights, or a snapshot of extreme toxic masculinity? Plus: Dirty Dancing — is it evil? Listen
  
  

• 1988: KEVIN COSTNER, SEAN YOUNG, NO WAY OUT & BULL DURHAM (EROTIC 80S PART 11) : The 1988 baseball blockbuster Bull Durham confirms Kevin Costner as the ultimate squeaky-clean, all-American hearthrob, building on a sexual persona sparked the year before with the neonoir No Way Out. Today we’ll talk about why Costner was the quintessential safe hunk for the 80s, his alchemic chemistry with co-star Sean Young in No Way Out, and her subsequent rocky road through Hollywood misogyny. Listen
  
  

• 1989: SEX, LIES AND VIDEOTAPE: ROB LOWE AND JAMES SPADER (EROTIC 80S PART 12): American independent film is launched into the mainstream by Steven Soderbergh’s sex, lies and videotape, starring James Spader as an impotent man who gets off on filming women talking about sex. Videotape also plays a role in a Spader film released almost simultaneously, Bad Influence, in which he plays a meek yuppie at the mercy of alpha male Rob Lowe – who was trying to rehabilitate his career after a tape leaked shot by the actor and documenting his real-life threesomes — one with a 16 year-old girl. We close the first half of this season talking about Lowe, Spader and how camcorder mediation of sex changed pop culture forever. Listen

Sammy & Dino archive

This season, we look at the movies, music and lives of Sammy Davis Jr and Dean Martin. Singers, actors, TV stars and nightclub performers, Davis and Martin became rich and famous selling versions of mid-20th-century hipness as the biggest stars in the Rat Pack who weren’t Frank Sinatra. The standard-setter for masculine cool in the second half of the twentieth century -- as well as a nexus where Hollywood power, political power and mafia power came together -- the Rat Pack feels uniquely uncool today. As its mystique recedes, it’s the perfect time to begin to unpack its allure, and take a cold hard look at the art it produced.

But Sammy and Dino were both more than the Rat Pack, and examining their lives and careers in tandem reveals tons, about the evolution of racial attitudes from the beginning of the 20th century -- when Italians and Italian-Americans like Dean were widely considered to be non-white; about how Hollywood responded to, and influenced, changing ideas about masculinity and “the man” from World War II to Vietnam and beyond; and above all, about the differences and similarities between mainstream capitalism and underground criminal economies, which is laid bare by the intersection of the music industry and the mafia.

Episodes:

• SAMMY AND DINO EPISODE 1: THE HUSTLE: Today, we’ll talk about Sammy and Dino’s childhoods and early years as entertainers -- years which formed their talent, their stage personas, and taught them their first lessons in the racket that was, and is, the music business. Both grew up in marginalized communities where they learned an ethos of success based on hustle. We’ll track both Dean and Sammy to major coming-of-age moments in the middle of World War II. Coming up in industrial Ohio as both a card dealer and a nightclub singer, Dean learns how and why the house always wins. As a child, Sammy joins his father’s touring dance act, and eventually becomes the main attraction -- before the war forces him to encounter racism at a level he’d never experienced before. Listen

• SAMMY AND DINO EPISODE 2: MARTIN AND LEWIS, SAMMY AND MICKEY AND FRANK: Dean Martin meets and begins collaborating with Jerry Lewis. Martin and Lewis — an Italian and a Jew — become the most successful nightclub act in the country, and transition to Hollywood. Meanwhile, Sammy Davis Jr, determined to get the attention of the white entertainment world, starts working impressions of white stars into his act. Listen

• SAMMY AND DINO EPISODE 3: NOTHING BUT A DOLLAR SIGN: In the first half of the 1950s, Martin and Lewis mint money as movie stars--and find unique ways to make their access to gangsters payoff--but stardom tears them apart. During this period, Sammy tries to prove himself to a Hollywood that still has little use for Black performers. Then, a horrible accident changes Sammy’s life--and changes his perceived value to the gate-keepers of the entertainment industry. Listen

• SAMMY AND DINO EPISODE 4: MR. WONDERFUL: Sammy tests the power of his new celebrity, on Broadway and in Hollywood, where he stars in the most controversial movie musical with an all-Black cast of all time -- a movie which is still being suppressed today. Listen

• SAMMY AND DINO EPISODE 5: A SERIOUS MAN: After the breakup of Martin and Lewis, Dino has to figure out how to stand on his own as a solo act. He ends up developing an on-stage persona as a happy drunk, while at the same time, developing a resume as a serious actor in some of the biggest hits of the late 1950s, such as Some Came Running and Rio Bravo, through which he emerged as a kind of icon for the white masculinity crisis of the 1950s. How did Dino pull this off, and why was his interest in being taken seriously so apparently short-lived? Listen

• SAMMY AND DINO EPISODE 6: THE RAT PACK: In the early 40s, both Dean and Sammy idolized Frank Sinatra. 20 years later, they became Sinatra’s cohorts in the Rat Pack, and, through Vegas gigs and increasingly disposable movies, the trio set a standard for grown men behaving badly that’s still influential today. In this episode, we’ll reveal what the Rat Pack’s Vegas shows were really like -- racist, homophobic, misogynist warts and all. We’ll also discuss the web of corruption linking these performers to the Mafia and the Kennedys, culminating in the death of an actress, and the death of the pretense that the Rat Pack racket was all innocent fun. Listen

• SAMMY AND DINO EPISODE 7: YES I CAN: Released in 1965, Sammy Davis Jr.'s autobiography became an instant classic, one of the most dynamic celebrity memoirs ever published and a testament to Davis’s barrier-breaking success as a black man in America. But the story behind the book, which was conceived and developed by two white ghostwriters -- and the racial and sexual dynamics of Davis's life during the years leading up to its release, which included two marriages and one relationship with a white movie star which almost got him killed -- are even more fascinating. Listen
  
  

• SAMMY AND DINO EPISODE 8: GENERATION GAP: In the mid-1960s, 47-year-old Dean Martin proves he's still got it by knocking the Beatles off the top of the pop charts, and by launching his long-running TV show, which brought a version of his nightclub act into America’s living rooms every week. But his middle-aged drunk schtick sours as the decade of hippies and Vietnam wears on. Sammy Davis Jr has his own challenges, living up to the expectations of a new generation of activists--and he only makes matters worse by embracing Richard Nixon. After disastrously dabbling with Motown, Sammy records “The Candy Man” -- a silly novelty single that he hated, but which ended up saving his career. Listen
  
  

• SAMMY AND DINO EPISODE 9: IS THAT ALL THERE IS?: Desperate to be seen as cool and not a relic of an earlier age in 70s America, Sammy gets into porn and drugs. A Rat Pack reunion gives him renewed purpose, but causes Dean to alienate himself further. As their time begins to run out, both Sammy and Dino are forced to contemplate what it was all for. By the late ‘90s, they’re both gone. We’ll try to sort out the incredibly murky legacies they left behind. Listen

GOSSIP GIRLS ARCHIVE

From the anonymous tips posted on Deux Moi to the streams of annotated paparazzi shots that fill the Daily Mail, today’s celebrity gossip -- democratized, based on technological surveillance -- looks completely different than it used to, when non-famous people could only go “behind the scenes” if led by authoritative guides. How did we get here?

This season on You Must Remember This, we’re going to go back about a hundred years, to the very beginning of the idea of going “behind the scenes,” to talk about the two powerful women who invented and dominated Hollywood gossip as it was known in the 20th century: Louella Parsons and Hedda Hopper. Parsons and Hopper were both self-made women, single moms from middle America who shattered the glass ceiling; they were also small-minded, self-obsessed bigots who used their power to persecute outsiders, police sexuality, and ensure that the rich, powerful people who made movies lived in fear. Through stories of these women, their rivalry with one another and their incestuous relationships with the institutions and powerful men that controlled media, the movies and even federal law enforcement, we’ll track the evolution of gossip over the course of a century.

Episodes:

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (SMALL TOWN GIRL, EPISODE 1): Both Louella Parsons and Hedda Hopper worked for papers created by charismatic barons whose publications were nakedly corrupt, totally biased -- and absolutely mainstream. Once we get a feel for this media climate, we’ll trace Louella’s early years of struggle and reinvention on the road to her pioneering bylines, and, finally, her role in canonizing The Birth of a Nation -- the most viciously racist Hollywood blockbuster of all time. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (THE FIRST LADY, EPISODE 2): In 1923, Louella Parsons signed a contract with William Randolph Hearst for nationwide syndication of the first major Hollywood gossip column. Parsons quickly built a brand based on protecting (and whitewashing) Hollywood’s interests, as well as Hearst’s, relentlessly promoting — and spying on — Hearst’s mistress, Marion Davies. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (THE FEUD, EPISODE 3): In 1938, washed-up actress Hedda Hopper is installed as a movie gossip columnist with the express purpose of puncturing the success of Louella and Hearst. But Hedda quickly establishes a voice of her own, revolutionary for its insistence on making movie gossip political. Once friends, Louella and Hedda become bitter rivals, egged on in their feud by a third party who sees Hedda as an ally in right-wing conservatism. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (WAR! EPISODE 4): World War II begins to reveal the gulf between Louella’s conservative but essentially business-minded politics, and Hedda Hopper’s virulent right-wing fervor. These differences — and the glee with which Hopper would destroy lives to shore up political power and further her ideology — come through loud and clear in the stories of two controversies: the casting of Gone with the Wind, and the paternity trial of Charlie Chaplin. Meanwhile, Louella shows her devotion to Hearst by using her power to cripple Citizen Kane. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (THE QUEER, FEMALE FILM PRODUCER YOU’VE NEVER HEARD OF, EPISODE 5): Louella’s daughter, Harriet Parsons, became a groundbreaking female film producer at a moment in history in which virtually all mainstream filmmakers were male. She was also a lesbian, at a time when being openly gay was unacceptable in Hollywood -- and, in much of America, illegal. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (WITCH HUNT, EPISODE 6): During an era in which Hollywood and Washington are shakily aligned in the witch hunting of actual and reputed socialists, Louella struggles to maintain her position as cheerleader for the status quo, while Hedda grabs a torch and tries to burn it all down, using celebrity gossip to further the racist, xenophobic interests of the FBI. There’s also a new competitor in town, who at once subversively spoke to and for Hollywood’s gay community, while also deflecting attention from his own sexuality by attacking others. Listen

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (SEX AND SHAME IN THE 1950S, EPISODE 7): The 1950s were a decade of massive contradictions in terms of national and cultural attitudes towards sex. As Louella Parsons struggled to keep up with these rapid changes -- and to compete with her bolder, bitchier rival Hedda Hopper -- she reflected and steered the sexual panic through her coverage of two stories: Rita Hayworth’s marriage to a Muslim prince, and Ingrid Bergman’s “illegitimate” pregnancy. Plus: the emergence of Sheilah Graham, the international woman of mystery who would eventually beat the gossip girls at their own game. Listen
  
  

• LOUELLA PARSONS AND HEDDA HOPPER (INTERRACIAL PANIC AND CONFIDENTIAL, EPISODE 8): Appalled by rock n’ roll and its racial and sexual implications, Hedda and Louella find themselves in further danger of obsolescence when the gossip game is turned upside down by CONFIDENTIAL Magazine. Listen
  
  

• GOSSIP GIRLS: LOUELLA PARSONS AND HEDDA HOPPER (THE QUEENS ARE DEAD, EPISODE 9): The Hollywood studio system begins to crumble, and Louella and Hedda decline and fall, too. But just as a new generation of filmmakers rises from the ashes and reinvents the movie business, so too does gossip find new life in a new look. We’ll end our season by talking about a woman who was the antithesis of Louella and Hedda -- liberal, Jewish, sexually forward, and so unwilling to play the industry’s games that she may have ensured the death of the gossip columnist as star. Listen

Polly Platt: The Invisible Woman Archive

As an Oscar-nominated production designer, screenwriter, producer and executive who put her stamp on some of the greatest and most loved films of the 1970s and 80s – including Paper Moon, Bad News Bears, Terms of Endearment, Broadcast News, The Witches of Eastwick and more—Polly Platt had a major impact on the careers of Barbra Streisand, Tatum O’Neal, Garry Marshall, Cameron Crowe and Wes Anderson. She also lived an epic Hollywood life off-screen; her personal life was the stuff of a Great American Novel, full of romances, heartbreak, alcoholism and the challenges of adapting to cataclysmic cultural change as an independent, professional woman – and single mom. And yet, despite all of this, if you know Polly Platt’s name today, it’s probably because, in 1970, her husband and creative collaborator Peter Bogdanovich had an affair with Cybill Shepherd while shooting the film that made both Bogdanovich and Shepherd major stars of their era, The Last Picture Show. But Platt was much more than a jilted wife: she was the secret, often invisible-to-the-public weapon behind some of the most loved American “auteur” films (many of them comedies, directed by men) of the last decades of the 20th century. 

Drawing on Platt’s unpublished memoir (which remained unfinished when she died in 2011), as well as ample interviews and archival research, The Invisible Woman will tell Polly Platt’s incredible story from her perspective, for the first time. A trailblazer in jobs rarely held by women in Hollywood to that point, Polly Platt’s story helps us understand the obstacles preventing gender equality behind the scenes in Hollywood — in the 1970 through the 1990s, and in the present day -- and allows us to contemplate what it was like to be a woman in Hollywood during a time when the feminist movement may have been remaking American society to some extent, but failed to make major inroads in the movie industry.

Episodes:

• “IT WASN’T SEXISM, THEN” (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 1): Today, we’ll begin with a look at how Polly Platt’s legacy was appraised when she died in 2011. Then we’ll go back in time to tell Polly’s story from the start, beginning with her Revolutionary Road-esque childhood in Europe and America as the neglected daughter of two alcoholics; to her years studying scenic design in environments in which women weren’t welcome; the secret pregnancy that halted her formal education, and the early marriage that took her West and cemented her desire to tell stories through design. Throughout, we’ll talk about how Platt’s experiences, as the product of an American military family of the 1950s—and the daughter of a mother who had been forced to abandon a career for motherhood––shaped her view of gender roles and relations, and her idea of what it meant to be the wife of an important man. Listen

• PETER BOGDANOVICH AND THE WOMAN BEHIND THE AUTEUR (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 2): After the death of her first husband and creative partner, Polly moves to New York, where she swiftly meets and falls in love with Peter Bogdanovich. Together Polly and Peter build a life around the obsessive consumption of Hollywood movies, with Polly acting as Peter’s Jill-of-all-trades support system as he first ingratiates himself with the previous two generations of Hollywood auteurs as a critic/historian, and then makes his way into making his own films. Together, Polly and Peter write and produce Targets, Bogdanovich’s first credited feature, and also collaborate on a documentary about the great director John Ford. By the time Polly gives birth to their first daughter, she believes she and Peter are an indivisible, equal creative partnership — regardless of how credit is distributed in Hollywood. Listen

• LAST PICTURE SHOW LOVE TRIANGLE: POLLY PLATT, THE INVISIBLE WOMAN PART 3: At Polly’s urging, Peter decides to direct an adaptation of Larry McMurtry’s novel The Last Picture Show. Though credited only as the film’s “designer,” Polly is involved in every creative decision, including casting — and it’s with his pregnant-again wife’s enthusiasm that Bogdanovich casts 20-year-old model Cybill Shepherd as the film’s femme fatale. Though Polly believed she and Peter were “deliriously happy,” Bogdanovich and Shepherd fall in love on the set of the movie, and Polly has to make a decision: to save face and avoid personal humiliation by walking away from the production, or stay and fight for the creative baby that she feels ownership over. Listen

• ORSON WELLES, WHAT’S UP DOC, PAPER MOON (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 4): In the aftermath of Picture Show—and the collapse of her second marriage—Polly finds an unlikely ally, and a new job, in Orson Welles. Anxious to build on her career momentum (and become the first female film art director accepted into her union), Polly agrees to work on Peter’s next two films, What’s Up Doc and Paper Moon – two massive hits which make Peter one of the most famous directors of the decade. Listen

• A STAR IS BORN (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 5): When Polly begins her own on-set affair, the double standard of what men can get away with in Hollywood versus what was expected for women would push her to a breaking point. With collaborating with her ex-husband no longer an option, Platt starts attempting to rebuild her career, designing classics such as A Star is Born and Bad News Bears, while also navigating predatory men in power in post-sexual revolution Hollywood. Listen

• PRETTY BABY AND A PLAYMATE MURDER (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 6): In an attempt to save her family, Polly transitions to screenwriting and producing, basing the prostitution drama Pretty Baby, starring a pre-teen Brooke Shields, on her own daughter. Polly finds herself increasingly overcome by alcoholism, while dealing with Shields’s own alcoholic mother. Polly’s already-difficult relationship with her two daughters is made much more complicated by the murder of Peter’s girlfriend, Dorothy Stratten, and Bogdanovich’s subsequent emotional collapse. Listen

• TERMS OF ENDEARMENT (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 7): Polly’s third marriage falls apart, and she enters more than one destructive affair. During these tumultuous times, Polly establishes a new collaboration with a male writer-director, James L. Brooks, and together the two turn another Larry McMurtry novel into a classic film: Terms of Endearment. Once again, while working on this film about a combative mother-daughter relationship, Polly finds that art and life are intertwined. Polly’s own story starts showing up in other people’s movies, including Irreconcilable Differences -- starring Ryan O’Neal as a version of Bogdanovich. Listen
  

• WOMEN OF THE 80’S (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 8): In the mid-to-late 80s, Polly Platt worked on a number of films that defined and reflected that decade’s ideas about female power. With an Oscar nomination under her belt, Polly starts trying in earnest to direct. She ends her career as a production designer with The Witches of Eastwick, a star-studded special-effects extravaganza. Inspired by Polly, Brooks creates the character played by Holly Hunter in Broadcast News, infusing the film with Polly’s single-minded professional determination. Riding high on having guided Brooks through two consecutive, blockbuster Oscar nominees, Polly becomes a production executive at Brooks's Gracie Films, where she produces Cameron Crowe’s Say Anything… Listen
  
  

• BOTTLE ROCKET, I'LL DO ANYTHING AND POLLY PLATT IN '90S HOLLYWOOD (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 9): Platt collaboration with Brooks hits choppy waters with I’ll Do Anything, which at one point was a musical with songs by Prince, but which became one of the most notoriously misbegotten productions of the 1990s. Polly recaptures her indie roots by shepherding the directorial debut of Wes Anderson. Listen
  
  

• HOW DID IT END? (POLLY PLATT, THE INVISIBLE WOMAN, EPISODE 10): Polly’s unfinished memoir ends abruptly in 1995. What were the remaining 16 years of her life like? Using interviews with those who knew her, we’ll explore how her career in Hollywood came to an end, and the tragic circumstances of her death. Listen

MAKE ME OVER ARCHIVE

In this companion series to You Must Remember This, Karina Longworth will introduce eight stories about Hollywood’s intersection with the beauty industry. Told by writers/reporters known for their work at The New Yorker, The New York Times and other publications, Make Me Over will explore a range of topics, including Hollywood’s first weight loss surgery, the story of the star whose unique skills led to the development of waterproof mascara, black beauty in the 1990s, and much more. 

Episodes:

• HOLLYWOOD’S FIRST WEIGHT LOSS SURGERY: MOLLY O’DAY (MAKE ME OVER, EPISODE 1):

  At the age of 18, actress Molly O’Day’s career showed great promise—the only thing holding her back was a bit of pubescent pudge. When diets failed, she became the guinea pig of Hollywood's first highly-publicized weight loss surgery. This was in 1929, and the procedure was, as one fan magazine described it "dangerous...and all in vain." What lead Molly to such desperation? And what happened after the surgery her former lover, actor George Raft, declared “ruined her health, her career, and damn near killed her”? This episode was written and performed by Megan Koester. Listen
  

• HOLLYWOOD’S FIRST WEIGHT LOSS GURU: MADAME SYLVIA (MAKE ME OVER, EPISODE 2):

  Glamourous and shrewd, Sylvia of Hollywood became the movie industry’s first weight-loss guru during the end of the silent era. An immigrant of mysterious origin, she would cannily market herself to clients like Gloria Swanson, who she promised to ‘slenderize, refine, reduce, and squeeze’ into shape. But her taste for gossip and publicity would become her downfall in the 1930s when she published a catty tell-all memoir about her star clients. This episode was written and performed by Christina Newland. Listen
  

• MARIE DRESSLER, THE FIRST FEMALE STAR TO CONQUER HOLLYWOOD’S AGEISM (MAKE ME OVER, EPISODE 3):

  In 1933, the biggest female star in American movies wasn’t a sex symbol like Greta Garbo, Jean Harlow, or Marlene Dietrich. It was Marie Dressler — homely, overweight, and over 60 years old. The public loved nothing better than to see their Marie play a drunk or a dowager and steal every scene from the glamour girls less than half her age. Dressler had been down and out for most of the 1920s. That she became a star at age 60 was an achievement that told Depression-battered audiences it was never too late. Today we take a look at the life of Marie Dressler; from Broadway, to the picket lines, to the breadline and to the Oscar podium, she proved that in some cases, Hollywood stardom can be more than skin-deep. This episode was written and performed by Farran Smith Nehme. Listen
  

• PASSING FOR WHITE: MERLE OBERON (MAKE ME OVER, EPISODE 4):

  In 1935, Merle Oberon became the first biracial actress to be nominated for a Best Actress Oscar, an incredible achievement in then-segregated Hollywood -- except that nobody in Hollywood knew Oberon was biracial. Born in Bombay into abject poverty in 1911, Oberon's fate seemed sealed in her racist colonial society. But a series of events, lies, men, and an obsession with controlling her own image -- even if it meant bleaching her own skin -- changed Oberon's path forever. This episode was written and performed by Halley Bondy. Listen
  

• ESTHER WILLIAMS AND THE BIRTH OF WATERPROOF MAKEUP (MAKE ME OVER, EPISODE 5):

  Esther Williams single-handedly helped to popularize the past time of swimming, first as the star swimmer of the San Francisco production of Billy Rose's Aquacade, and then as the star of Hollywood films like Bathing Beauties and Million Dollar Mermaid. Williams’s stardom—and the necessity to maintain her image as a grinning glamour girl, even while submerged underwater—led to the creation of several waterproof products and swimwear innovations, from waterproof foundation and eyeliner to bathing cap couture. Despite two decades of sustained celebrity and brand power, Williams eventually struggled to maintain the pristine bathing beauty facade. She lost her MGM contract in the 1960s and had to pay millions to the studio in damages; on her way down, she slapped her name on swimming pools and exercise videos, stumbled through four unhappy marriages and started to experiment with taking LSD for her depression. This episode was written and performed by Rachel Syme Listen
  

• CASS ELLIOT, CARNIE WILSON AND FAT-SHAMING IN ROCK AND POP (MAKE ME OVER, EPISODE 6):

  Cass Elliot didn’t die eating a ham sandwich. But the lasting power of that urban legend speaks to a far darker story. Elliot possessed one of the most influential voices of the 1960s. However, while her big break with The Mamas and The Papas and meteoric career changed the LA music scene forever, it also entrapped Elliot in a cycle of fat-shaming, sending her spiraling into catastrophic weight-loss regimens. In this episode, we’ll talk about the music industry’s complicated relationship with weight, how crash dieting likely led to the untimely death of this music legend, and the true legacy of Elliot in pop culture. This episode was written and performed by Lexi Pandell. Listen
  

• THE HEMINGWAY CURSE?: MARIEL AND MARGAUX (MAKE ME OVER, EPISODE 7):

  A close look at the parallel lives of Margaux and Mariel Hemingway, sisters born with a world-famous last name that stood for both genius and self-destruction. Both rose to fame in the 1970s, Margaux as a supermodel and Mariel as an actress, and then struggled with various demons. But while Margaux followed her grandfather's fate, Mariel confronted the family's dark legacy and reinvented herself as a mental health and wellness advocate. This episode was written and performed by Michael Schulman. Listen
  

• VANESSA WILLIAMS, WHITNEY HOUSTON AND HOLLYWOOD’S MISOGYNOIR PROBLEM (MAKE ME OVER, EPISODE 8):

  In 1983, Vanessa Williams became the first black woman to win Miss America. In 1984, a few weeks from the end of her reign, she was forced to step down when she found out Penthouse was to publish unauthorized nude images of her in their magazine. Williams went on to have a successful singing career and star in movies, too, but her career trajectory tells more than the story of a black beauty icon who overcame obstacles to make it in Hollywood. It's a story that echoes the legacies of racism, colorism, tokenism, and misogynoir (the misogyny experienced specifically by black women) in 20th century Hollywood and how, as a result, black women — from Williams to Whitney Houston — have had to display exceptional talent to make the case that their images are worth circulating and celebrating as beautiful. This episode was written and performed by Cassie da Costa. Listen

SIX DEGREES OF SONG OF THE SOUTH ARCHIVE

The most controversial film in the history of Disney Animation, Song of the South is a live-action/animated hybrid about a little white boy and the former slave he befriends on a plantation in post-Civil War Georgia. The film was planned by Walt Disney to cash-in on nostalgia inspired by the release of Gone with the Wind. On its release in 1946, the movie was considered technically innovative, but hopelessly retrograde in its presentation of African-Americans as grinning, singing servants who were happy to continue their circumstances of slavery post-Emancipation. And yet, Song of the South would go on to have a long, strange life into the 1980s and beyond.

Episodes:

• DISNEY’S MOST CONTROVERSIAL FILM (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 1): Disney Plus is launched with the stated intention of streaming the entire Disney library...except for Song of the South, the 1946 animation/live-action hybrid film set on a post-Civil War plantation, which was theatrically re-released as recently as 1986, served as the basis for the ride Splash Mountain, but has never been available in the US on home video. What is Song of the South, why did Disney make it, and why have they held the actual film from release, while finding other ways to profit off of it? Listen
  

• HATTIE MCDANIEL (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 2):

  Song of the South co-stars Hattie McDaniel, the first black performer to win an Oscar, for her supporting role as “Mammy” in Gone with the Wind. By the time Song of the South was released, McDaniel was the subject of much criticism in the black community for propagating outdated stereotypes in her roles. But McDaniel actually began her career subverting those same stereotypes, first in black minstrel shows and then in Hollywood movies. Listen
  

• “ZIP-A-DEE-DOO-DAH,” MINSTRELS IN HOLLYWOOD AND THE OSCARS (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 3):

  Song of the South’s most famous element is “Zip-a-Dee-Doo-Dah,” a song written for the movie but reminiscent of a racist standard popularized in blackface minstrel shows of the 1830s. Today we’ll explore this song and the other ways in which minstrel imagery and tropes made their way into Song of the South and other animated and live action films of the first half of the 20th century. And, we'll talk about how all of this is related to Walt Disney's push to net Song of the South Oscars. Listen
  

• WHITE ALLIES AND THE BLACKLIST: MAURICE RAPF (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 4): 

  Concerned that his movie about a former slave devoting his life to a white child’s emotional needs might be perceived as racist, Walt Disney hired known Communist Maurice Rapf to rewrite Song of the South. Rapf, the son of an MGM exec, was radicalized as a college student and, shortly after Song of the South was released, he was blacklisted. Today we’ll discuss Rapf’s life and career, and talk about how white leftists in Hollywood tried to subvert the industry’s racial status quo--and how their mission to “make movies less bad” led to their own persecution. Listen
  

• BLAXPLOITATION AND THE WHITE BACKLASH (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 5):

  Song of the South’s most successful re-release came in 1972, at a time when Hollywood was dealing with race by making two very different kinds of movies: Blaxploitation films, which gave black audiences a chance to see black characters triumph against white authority figures; and movies like Dirty Harry, which were emblematic of a concurrent cultural and political shift away from the Civil Rights Movement and toward Reagan-style Republicanism. Listen
  

• SPLASH MOUNTAIN (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 6):

  After two more successful theatrical releases, in 1980 and 1986, Disney decided to put Song of the South in the “Disney Vault,” and never released it on home video or theatrically in the US ever again. And yet, at the same time, the company was developing a theme park ride around Song of the South’s characters and its most memorable song--but without Uncle Remus, or any signifiers of the complicated racial and historical dynamics the film, however clumsily, portrayed. Listen

Fake News: Fact Checking Hollywood Babylon Archive

Considered by many to be the urtext of salacious movieland gossip, Kenneth Anger’s Hollywood Babylon has been derided by some readers as a work of dangerous libel for its embellishments and, in some cases, outright fictions about real people and events. This season, we examine some of the stories Anger tells and the way he tells them, and we’ll try to figure out the real story. Throughout, we’ll talk about how the seemingly contemporary concept of “fake news” has played a key role in Hollywood’s star-making (and star-destroying) apparatus from the industry’s earliest days, and how such practices mutated through the work of counter-narrators like Anger and beyond.

Episodes:

• D.W. GRIFFITH, THE GISH SISTERS AND THE ORIGIN OF HOLLYWOOD BABYLON: The phrase “Hollywood Babylon” entered the vernacular thanks to D.W. Griffith, one of Hollywood’s first great directors, who followed up the racist smash The Birth of a Nation with a less-successful historical epic called Intolerance. Anger’s use of that film’s Babylon set, which was left to stand and decay for years after the film came and went, as the structuring image of his gossip bible, helps to set the ironic tone of the book. But what of Anger’s accusations that Griffith was a known pedophile, and that his stars, sisters Dorothy and Lillian Gish, were incestuous? Listen
  

• OLIVE THOMAS: The first Hollywood scandal to attract international intentional was the death-by-poison of Olive Thomas, the twenty-five year old star of au courant Hollywood hit The Flapper. According to Hollywood Babylon, Thomas’s death was the suicide of a woman desperate over her failure to score dope for her junkie husband. What’s the real story—and what role was played by Jack Pickford, Olive’s husband and the brother of the actress then considered “America’s Sweetheart”? Listen
  

• ROSCOE "FATTY" ARBUCKLE AND VIRGINIA RAPPE: At a boozy party over Labor Day weekend 1921, Roscoe “Fatty” Arbuckle, silent Hollywood’s superstar plus-size comedian, followed sometime actress Virginia Rappe into a hotel room. They were alone together for only a few minutes, but in that time, Rappe fell ill, and died several days later from her sickness. Arbuckle was tried for murder, and accused of rape in the newspapers. The story of the definitive sex-and-death scandal in early Hollywood history, which left a woman dead and effectively killed off a star comedian’s career, has been plagued with misinformation and distortions for nearly 100 years. Today we’ll closely examine Anger’s text to demonstrate how he implies both Arbuckle and Rappe’s guilt, and we’ll also use more recent scholarship on the case to try to suss out what really happened in that hotel room, and how the facts were distorted throughout Arbuckle’s three trials. Listen
  

• WILLIAM DESMOND TAYLOR: The killing of director William Desmond Taylor was the third in a trifecta of scandals which, over the course of about a year and a half, painted such a sordid a picture of the movie colony as a hotbed of sin that the industry was forced to fundamentally change its way of conducting business. Anger’s telling implies that Taylor’s murder may have been a consequence of the affairs he supposedly conducted simultaneously with several women, including both a starlet and her mother, or related to the fact that Taylor was living under an assumed identity and employing his own brother as his butler. Today we’ll sort out fact from fiction in the Taylor case, and demonstrate how the media frenzy surrounding it had wide-ranging consequences despite the fact that no one was ever arrested for the crime. Listen
  

• MABEL NORMAND: A frequent co-star of Roscoe Arbuckle’s, Mabel Normand was the definitive female screen comedienne of her generation. But it wasn’t her association with Arbuckle that brought Normand’s career to an abrupt close and her life to an early end. Today we’ll interrogate Hollywood Babylon’s claim that Normand was a cocaine addict, explore Normand’s involvement in various scandals which did more damage than drugs, and talk about the disease that led to her early death. Listen
  

• WALLACE REID: According to Hollywood Babylon, actor Wallace Reid —a morphine addict who died in an asylum at the age of 31—was the first sacrificial lamb of the post-sandal era, and Reid’s wife, a former teen star named Dorothy Davenport, was the ultimate opportunistic hypocrite. What made Reid’s case different from the other scandals around this time? Was Davenport the black widow that Anger suggests, or should she be remembered as a pioneering female writer, producer and director? Listen
  

• WILL HAYS AND "PRE-CODE" HOLLYWOOD: Who was Will Hays, and how did he come to put his name on the censorship “Code” that would shape the content of movies more than any other single force from the early 1930s into the 1960s? How much power did Hays really have in 1920s Hollywood, how corrupt was he, and why did it take a decade before the Hays Code was fully enforced? Listen
  

• PEGGY HOPKINS JOYCE AND CHARLIE CHAPLIN: The Kim Kardashian of her day, Peggy Hopkins Joyce was famous for being rich and famous—and for her marriages and involvements with rich and famous men, including Charlie Chaplin. Did Peggy really ask Chaplin on their first date if he was “hung like a horse?” We’ll investigate this and other claims made about the affair in Hollywood Babylon, and chart how the dalliance with Hopkins Joyce inspired Chaplin’s first dramatic film A Woman of Paris, and explain how a woman of the 1910s-1920s could come from nothing and become internationally famous before ever arriving in Hollywood. Listen
  

• THOMAS INCE AND THE HEARST "COVERUP": Thomas Ince was one of early Hollywood’s most pioneering producers—in fact, some credit him for popularizing “producer” as a job title and for codifying what it meant to do the job, as well as helping to develop the Western as a genre. But today, if Ince is remembered at all, it’s for his death aboard a yacht owned by William Randolph Hearst, amidst a star-studded party attended by Chaplin, writer Elinor Glyn, and actress/Hearst’s mistress Marion Davies. For decades, rumors have swirled that Ince was felled not by “acute indigestion,” as Hearst’s papers claimed, but by “a bullet hole in [his] head,” as Kenneth Anger put it. Who was Ince, what really happened on that yacht, and why have fictionalizations of his death (spread by Anger and others) flourished for so long? Listen
  

• RUDOLPH VALENTINO: Rudolph Valentino was Hollywood’s first “latin lover.” His shocking death at the age of 31 was attributed to side effects from an appendectomy, but Hollywood Babylon forwards theories that Valentino may have actually been poisoned, or killed by the husband of a lover, and/or secretly gay and recently divorced from his second secretly lesbian wife. What was the real story of Valentino’s marriages, and what really led to his untimely demise? Listen
  

• CLARA BOW: We’ll close this half of our Hollywood Babylon season with one of that book’s most famously distorted stories: the tale of “It” Girl Clara Bow’s supposed nymphomania and alleged “tackling” of the entire USC football team. The real story of Clara Bow’s life and career is a much richer tale, involving changing sexual mores, and the change in the audience’s tastes that overlapped with the end of the silent era. Listen
  

• MAE WEST: Today we begin part two of our season, Fake News: Fact Checking Hollywood Babylon. Mae West was the biggest new star in Hollywood in 1933, thanks to two hit films she co-wrote and starred in as a sexually implicit, wisecracking broad who romanced a young Cary Grant. In Hollywood Babylon, Anger credits West’s abrupt decline in movies to a coordinated conspiracy organized by William Randolph Hearst and carried out by the Hays Office. Today we’ll explore West’s background, her history of pushing the censors past the limits of legality, and the truth of her lightning-fast rise in Hollywood and somewhat slower descent back to earth. Featuring special guest Natasha Lyonne. Listen
  

• MARY ASTOR'S DIARY: In 1936, actress Mary Astor (who had not yet made her most famous film, The Maltese Falcon) and her husband went to court to fight for custody of their four year-old daughter. The trial made international news thanks to both sides’ use of Astor’s diary, in which she had recorded details of her affair with playwright George S. Kaufman. How much did Astor truly reveal in her diary, and what role did the scandal play in her life and career? Listen
  

• LUPE VELEZ: Mexican actress Lupe Velez was the victim of one of Anger’s cruelest invented stories. His fabrication of her manner of death lays bare a vicious racism in addition to Hollywood Babylon’s usual sexism. Today we will sort out the fact of Velez’s life from Anger’s fiction, and consider the star of the Mexican Spitfire series as comedienne ahead of her time. Listen
  

• MARLENE DIETRICH AND CLAUDETTE COLBERT: The bisexuality of Marlene Dietrich was not exactly a secret in 1930s Hollywood -- in fact, her ambiguous sexuality was part of her on-screen brand. But there is some debate as to who Dietrich counted among her lovers, and which of her fellow stars participated in what has been called the “sewing circle” of female intimacy. Anger alleges that Dietrich had a “passionate affair” with Claudette Colbert, an Oscar-winning actress with an extremely heteronormative persona. We’ll explore what was going on in Dietrich’s life and career around the time when this affair could have taken place, and then delve into Colbert’s image as a very different kind of on-screen sex symbol, and her complicated off-screen personal life. Listen
  

• BUGSY SIEGEL: Jewish gangster Benjamin “Bugsy” Siegel is frequently credited with corrupting Hollywood’s unions and “inventing” Las Vegas. Siegel did have movie star friends, but the true story of his involvement with the Flamingo casino is also the story of a much bigger movieland player: Hollywood Reporter founder/publisher/columnist Billy Wilkerson. Listen
  

• DOROTHY DANDRIDGE AND THE CONFIDENTIAL MAGAZINE TRIAL: Over two episodes, we will explore Hollywood Babylon’s coverage of Confidential Magazine and the two celebrities who testified against the scandal rag in the 1957 trial that helped end what Anger rightfully refers to as its “reign of terror.” We’ll begin with Dorothy Dandridge, the first black actress to be nominated for a Best Actress Oscar. Dandridge’s testimony against Confidential reveals the publication’s racist agenda, as well as the double standards that governed her real private and public lives. Listen
  

• MAUREEN O'HARA AND THE CONFIDENTIAL MAGAZINE TRIAL: In part two of our two-parter on the demise of the biggest and most pernicious tabloid of the 1950s, we’ll explore what happened after the magazine’s claim that redheaded star Maureen O’Hara was caught having sex at Grauman’s Chinese Theater. O’Hara positioned herself the “Joan of Arc” of Hollywood, single-handedly defending a cowardly industry against the existential threat posed by Confidential. As we’ll see, this is one story where the Kenneth Anger version is more credible than the version related by one of the subjects. Listen
  

• RAMON NOVARRO: Ramon Novarro was a Mexican actor and singer whose stardom at MGM in the 1920s and 30s was not impeded by his offscreen life as a gay man. In Hollywood Babylon, Anger focuses only on Novarro’s grisly murder in 1968 -- which outed Novarro to a public that had largely forgotten him--and needlessly embellishes a crime scene that was already pretty horrible. Today, in our final episode of Fact-Checking Hollywood Babylon, we will explore the life which Anger left out of Hollywood Babylon, and correct that book’s version of Novarro’s death. Listen

The Many Loves of Howard Hughes Archive

Throughout the history of You Must Remember This, one character we’ve returned to frequently is Howard Hughes, whose story dovetails with the stories of some of the most interesting actresses of the Golden Era, from silent star Billie Dove to Katharine Hepburn, to a series of brunette bombshells, including Ava Gardner, Jane Russell, Gina Lollobrigida and more.

Episodes:

• The Many Loves of Howard Hughes, chapter 1: The first episode of a multi-part series on the Hollywood romances of Howard Hughes traces Hughes’ arranged marriage at age 18 to Southern society belle Ella Rice; his affairs with silent star Billie Dove and Jean Harlow, who Hughes helped to establish as a sex symbol whose body was used to evoke both money and military might; and his attempt to invent himself as the most powerful independent producer in town, with his directorial debut, Hell’s Angels. [Listen]

• The Many Loves of Ida Lupino: In this second installment of our ongoing series, The Many Loves of Howard Hughes, we explore the life, loves and work of Ida Lupino. Hughes dated Lupino when she was a teenage starlet; nearly 20 years later, after Lupino had become the only working female feature director in 1940s Hollywood, Hughes signed his ex-girlfriend’s production company to a deal at RKO. [Listen]

• Katharine Hepburn in 1938: Introduced by Hughes’ close confidant, Cary Grant, Hepburn and Hughes became a celebrity couple in the modern mold: mutually attracted in part based on the fame of the other, they were hounded by paparazzi, their rumored impending nuptials dissected by outsiders until the relationship itself frittered away. By 1938, Hepburn’s “woman wearing the pants” image had transitioned from merely controversial to cripplingly unfashionable, and when she was named in the infamous "box office poison" ad of May 1938, her career sunk as low as it would go. [Listen]

• Jane Russell: Our long-running series on the women in the life of the infamous aviator/filmmaker continues with a look at Hughes’ professional and personal relationship with Jane Russell, which began in 1940 when Hughes randomly pulled a photograph of the 19 year-old out of a pile, and lasted for most of her film career. [Listen]

• Gene Tierney: On-screen, gorgeous brunette actress Gene Tierney helped to invent the femme fatale in movies like Laura and Leave Her to Heaven, and off-screen, she had serious romances with four of the great playboys of the 20th century: John F. Kennedy, Howard Hughes, Prince Aly Khan and costume/fashion designer Oleg Cassini. So how did she end up, at age 38, standing on a ledge fourteen floors above 57th Street, wondering what her body would look like on the pavement if she were to jump? [Listen]

• Rupert Hughes’s Women: Howard Hughes was not the first man in his family to find success in Hollywood, or to build a reputation built in part on multiple relationships with women. His uncle, Rupert Hughes, was a respected writer and director in the silent era, whose accomplishments included one of the first Hollywood meta-movies. He also married three times, while making frequent public statements, and films, critiquing marriage and divorce laws. One of his marriages ended in a sensational divorce trial; the other two Mrs. Hughes committed suicide. [Listen]

• The bacchanal of 1920s Hollywood: Frederica Sagor would pen one of the frankest memoirs of 1920s Hollywood ever written, revealing the systematic sexual exploitation of women in the film industry by men like Marshall Neilan -- one of Howard Hughes’s early mentors. Frederica’s story also details how tough it was for a woman to hold on to power behind the scenes in the film industry as Hollywood evolved. [Listen]

• Ann Dvorak: The child of a silent film actress, Dvorak was so determined to be a star that at first, she wouldn’t take no for an answer. Her big break came when she was cast in Howard Hughes’s production of Scarface. But Hughes would sell her contract to Warner Brothers, and when Ann later accused Hughes of having “sold [her] down the river,”  she would swiftly suffer the consequences of going up against Hughes in the press when his mastery over the medium of publicity was at its peak. [Listen]

• Linda Darnell: A stunning brunette sex symbol married to cinematographer Pev Marley, Darnell thought her affair with Hughes would result in marriage to the aviator. But after Hughes’s near-fatal 1946 plane crash, Marley tried to make a deal to sell his wife to the tycoon--which was not what Darnell wanted. This was not the low point of a life that ended in incredible tragedy, amidst a career that, to this day, has not been given the acclaim it deserves. [Listen]

• Yvonne DeCarlo: The future Lily Munster became a star when producer Walter Wanger cast her in Salome, Where She Danced (1945). A curvaceous brunette in her early 20s, De Carlo fit the mold of Howard Hughes’s mid-century girlfriends to a T. But that relationship would be brief, and De Carlo would go on to distinguish herself in movies, TV and as a star of the original production of Stephen Sondheim’s Follies. [Listen]

• Gina Lollobrigida: This Italian pin-up, along with Sophia Loren and Brigitte Bardot, was emblematic of a brand of post-war European sexuality that America happily imported. But the Hollywood career of  “La Lollo” was delayed, thanks to Howard Hughes, whose obsession with Lollobrigida led him to keep her virtually imprisoned in a Los Angeles hotel, and sign her to a contract that made it essentially impossible for her to work for any other US producer. [Listen]

Bela and Boris Archive

The original Hollywood Dracula and Frankenstein, Bela Lugosi and Boris Karloff were two middle-aged, foreign, struggling actors who became huge stars thanks to a wave of monster movie hits released by Universal Studios during the 1930s. This season, we discuss their parallel but very different lives and careers.

Episodes:

• WHERE THE MONSTERS CAME FROM: In the first episode of the season, we 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. Listen
  

• BELA AND THE VAMPIRES: 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. Listen
  

• BORIS AND THE MONSTERS: 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. Listen
  

• BELA VS. BORIS: 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. Listen
  

• BELA LUGOSI AND ED WOOD: Forgotten by Hollywood, struggling with morphine addiction and a dependency on alcohol, at the end of his life Bela Lugosi was welcomed into a ragtag bunch of micro-budget movie-making freaks led by Edward D. Wood Jr,, who would later become known as the worst filmmaker of all time. Through their collaborations on movies like Glen or Glenda? and Bride of the Monster, did Ed Wood help Bela, exploit him, or a little of both? Featuring Taran Killam as Bela Lugosi and Noah Segan as Ed Wood. Listen
  

• BORIS KARLOFF AND ROGER CORMAN: Where Bela Lugosi lived his last decade in sad obscurity, Boris Karloff worked until the very end of his life, even as his body began to fall apart. Some of that work was for Roger Corman, the extremely prolific independent genre film producer whose movies helped to define the generation gap in the 1960's, while serving as a training ground for the next generation of auteurs. Karloff’s and Corman’s finest collaboration, Peter Bogdanovich’s directorial debut Targets, would serve as a bridge between cinematica eras, paying tribute to Karloff and his long career while depicting events that were shockingly of-the-moment--and still relevant today. Featuring Patton Oswalt as Boris Karloff and Rian Johnson as Roger Corman. Listen

Jean and Jane Archive

Jane Fonda and Jean Seberg, two white American actresses who began their careers at the tail end of the Classical Hollywood studio system, found great success (and husbands) in France before boldly and controversially lending their celebrity to causes like civil rights and the anti-war movement. Fonda and Seberg were both tracked by the FBI during the Nixon administration, which considered both actresses to be threats to national security. But for all their similarities, Jane and Jean would end up on different paths.

Episodes:

• HOLLYWOOD ROYALTY/MIDDLE-AMERICAN MARTYR: In the first episode of the season, we track Jane’s difficult upbringing with her famous but absentee father and troubled mother, and the path of privilege -- and tragedy -- that led her to the Actor’s Studio. Meanwhile, in small town, church-dominated Iowa, Jean Seberg announced herself as the town rebel at age 14 when she joined the NAACP. Three years later, she was plucked out of obscurity by a mad genius movie director to star in one of the highest-profile Hollywood movies of the late-50s. Listen
  

• JEAN AND OTTO PREMINGER/JANE IN NEW YORK: Jean Seberg made her first two films, Saint Joan and Bonjour Tristesse, for director Otto Preminger, a tyrannical svengali character whose methods would traumatize Jean for the rest of her life and career. No wonder she rebelled against this bad dad figure by marrying a handsome French opportunist. Meanwhile, Jane Fonda moves to New York, joins the Actors Studio, takes up with her own hyper-controlling male partner, and tries to define herself as something other than Henry Fonda’s daughter. Listen
  

• JEAN AND JANE IN PARIS: With her Hollywood career already something of a disappointment, Jean Seberg took a chance on a French film critic turned first-time director who wanted her to play an amoral American in an experimental movie without a script. The result was Breathless, the catalyzing hit of the French New Wave and the movie that would make Jean Seberg an icon. Soon thereafter, Jane Fonda got her own invitation to come make a movie in Paris, where she’d soon fall in love with Roger Vadim, the man who discovered Brigitte Bardot. Jane Fonda would become Vadim’s new creative muse, as well as his third wife. Listen
  

• JEAN VS. LILITH: 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. Listen
  

• JANE VS. BARBARELLA: 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. Listen
  

• JEAN AND JANE BECOME PUBLIC ENEMIES: 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. Listen
  

• HANOI JANE AND THE FBI VS. JEAN SEBERG'S BABY: 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. Listen
  

• COMING HOME: 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. Listen
  

• THE LAST OF JEAN/JANE WORKS OUT: 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. Listen

Dead Blondes Archive

Dead Blondes explores Hollywood and the larger culture's fascination with blonde women as perfect angels, perfect sex objects and perfect victims. From Jean Harlow to Veronica Lake, Marilyn Monroe to Dorothy Stratten, this season tells the stories of eleven actresses who died unusual, untimely or otherwise notable deaths which, in various ways, have outshined these actress’ careers and lives.

Episodes:

• PEG ENTWISTLE was idolized by Bette Davis, but virtually unknown in the movie industry -- until she took her own life by jumping off of the Hollywood Sign. Listen
  

• THELMA TODD, a curvaceous white-blonde who predated Jean Harlow -- was a sparkling comedienne who began in the silent era and flourished in the talkies. She was also an early celebrity entrepreneur, opening a hopping restaurant/bar with her name above the door. But today, Thelma is best remembered for her shocking 1935 death, which was deemed an accident but still sparks conspiracy theories that it was really murder. Listen
  

• JEAN HARLOW was the top blonde of the 1930s, and even though she didn’t survive the decade -- she died in 1937 at the age of 26 -- she’d inspire a generation of would-be platinum-haired bombshell stars. Today we revisit our 2015 episode on Harlow, to set the stage for the relentless forward march of Dead Blondes through the Twentieth Century. Listen
  

• VERONICA LAKE had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50? Listen
  

• CAROLE LANDIS was a gifted comedienne, a decent singer, and -- once she dyed her naturally brown hair blonde -- perhaps the most luminous beauty in movies of the early 1940s. Plus, she was one of the most dedicated USO performers of WWII, and her elopement with an Air Force pilot on her travels became the inspiration for a book, movie and long-running tabloid narrative. But then Landis fell into an affair with Rex Harrison -- and this affair turned out to be Landis’ last Listen
  

• MARILYN MONROE: THE BEGINNING: We begin the first of three episodes on the most iconic dead blonde of them all, Marilyn Monroe. We’ll start by revisiting our episode on Marilyn from our series on stars during World War II, in which we traced the former Norma Jeane from her unhappy, almost parentless childhood through her teenage marriage, her work in a wartime factory, her hand-to-mouth days as a model, her struggles to break into movies and, finally, the sex scandal that made her a star. Listen
  

• MARILYN MONROE: THE PERSONA: How did Marilyn Monroe become the most iconic blonde of the 1950s, if not the century? Today we will trace how her image was created and developed, through her leading roles in movies and her featured coverage in the press, looking specifically at the ways in which Monroe’s on-screen persona took shape during the height of her career.  We’ll pay special attention to the films Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, and Bus Stop, and the struggles behind the scenes of Seven Year Itch and The Prince and the Showgirl. Listen
  

• MARILYN MONROE: THE END: How did a star whose persona seemed to be all about childlike joy and eternally vibrant sexuality die, single and childless, at the age of 36? In fact, the circumstances of Marilyn Monroe’s death are confusing and disputed. In this episode we will explore the last five years of her life, including the demise of her relationship with Arthur Miller, the troubled making of The Misfits, and Marilyn’s aborted final film, and try to sort out the various facts and conspiracy theories surrounding her death. Listen
  

• JAYNE MANSFIELD: More famous today for her gruesome car crash death than for any of the movies she made while alive, she was in some sense the most successful busty blonde hired by a studio as a Marilyn Monroe copy-cat. Mansfield’s satirical copy of Monroe’s act was so spot-on that it helped to hasten the end of the blonde bombshell, paradoxically endangering both actress’ careers. But she did manage to star in Hollywood’s first rock n’ roll movie, Hollywood’s first postmodern comedy, meet The Beatles, experiment with LSD, cheerfully align herself with Satanism for the photo op, and much more. Listen
  

• BARBARA PAYTON: In our Joan Crawford series, we talked about Barbara Payton as the young, troubled third wife of Crawford’s ex Franchot Tone, whose inability to choose between Tone and another actor brought all three of them down into tabloid Hell. Today, we revisit Payton’s story, and expand it, to explore her rise to quasi-fame, and the slippery slope that reduced her from “most likely to succeed” to informal prostitution, to formal prostitution, and finally to a way-too-early grave. Listen
  

• GRACE KELLY: The quintessential “Hitchcock blonde” had an apparently charmed life. Her movies were mostly hits, her performances were largely well-reviewed, and she won an Oscar against stiff competition. Then she literally married a prince. Was it all as perfect as it seemed? Today we’ll explore Kelly’s public and private life (and the rumors that the two things were very different), her working relationship with Hitchcock, her Oscar-winning performance in The Country Girl, the royal marriage that took her away from Hollywood and Kelly’s very specific spin on blonde sexuality. Listen
  

• BARBARA LODEN won a Tony Award for playing a character based on Marilyn Monroe in Arthur Miller’s After the Fall. Like Marilyn, Barbara was a beauty with no pedigree who fled a hopeless upbringing in search of the fulfillment of fame. Like Marilyn, Loden found some measure of security as the mistress (and eventual wife) of a powerful man, in Loden’s case Elia Kazan. But instead of satisfying her, her small taste of fame and her relationship with Kazan left Barbara Loden wanting more, which would lead her to write, direct and star in a groundbreaking independent movie of her own. Listen
  

• DOROTHY STRATTEN: Our Dead Blondes season concludes with the story of Dorothy Stratten. Coaxed into nude modeling by Paul Snider, her sleazy boyfriend-turned-husband, 18 year-old Stratten was seized on by Playboy as the heir apparent to Marilyn Monroe. She ascended to the top of the Playboy firmament quickly, and just after Hugh Hefner decided to make her Playmate of the Year, she met filmmaker Peter Bogdanovich, who fell in love with her and rewrote his upcoming film, They All Laughed, to give Dorothy a star-making role. After filming They All Laughed Dorothy planned to leave Snider and Playboy for life with Bogdanovich -- but her husband had other ideas. Listen

Six Degrees of Joan Crawford Archive

Joan Crawford's career spanned the entirety of the classical Hollywood era, and her star image was completely tied into the ebbs and flows of the studio system. Tracing her silent-era embodiment of the flapper; her marriages (and affair with Clark Gable); her mid-career resurgence with Mildred Pierce; Whatever Happened to Baby Jane? and finally Mommie Dearest, these six stories explain why Crawford was quintessential female star of the 20th century.

Episodes:

• LUCILLE LESUEUR GOES TO HOLLYWOOD AND DOUGLAS FAIRBANKS: In order to understand Joan Crawford’s rise to fame, we have to talk about what Joan -- born Lucille LeSueur, and called “Billie Cassin” for much of her childhood -- was like before she got to Hollywood, and what Hollywood was like before she got there. To accomplish the latter, we’ll focus on Douglas Fairbanks: top action star of the silent era, the definition of Hollywood royalty, and the father of Crawford’s first husband. Listen
  

• THE FLAPPER AND DOUGLAS FAIRBANKS JR: Joan Crawford’s early years in Hollywood were like -- well, like a pre-code Joan Crawford movie: a highly ambitious beauty of low birth does what she has to do (whatever she has to do) to transform herself into a well-respected glamour gal at the top of the food chain. Her romance with Douglas Fairbanks Jr -- the scion of the actor/producer who had been considered the King of Hollywood since the early days of the feature film -- began almost simultaneous to Crawford’s breakout hit, Our Dancing Daughters. But the gum-snapping dame with the bad reputation would soon rise far above her well-born husband, cranking out a string of indelible performances in pre-code talkies before hitting an early career peak in the Best Picture-winning Grand Hotel. Listen
  

• CLARK GABLE, FRANCHOT TONE AND BARBARA PAYTON: By the mid-1930s, Joan Crawford was very, very famous, and negotiating both an affair to Clark Gable (her most frequent co-star and the only male star of her stature) and a new marriage to Franchot Tone, who, like Joan’s first husband, was an actor who was not quite on her level of stardom. Crawford’s marriage to Tone would span the back half of the decade, as Crawford’s stardom peaked, and then began its first decline. Today we’ll talk about that, and then we’ll tell a story about what happened to Franchot Tone after Joan Crawford — particularly, the strange love triangle he entered into in the 1950s, with a gorgeous but self-destructive starlet Barbara Payton at its center. Listen
  

• THE MIDDLE YEARS (MILDRED PIERCE TO JOHNNY GUITAR): Joan Crawford struggled through what she called her “middle years,” the period during her 40s before she remade herself from aging, slumping MGM deadweight into a fleet, journeywoman powerhouse who starred in some of the most interesting films about adult womanhood of the 1940s and 1950s. That revival began with Mildred Pierce (for which Crawford won her only Oscar), and included a number of films, such as Daisy Kenyon and Johnny Guitar, directed by men who would later be upheld as auteurs, subversively making personal art within the commercial industry of Hollywood. Listen
  

• THE STRANGE LOVE OF BARBARA STANWYCK: ROBERT TAYLOR: Barbara Stanwyck’s first marriage helped to inspire A Star is Born. Her second marriage, to heartthrob Robert Taylor, didn’t make sense in a lot of ways, but the pair were united by their conservative politics. Both joined the blacklist-stoking Motion Picture Alliance for the Preservation of American Ideals, but only Taylor testified before HUAC. Called to shamed MGM for forcing him to star in wartime pro-Soviet film Song of Russia, Taylor would become the only major star to name names. Today we’ll talk about Taylor and Stanwyck’s relationship, and the difference between her groundbreaking career as the rare actress who refused to sign long term studio contracts, and his much more conventional experience as MGM chattel. Listen
  

• BETTE DAVIS AND WHATEVER HAPPENED TO BABY JANE?: Robert Aldrich’s What Ever Happened to Baby Jane? has done more to define later generation’s ideas about who Crawford was than perhaps any other movie that she was actually in. Unfortunately, most of those ideas center around Crawford’s supposed feud with co-star Bette Davis, which began as a marketing ploy and turned into something quasi-real -- or, at least as real as certain celebrity “feuds” of today. Listen
  

• MOMMIE DEAREST: The year after Joan Crawford died, her estranged, adopted daughter Christina published a tell-all, accusing her late mother of having been an abusive monster when the cameras weren’t around. Three years later, Mommie Dearest became a movie, starring the only actress of the “new Hollywood” who Joan herself had commended, Faye Dunaway. The disastrous production of that film revealed how much had changed in Hollywood since Joan’s heyday, and the finished film did much to mutate Joan’s persona in the minds of future generations. Listen

The Blacklist Archive

In the 1940s and 50s, dozens of writers, producers, directors and stars were pushed to the margins of the film industry due to the perception of their personal politics. Though socialism and anti-Fascism had been in vogue just a few years earlier, now an affiliation with such movements was considered tantamount to treason. The Blacklist traces how this happened, through the stories of The Hollywood Ten, Dorothy Parker, Charlie Chaplin, Humphrey Bogart, Katharine Hepburn, John Garfield, Kirk Douglas and more.

Episodes:

• TENDER COMRADES: THE PREHISTORY OF THE BLACKLIST: This first episode traces the roots of communism and anti-communism in Hollywood, through the Depression, union struggles and scandals, and World War II. The major characters of the series will be introduced, including members of the Hollywood Ten like Dalton Trumbo and Edward Dmytryk, two Party members who collaborated on a film called Tender Comrade, which starred one of Hollywood's proudest Conservatives, Ginger Rogers. Tender Comrade epitomizes the political evolution that made the Blacklist happen: considered patriotic American propaganda during the War, the film was recast as problematically anti-capitalist after the war, and its makers branded with the epithet "prematurely anti-fascist." Listen
  

• CROSSFIRE: THE TRIALS OF THE HOLLYWOOD TEN: In 1947, the House Un-American Activities Committee subpoenaed dozens of Hollywood workers to come to Washington and testify to the presence of Communists in the film industry. 19 of those who were subpoenaed announced that they wouldn't co-operate with the Committee; of those 19, 10 "unfriendly" witnesses were called to the stand and refused to answer "The $64 Question": "Are you now or have you ever been a Communist?" Those 10 men were subsequently denied employment, and imprisoned; afraid of collateral damage to the industry, the studio moguls were thus moved to design the Blacklist. This episode will explore the work and politics of the Hollywood Ten -- and films on which they came together, such as Crossfire -- and delve into the far-reaching consequences of their false assumption that the Constitution would protect them. Listen
  

• DOROTHY PARKER: Columnist, poet and celebrated Algonquin Roundtable wit Dorothy Parker spent years in Hollywood, working as a screenwriter in partnership with her second husband, Alan Campbell, and contributing to important films such as the original A Star is Born and Alfred Hitchcock’s Saboteur. Much to the surprise of many of her closest friends, beginning in the late 1920s Parker became increasingly drawn to socialist causes. Parker’s political calling was merely socially problematic before World War II, when Parker spearheaded the formation of the Hollywood Anti-Nazi League; after the war, when Parker’s name was named before HUAC, her political convictions killed her Hollywood career at its peak. Listen
  

• THE AFRICAN QUEEN: HUMPHREY BOGART, KATHARINE HEPBURN AND JOHN HUSTON: In the late 1940s, as the country was moving to the right and there was pressure on Hollywood to do the same, Katharine Hepburn, Humphrey Bogart and John Huston all protested HUAC in ways that damaged their public personas and their ability to work in Hollywood. Hepburn’s outspokenness resulted in headlines branding her a "Red" and, allegedly, audiences stoning her films. Bogart and Huston were prominent members of the Committee For the First Amendment, a group of Hollywood stars who came to Washington to support the Hollywood Ten -- and lived to regret it. With their career futures uncertain, the trio collaborated on the most difficult film any of them would ever make, The African Queen. Listen
  

• THE STRANGE LOVE OF BARBARA STANWYCK: ROBERT TAYLOR: Barbara Stanwyck’s first marriage helped to inspire A Star is Born. Her second marriage, to heartthrob Robert Taylor, didn’t make sense in a lot of ways, but the pair were united by their conservative politics. Both joined the blacklist-stoking Motion Picture Alliance for the Preservation of American Ideals, but only Taylor testified before HUAC. Called to shamed MGM for forcing him to star in wartime pro-Soviet film Song of Russia, Taylor would become the only major star to name names. Today we’ll talk about Taylor and Stanwyck’s relationship, and the difference between her groundbreaking career as the rare actress who refused to sign long term studio contracts, and his much more conventional experience as MGM chattel. Listen
  

• HE RAN ALL THE WAY: JOHN GARFIELD: John Garfield was Brando before Brando -- a Method-style actor who repped the New York working class while becoming a major sex symbol in film noir and World War II films. Garfield was not a Communist; most of his friends -- and his wife -- were, but they mostly thought “Julie” was well-meaning but not a serious political animal. HUAC disagreed, and in the early 1950s, Garfield became the biggest star to be blacklisted. Listen
  

• MONSIEUR VERDOUX: CHARLIE CHAPLIN'S ROAD TO HOLLYWOOD EXILE: In this episode, we catch up with Charlie Chaplin’s post-The Great Dictator, talk about Chaplin’s savage satirical follow-up, Monsieur Verdoux, and explain the witch hunt that ended with him forced to leave his adopted home, and Hollywood career, behind.  Listen

• STORM WARNING: RONALD REAGAN, THE FBI AND HUAC: The post-war Communist witch hunt had a big impact on Ronald Reagan’s evolution from movie actor to politician, and from Democrat to Republican. And, Ronald Reagan had a major personal impact on the witch hunt’s manifestation in Hollywood, the Blacklist. This episode will trace the years in which Reagan was primarily known as a movie and TV star, and explore his two marriages to actresses, his testimony to HUAC, his behind-the-scenes work as an informer to the FBI, his late-career incarnation as bridge between Hollywood and corporate America, and more. Listen
  

• SHE: RICHARD NIXON + HELEN GAHAGAN DOUGLAS: The wife of actor Melvyn Douglas (Ninotchka, Being There), Helen Gahagan Douglas transformed herself from a Broadway and opera star into an exciting new politician in the days of FDR. A persistent, nagging voice of conscience in Congress during the time of HUAC and nuclear panic, Douglas’ political career came to an end amidst inaccurate allegations that she was a Communist supporter -- many of which were leveled at her by her opponent in the 1950 Senate race, Richard Nixon. Listen
  

• SALT OF THE EARTH: HOWARD HUGHES + PAUL JARRICO: Today we explore one of the more troubling aspects of Howard Hughes’ legacy: the firm hand he played in enforcing the blacklisting of Hollywood workers, both as the head and owner of RKO Pictures, and as a powerful rich guy whose influence went as high as the U.S. Congress. This episode also tells the story of Paul Jarrico, the first screenwriter to be taken to court by a studio (RKO) over the question of his firing during the blacklist period. In partnership with the also-blacklisted writer Michael Wilson and director Herbert Biberman, Jarrico made Salt of the Earth, a pro-Union, proto-feminist, Neorealist-influenced independent film which the blacklisting-supporting unions effectively squelched, with the help of the media, politicians, and Hughes.  Listen
  

• BORN YESTERDAY: JUDY HOLLIDAY: Judy Holliday won an Oscar for her first starring film role (in Born Yesterday) and of her eight major film roles between 1950 and 1960, four were in films now considered classics. She was one star who was subpoenaed to testify about her ties to Communism who was fully supported by her studio and subsequently wasn’t blacklisted from movies. Holliday’s career was short-lived nonetheless, in part because she represented a highly idiosyncratic, working-class, urban, Jewish authenticity in a time when conformity was being peddled as an equivalent to safety. Listen
  

• LENA HORNE + PAUL ROBESON: Horne's last years at MGM overlapped with the first HUAC hearings. Horne, an outspoken proponent of equal rights, who from the beginning of her career had associated with leftists and “agitators,” got caught up in the anti-communist insanity. One of those agitators was Paul Robeson, a singer, actor and political firebrand who was a mentor and friend to Horne. But once the red panic began to heat up, that friendship became problematic for Lena, and like so many others, she was forced to choose between her career and her friendships. Listen
  

• ON THE WATERFRONT: ELIA KAZAN: Elia Kazan introduced audiences to Warren Beatty, James Dean and Marlon Brando. His films of the 1950s -- including A Streetcar Named Desire, On the Waterfront, and East of Eden -- comprise perhaps the most impressive body of work of an American director of the decade. But Kazan, who was briefly a Communist in the 1930s, likely would not have been able to make many of those films had he not named names to HUAC in 1952. Listen
  

• AFTER THE FALL: ARTHUR MILLER: Arthur Miller considered Elia Kazan a close friend and collaborator, but when Kazan named names to HUAC, Miller broke with him and wrote The Crucible, a parable about anti-communist hysteria set amidst the Salem Witch Trials. But despite the committee’s sensitivity to criticism, HUAC didn’t subpoena Miller until he became engaged to Marilyn Monroe, then the biggest star and sex symbol of her day. Miller and Kazan would remain estranged for a decade, until the latter directed a play written by the former which, while drawing headlines for its depiction of Monroe, also seemed to parallel their falling out over HUAC. Listen
  

• FRANK SINATRA AND ALBERT MALTZ (BREAKING THE BLACKLIST, PART 1): In the first of two episodes about major stars attempting to end the Blacklist, we’ll look at Frank Sinatra’s efforts to hire Hollywood Ten member Albert Maltz. Timing got in the way of Sinatra’s good intentions: this was the exact moment when Sinatra had become the coolest middle-aged man in America as “chairman of the board” of the newly-formed Vegas act now known as the Rat Pack. It was also the moment when Sinatra thought he was on the verge of acquiring real political power through his proximity to presidential candidate John F. Kennedy. Listen
  

• KIRK DOUGLAS, DALTON TRUMBO, AND OTTO PREMINGER (BREAKING THE BLACKLIST, PART 2): How did the Blacklist come to an end? If you ask Kirk Douglas, the end began with his hiring of Dalton Trumbo to write Spartacus -- or, rather Douglas flaunting of that hiring. Otto Preminger, who hired Trumbo to write Exodus, might see it differently. In truth, the end of the blacklist was a process that took over a decade, and couldn’t have happened without actions taken by, amongst others, Charlie Chaplin, director Joseph Losey, members of the Academy's Board of Governors and president John F. Kennedy. We'll talk about the connection between the end of the blacklist and the weakening of the production code, and what both had to do with the slow dissolution of the studio system amidst the rise of independent producers and a younger generation of audiences. Finally, we’ll discuss how those who had been blacklisted struggled to move on. Listen

MGM Stories Archive

In the fall of 2015, we built a season around requests from listeners to hear more about legendary MGM stars. In MGM Stories, we explored the reign of Louis B. Mayer as head of 20th century Hollywood’s starriest studio, through the stories of those stars themselves, as well as Mayer’s collaboration and conflicts with younger moguls including Irving Thalberg and Mayer’s son-in-law David O. Selznick.

Episodes:

• Louis B. Mayer vs. Irving Thalberg: Established in 1924, MGM was the product of a merger of three early Hollywood entities, but the only person working there who got to have his name in the title was studio chief Louis B. Mayer. For the first dozen years of its existence, Mayer’s influence over the company would be at least matched by that of producer Irving Thalberg, who was perceived as the creative genius to Mayer’s bureaucrat. [Listen]

• Marion Davies, William Randolph Hearst, and Citizen Kane: Marion Davies is enshrined in memory as the gorgeous but questionably talented mistress of publishing magnate William Randolph Hearst -- thanks in part to the depiction of a Davies-esque character in Orson Welles' Citizen Kane. But Davies’ involvement with the much older Hearst both ensured she would have a movie career, and perhaps doomed Davies to ridicule and limited stardom. This episode will explore how Davies and Hearst hooked up, the mutually beneficial working relationship between Hearst and Louis B. Mayer, the souring of that relationship over MGM’s (mis)use of Davies and Mayer’s effort to block the release of Kane on Hearst’s behalf. [Listen]

• Buster Keaton’s Biggest Mistake: In 1928, silent comedy star Buster Keaton made what he would later call “the worst mistake of my career”: against the advice of fellow silent comedy auteurs like Charlie Chaplin, he gave up his independent production shingle and signed a contract with MGM. The lack of agency and ability to personally control the quality of his own work within the confines of Mayer’s studio drove Keaton to alcoholism, which further doomed his tenure at MGM. Keaton’s experience is perhaps the first major example of an indie filmmaker “selling out” to a big studio, only to be swallowed up by the system. [Listen]

• John Gilbert and Greta Garbo: Rising romantic lead John Gilbert signed with MGM in 1924 and the next year he starred in King Vidor’s The Big Parade, the studio’s biggest hit of the silent era. That same year, Louis B. Mayer brought his new discovery to Hollywood: an enigmatic Swedish actress named Greta Garbo. Garbo and Gilbert starred together in the romantic melodrama Flesh and the Devil, and began a relationship in real-life, which was eagerly exploited by the still-fledgling Hollywood publicity machine. [Listen]

• William Haines and Hollywood’s First Openly Gay Marriage: The rare silent star who made a relatively smooth transition to sound films, William “Billy” Haines was one of the top box office stars of the late 1920s-early 1930s. Beginning in 1926, Haines started living with Jimmie Shields, and the two men became one of the most popular couples on the Hollywood social scene, facing little if any homophobia among the industry’s elite. But as times changed and the heat from the censors began to get hotter, MGM began to put pressure on Haines to pretend to be someone he wasn’t. [Listen]

• Jean Harlow: As part of the publicity campaign for his film Hell's Angels, Howard Hughes made Jean Harlow a star, branding her “The Platinum Blonde.” But after Hell's Angels, Hughes couldn’t figure out what to do with Harlow, so she ended up signing a contract with MGM, at the urging of Paul Bern, who became Harlow’s new impresario and husband. [Listen]

• Mickey Rooney and Judy Garland: After Irving Thalberg’s death in 1936, Louis B. Mayer doubled down on "family entertainment" at MGM. To support this new wave of content, Mayer started signing younger and younger performers to groom into stars — training them in song and dance, creating a schoolhouse on the MGM lot to comply with state educational requirements, and keeping the kids chaperoned by publicists day and night. This episode will cover the differing experiences of Mickey Rooney and Judy Garland -- best friends and screen partners who grew up together within MGM’s stable of child stars. [Listen]

• Eddie Mannix: Eddie Mannix was a New Jersey-born reputed gangster who rose through the ranks at MGM to become the studio's general manager. His position required ensuring that the darker, more scandalous actions of MGM’s biggest names were kept hidden from the public and press at large. While devoting his career to protecting the personal lives of MGM’s employees, Mannix had his own colorful personal life: a chronic adulterer with a history of domestic violence, he married his mistress Toni, who went on to have a Mannix-endorsed affair with Superman star George Reeves, whose death under mysterious circumstances further complicated Mannix's legacy. [Listen]

• Spencer Tracy: When Spencer Tracy signed with MGM, he was a character actor better known for his problem drinking (and very public extramarital affair with Loretta Young) than for his movie hits. But the studio made him a star, and by the time Katharine Hepburn was looking for a male star who could play a prototypical American male opposite her very idiosyncratic persona, Tracy was the obvious choice. [Listen]

• David O. Selznick, The Mayers and Gone With the Wind: In 1930, after putting in time at MGM and RKO, Paramount executive David O. Selznick married Irene Mayer, the daughter of L.B. Mayer. Irene’s father would soon thereafter bring Selznick to MGM to fill in for an ailing Irving Thalberg, but MGM, in all its grandeur, was too small for Selznick’s dreams. He started his own independent studio, through which he created the original A Star is Born, the only Hitchcock movie to win Best Picture, and the biggest hit in the history of Hollywood, Gone with the Wind. [Listen]

• David O. Selznick, Jennifer Jones and Robert Walker: In 1941, David O. Selznick signed a young actress named Phylis, who was then married to actor Robert Walker (Strangers on a Train). Selznick renamed Phylis “Jennifer Jones,” and set to work turning her into a star, helping her to earn an Oscar for her first film under her new name. Selznick and Jones also began an affair, and Selznick’s romantic and professional obsession with Jones would result in the destruction of both of their marriages, as well as the creation of at least two movies transparently about Selznick’s passion for his star actress. [Listen]

• Lana Turner: Lana Turner, the legendary "Sweater Girl" was one of MGM’s prized contract players, the epitome of the mid-century sex goddess on-screen and an unlucky-in-love single mom off-screen who would burn through seven husbands and countless affairs. After nearly twenty years as a star not known for her acting prowess, Turner's career suddenly got interesting in the late 1950s, when the hits The Bad and the Beautiful, Peyton Place and Imitation of Life sparked a reappraisal of her talents. In the middle of this renaissance, Turner became embroiled in one of Hollywood history’s most shocking scandals: the murder of Turner’s boyfriend Johnny Stompanato at the hand of her 14 year-old daughter, Cheryl Crane [Listen]

• Gloria Grahame: Gloria Grahame arrived in Hollywood in 1944, after Louis B. Mayer personally plucked her from the New York stage. But Grahame was the rare actress who Mayer didn’t know how to turn into a star. Finally in 1947, Mayer gave up on Grahame and sold her contract to RKO, where she flourished as a femme fatale in film noir. Grahame's career would be marred by her compulsive plastic surgery, her increasingly eccentric on-set behavior, and gossip about her love life, which included marriages to both director Nicholas Ray, and his son, Tony. [Listen]

• Elizabeth Taylor, from Michael Wilding to Eddie Fisher: Elizabeth Taylor grew up on the MGM lot, spending 18 years as what she referred to as “MGM chattel.” The last four years of that 18 year sentence were arguably the most interesting. From 1956-1960, she made a run of really interesting films including Giant, Cat on a Hot Tin Roof and Butterfield 8, and she met the “love of her life”, Mike Todd, and turned him into her third husband. When Todd died a year later Liz sought comfort in the arms of Todd’s friend - and Debbie Reynolds’ husband — Eddie Fisher. Taylor capped off the decade by almost dying, winning her first Oscar, and breaking free from MGM to become the highest paid actress up to that time. [Listen]

• The End of Louis B. Mayer: In the 1940s, Louis B. Mayer was the highest paid man in America, one of the first celebrity CEOs and the figurehead of what for most Americans was the most glamorous industry on Earth. In 1951, Mayer was fired from the studio that bore his name. What happened -- to Mayer, and to movies on the whole -- to hasten the end of the golden era of Hollywood? [Listen]

Charles Manson's Hollywood Archive

Sharon Tate and Roman Polanski

In the summer of 2015, we did 12 episodes on Hollywood before, during and after the Manson family murders of Sharon Tate and at least half a dozen other Angelenos in August 1969. The series focused on Charles Manson as a late-60s version of the classic stereotype of a starstruck pilgrim who is drawn to Southern California out of their belief that they are destined to be famous. Charles Manson’s Hollywood explores what happened when this specific pilgrim turned out to be a career criminal and con artist, and the entertainment industry he crashed was at a crisis point which allowed him to get very close to some very famous and rich people — with obviously tragic consequences.

Episodes:

• What We Talk About When We Talk About the Manson Murders, Episode 1: What was going on in the show business capital that made Manson seem like a relatively normal guy? We'll lay out the basic facts of who was killed, and how, in order to begin to explain how these unthinkable crimes fit in to the tapestry of one of the most tumultuous times in Hollywood history. [Listen]

• Charlie Manson Finds His Family, Episode 2: Tracing Charles Manson's life from his birth, through multiple stints in reform schools and prisons, and finally to San Francisco circa 1967, where Manson began to try out his guru act on the local hippie kids, and started to form the "family" that he'd eventually migrate with to Los Angeles. [Listen]

• The Beach Boys, Dennis Wilson and Manson the songwriter, Episode 3: After bringing his family to Los Angeles so he could look for a record deal, Charlie Manson befriended Beach Boy Dennis Wilson, and used the drummer to gain credibility in the music Los Angeles scene. In this episode we’ll talk about Charlie Manson’s arrival in Los Angeles in 1967 with designs on spreading his gospel through rock n’ roll, and explain how The Beach Boys came to record a song written by Charles Manson. Finally, we’ll talk about how Wilson suffered in the years following his association with Manson, leading up to his own untimely death. [Listen]

• The Beatles, The White Album and Spahn Ranch, Episode 4: After wearing out his welcome at Dennis Wilson’s house, Manson moves his family to Spahn Ranch, a dilapidated Western movie set where the cult starts preparing for “Helter Skelter,” Manson's made-up apocalypse inspired by The Beatles. [Listen]

• Doris Day and Terry Melcher, Episode 5: Charles Manson became convinced his best chance at rock stardom was impressing Terry Melcher, a record executive who had made stars out of The Byrds, and who was also the son of one of old Hollywood's most wholesome, carefree Establishment stars, Doris Day. Terry and his girlfriend, Candice Bergen, had long lived at 10050 Cielo Drive, and sublet the house to Roman Polanski and Sharon Tate months before the murders. [Listen]

• Kenneth Anger and Bobby Beausoleil, Episode 6: The first person to go to jail for a Charles Manson-associated murder was Bobby Beausoleil, a charismatic would-be rock star who had put in time as a muse to Kenneth Anger -- child actor-turned-occultist experimental filmmaker, and author of the first bible of embellished celebrity scandal, Hollywood Babylon. [Listen]

• Sharon Tate and Jay Sebring, Epsiode 7: In the first of two episodes about the Manson Family’s most famous victim, we’ll trace actress Sharon Tate’s early years, her romance with celebrity hairdresser Jay Sebring, and the on-set affair that changed the course of Tate’s life and career. Plus: sex, drugs, haunted houses, Warren Beatty and Steve McQueen. [Listen]

• Sharon Tate and Roman Polanski, Episode 8: While trying to launch her own acting career, Tate fell in love with, and eventually married, Roman Polanski, the hotshot Polish filmmaker who had his first massive American hit in the summer of 1968, Rosemary’s Baby. Tate and Polanski were often described as Hollywood’s “it” couple during their brief marriage, but behind the scenes their relationship was complicated by his infidelities, and her struggles to prove herself as an actress in films like Valley of the Dolls. [Listen]

• August 8-10, 1969, Episode 9: Over the course of a single weekend, half a dozen hippies massacred seven people. This episode includes disturbing details about very violent crimes. [Listen]

• Roman Polanski After Sharon Tate, Episode 10: Roman Polanski was in London the night his pregnant wife was murdered in their home. He returned to Los Angeles, devastated, to find himself wanted for questioning in a crime which the LAPD, initially, had no idea how to solve. The next decade of Polanski's life would be a rollercoaster, hitting heights like his masterpiece Chinatown, and lows like his rape of a 13-year-old girl and subsequent exile from the US. [Listen]

• Death Valley ‘69, Episode 11: After the murders, Manson moved his family to the depths of the California desert. There, even before they were finally apprehended by the law, their utopia started to fall apart. Hollywood was in the process of being changed by Dennis Hopper's Easy Rider, a film shot partially in the same desert where Manson was now hiding. The Family and their flight to Death Valley -- and the impossible dream of the 60s revolution in general -- was soon thereafter unwittingly reflected in Italian filmmaker Michelangelo Antonioni's attempt to make a Hollywood studio film, Zabriskie Point, starring Hopper's future wife. [Listen]

• The Manson Family on Trial, Episode 12: The trials of the Manson family became a kind of public theater which a number of current and future filmmakers found themselves caught up in. Joan Didion bought a dress for a Manson girl to wear to court, Dennis Hopper visited Manson in prison, and a young John Waters attended the trial and took inspiration for his legendary film, Pink Flamingos. [Listen]

Star Wars Archive

Our Star Wars season explores the lives and work of stars during World War II.

Episodes:

• BETTE DAVIS AND THE HOLLYWOOD CANTEEN: The first episode of this multi-part series starts with the woman who dominated all aspects of Hollywood, including its war effort, in the late 1930s-early 1940s: Bette Davis. This is the story of how she evolved from a wannabe starlet who was constantly told she was too ugly for movies, to the most powerful woman in Hollywood, by playing heroines that had never been seen on screen before — to borrow a term from Davis herself, sympathetic “bitches.” After Pearl Harbor, the tenacious Bette became the figurehead of the Hollywood Canteen, a nightclub for servicemen staffed by stars, which was the locus of the industry’s most visible support of the troops on the home front. Listen
  

• CAROLE LOMBARD AND CLARK GABLE : Carole Lombard came into her own in the mid-1930s first as the queen of screwball comedy, and then as romantic partner to the star dubbed The King of Hollywood, Clark Gable. When the US entered World War II, to the chagrin of her stoic husband, Lombard immediately volunteered their services to FDR, and the actress ended up spearheading the first of many Hollywood whistle stop tours to sell bar bonds. Hurrying back from that tour, Lombard died in an awful plane crash, leaving a guilt- and grief-ridden Gable behind. In his despair, the 41 year-old Gable had strings pulled so that he could join the army to fight against Hitler -- a huge Gable fan who reportedly became desperate to capture the actor while he was flying combat missions over Germany. Listen
  

• HEDY LAMARR: Hedy Lamarr was a pioneer in more ways than one. After inventing the movie sex scene scandal as the Austrian teenage star of the banned film Ecstasy, she gave up acting to become a trophy wife to a Fascist arms dealer. Then, on the brink of world war, she fled her marriage, hopped a boat to New York, and talked her way into a contract at MGM. With her first Hollywood film, Algiers, Lamarr became a major star, and the so-called "most beautiful girl in the world" had a promising career ahead of her. But she was bored in Hollywood, and in the midst of World War II, she used her free time to co-invent a radio-control technology meant for 1940s-era torpedoes, which would ultimately pave the way for cell phones, wifi, bluetooth, and drone warfare. Listen
  

• GENE TIERNEY: On-screen, gorgeous brunette actress Gene Tierney helped to invent the femme fatale in movies like Laura and Leave Her to Heaven, and off-screen, she had serious romances with four of the great playboys of the 20th century: John F. Kennedy, Howard Hughes, Prince Aly Khan and costume/fashion designer Oleg Cassini. So how did she end up, at age 38, standing on a ledge fourteen floors above 57th Street, wondering what her body would look like on the pavement if she were to jump? The answer to that question begins at the Hollywood Canteen. Listen
  

• RITA HAYWORTH AND ORSON WELLES: Margarita Cansino went to work at age 12, pretending to be her father’s wife so that the pair could get work as a dance team in Mexican nightclubs. Within a decade, chubby, visibly Hispanic wallflower Margarita had been transformed into Rita Hayworth — the quintessential all-American sex goddess of the World War II era. At the peak of Hayworth’s stardom, she fell in love with and married writer/director/actor/radio personality/magician Orson Welles. The glamour girl and the boy genius were happy together, for awhile — as long as both bought into a utopian plot they had cooked up to leave Hollywood. When that soured, the couple broke up…and then made a movie together, The Lady From Shanghai, in which Welles distorted their failed relationship into a bad-romance masterpiece.   Listen
  

• MARLENE DIETRICH AT WAR: German actress/singer Marlene Dietrich — famous for her revolutionarily ambiguous, highly glamorous sexual libertine persona, as displayed on-screen during the 1930s in films like Morocco and Shanghai Express — was embedded with the Allies during World War II as a performer, propagandist, and de facto intelligence agent. We’ll explore how and why this happened, why the experience left Dietrich depressed and financially destitute, and how Billy Wilder convinced Marlene to play a Nazi sympathizer in the filmmaker’s attempt to make a post-war Hollywood propaganda film, A Foreign Affair. Also: a few of Dietrich’s many affairs with co-stars such as John Wayne and Jimmy Stewart, her plot to kill Hitler, and the FBI investigation that tried (and failed) to prove that Dietrich was a German spy. Listen
  

• LENA HORNE: Signed to a contract by MGM in 1942, stunning singer/actress Lena Horne was the first black performer to be given the full glamour girl star-making treatment. But as the years went on and her studio failed to make much use of her, Horne started feeling like a token — and she wasn’t just being paranoid. A tireless USO performer during World War II, Horne and MGM were deluged with fan mail from African-American soldiers, an outpouring of support which still didn’t change the fundamentally racist institutional attitudes holding Horne back. Listen
  

• HOW NORMA JEANE BECAME MARILYN MONROE: In this episode, we’ll explore how Marilyn became Marilyn, by tracing the former Norma Jean Baker from her troubled childhood through the war years, her early struggles to get a foothold in Hollywood, and the nude photo scandal which cemented her stardom. We’ll see how the future Marilyn’s experiences mirrored those of other American woman, and the culture at large, in the post-war decade, and we’ll see how her projection of vulnerability and even victimhood would ultimately have radical implications.  Listen
  

• JOHN HUSTON AND OLIVIA DE HAVILLAND: She was the raven-haired beauty whose lily-white persona was forged by her supporting roles in Gone With the Wind and several Errol Flynn swashbucklers. He was the real-life swashbuckler, the heroic lover/drinker/fighter whose directorial debut The Maltese Falcon, was an enormous success. They met when Huston directed de Havilland in his second film, In This Our Life, and began an affair which would continue, on and off, through the decade, as he joined the Army and made several controversial documentaries exposing dark aspects of the war experience, and as she waged a war of her own, taking Warner Brothers to court. Listen
  

• ERROL FLYNN: Errol Flynn arrived in Hollywood in 1934 and almost immediately became a massive star, his swashbuckler-persona propelling many of the decades biggest action hits, from his debut Captain Blood to his signature film, The Adventures of Robin Hood, and beyond. Flynn's dashing good looks, put-on posh British accent and life-of-the-party personality masked the fact that he was actually an Australian bounder with a shady past, a history of recurrent malaria and a propensity to avoid reality by any means necessary. Secretly too sick to serve in World War II, Flynn stayed home in Hollywood and instead starred in perhaps the biggest sex scandal of the decade. Listen
  

• CHARLIE CHAPLIN: The most successful film of Charlie Chaplin’s career was also the most controversial: in The Great Dictator, Chaplin viciously satirized Hitler before the US entered World War II, and the comedy helped rally a previously war-shy American public. We’ll explore the connections between Chaplin and Adolf Hitler, and explain why most of Hollywood tried to stop The Great Dictator from being made. Then we’ll switch gears to discuss how Chapin’s wartime activism and his troubled personal life collided to benefit J. Edgar Hoover, who spent thirty years trying to prove that Chaplin was dangerously un-American. Listen
  

• BOB HOPE VS. BING CROSBY: Bob Hope is remembered as the 20th-century celebrity most devoted to entertaining the troops. Bing Crosby, Hope’s partner on seven films, sang the song that became an unlikely alternate national anthem during World War II. This is the story of Hope and Crosby’s partnership, their rivalry, and the different ways they endeared themselves to the boys overseas. Included: Hope’s embrace of multi-media celebrity and his mastery of hosting the Oscars; and Crosby’s road from drunk driving to blackface, to being voted the most admired man in America. Listen
  

• WALT DISNEY: As the creator of Mickey Mouse, Donald Duck and, with Snow White and the Seven Dwarfs, the inventor of the sophisticated feature-length animated film feature, Walt Disney changed Hollywood and brought millions of children and adults boundless joy. And yet, Disney’s legacy is marred by the common perception that he was also a racist, misogynist and anti-semite. Listen
  

• FRANK SINATRA THROUGH 1945: Old Blue Eyes was once a young, skinny kid from Hoboken, and his rise to fame coincided almost exactly with the end of the Depression and the run up to and fighting of World War II. Unlike so many young men, famous or otherwise, Sinatra didn't enlist, and the controversy over whether or not he was a "draft dodger" hung over his head, even as he suited up in films like Anchors Aweigh. Listen
  

• WHY JOHN WAYNE DIDN’T SIGN UP: No actor on movie screens in the 1940s embodied American patriotism and unpretentious masculinity better than John Wayne, whose career was revitalized in 1939 with John Ford’s groundbreaking western, Stagecoach. But Wayne didn’t have the defining experience of most adult American men of the 1940s — though he played uniformed men in several movies, off-screen Wayne didn’t enlist to serve in World War II. Listen
  

• VAN JOHNSON: Join us, for the final episode in our Star Wars series (for now). Van Johnson was MGM’s big, All American heartthrob during World War II, and one of the most reliably bankable stars in Hollywood, on and off, for over a decade. On screen, Johnson embodied bland, unthreatening, boyishness. Off-screen, he was an introvert with a mysterious personal life, and by 1947, Van’s lack of a lady friend was becoming a distraction. In a bizarre effort at damage control, Van married his best friend’s wife — on the same day as their divorce. Listen