Animal Folklore in Film & a Conversation with the Creator of Iyanu

This week, our hosts bridge the gap between Cat People and Lassie Come Home with an informal conversation about animal folklore and animal companions in film. Plus, Mike sits down with Roye Okupe, the creator of Iyanu, the graphic novel and hit animated series on Cartoon Network and HBO Max. We'll be back to our regular format next week! Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“I like the dark. It's friendly.” – Cat People (1942) This week, we turn the lights low with special guest Rebecca Rozenberg, Publicity Manager at Simon & Schuster, who brings insight honed from working with bestselling authors and deep industry experience. Together, we dive into Jacques Tourneur and Val Lewton’s Cat People, a landmark psychological horror film that uses suggestion, shadow, and sound to terrify far more than it shows. Rebecca helps us unpack how this low-budget classic redefined horror through restraint, atmosphere, and subtext, and why its themes of transformation, identity, and repression still echo today. Cat People continues to loom large over genre filmmaking and remains revered for its chilling economy. Episode Notes:Cat People (1942) directed by Jacques Tourneur and produced by Val LewtonStarring: Simone Simon, Kent Smith, and Tom ConwayNotable for:Introducing the famous “Lewton Bus” jump scare techniqueMasterful use of lighting and sound to build suspense and psychological dreadThemes of sexuality, isolation, and metamorphosis explored with subtletyDiscussion points include:How Cat People shaped modern psychological horror and inspired filmmakersThe importance of suggestion over explicit imagery in genre storytellingSimone Simon’s haunting performance and the film’s layered subtextThe collaborative vision of Val Lewton and Tourneur in creating minimalist horrorFeaturing special guest: Rebecca Rozenberg, Publicity Manager at Simon & Schuster Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“He was the most trigger-happy man I had ever met.” – Badlands (1973)This week, we hit the open road with guest Tom Augustine to explore Terrence Malick’s stunning debut, Badlands. Based loosely on the real-life killing spree of Charles Starkweather and Caril Ann Fugate, the film casts Martin Sheen and Sissy Spacek as drifting outsiders caught between detachment and violence, beauty and brutality.With its lyrical narration, haunting imagery, and philosophical detachment, Badlands marked the arrival of a singular voice in American cinema. Tom joins us to discuss Malick’s influence, the film’s unsettling calm, and how it carved a new path for the American New Wave.Episode NotesBadlands (1973) was written and directed by Terrence Malick, starring Martin Sheen and Sissy SpacekSelected to the National Film Registry in 1993Loosely inspired by the 1958 Starkweather-Fugate murdersDiscussion topics include:How Badlands redefined the true-crime genreThe film’s romanticized nihilism and its critique of American mythmakingThe influence of Badlands on later filmmakers and Malick’s own careerSissy Spacek’s voiceover and the use of classical music as emotional counterpoint Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“If only the wind would stop!” – The Wind (1928)This week, we return to the silent era with a full-length commentary track for Victor Sjöström’s haunting 1928 drama The Wind. Starring Lillian Gish in one of her most intense and vulnerable performances, the film tells the story of a woman slowly unraveling on the harsh, wind-swept plains of the American frontier. As we watch along, we unpack the film’s eerie atmosphere, groundbreaking visual effects, and the psychological complexity that makes The Wind one of the final—and finest—masterpieces of the silent era. It’s a slow-burn descent into isolation, madness, and survival, and a striking example of how silent cinema could deliver deeply cinematic storytelling without a single spoken word. Follow the Show:TwitterInstagramWebsite Music by Mike Natale

This week, we saddle up for a conversation about Shane (1953) with screenwriter, producer, and podcast host Kenny Neibart. A formative Western and a film that helped define American masculinity on screen, Shane gives us plenty to dig into, from its mythic final shot to the complex tension between pacifism and violence. Kenny joins us to unpack the genre tropes, cultural context, and emotional resonance that make Shane a cornerstone of classic cinema, and why its legacy still rides on today. Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“I just had the unpleasant sensation of hearing you referred to as my husband.” – It Happened One Night (1934)This week, returning guest Andrew Daniels joins us to break down the original screwball sensation: Frank Capra’s It Happened One Night. As the first film to ever sweep the “Big Five” Oscars, this charming romantic comedy set the template for the genre, with pitch-perfect performances from Clark Gable and Claudette Colbert, and enough innuendo, wit, and roadside bickering to fuel decades of imitators.We explore how Capra’s Depression-era romance struck a chord with audiences, changed the course of Hollywood stardom, and remains as irresistibly funny and tender today as it was in 1934.Episode Notes:It Happened One Night (1934) was directed by Frank Capra and stars Clark Gable and Claudette ColbertSelected to the National Film Registry in 1993First film to win all five major Academy Awards: Best Picture, Director, Actor, Actress, and ScreenplayNotable for:Launching the screwball comedy genreIconic scenes like the hitchhiking lesson and the “walls of Jericho”Bridging escapism and social commentary during the Great DepressionDiscussion topics include:The film’s influence on romantic comedies for generationsHow it reshaped the public personas of Gable and ColbertCapra’s blend of populist ideals and sharp dialogueWhy the film continues to resonate with modern audiencesFeaturing returning guest:Andrew Daniels, author of The Barstool Book of Sports: Stats, Stories, and Other Stuff for Drunken Debate Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“The film you have just seen was an improvisation.” – Shadows (1959)This week, returning guest Robert Bellissimo joins us for a conversation on John Cassavetes’ Shadows,, a landmark of American independent cinema. Shot on the streets of New York with a semi-improvised style and a raw, jazz-infused energy, Shadows broke all the rules and opened new possibilities for personal filmmaking in the U.S.We explore how Cassavetes challenged Hollywood norms, foregrounded race and identity in ways ahead of its time, and crafted a film that still feels immediate and alive decades later. Shadows isn’t just a turning point in film history, it’s the spark that lit the indie movement.Episode NotesShadows (1959) was written and directed by John CassavetesSelected to the National Film Registry in 1993Known for:Pioneering an improvisational, vérité-inspired approach to filmmakingDepicting interracial relationships in a candid and progressive lightLaunching the American independent film movementDiscussion topics include:Cassavetes’ creative process and legacyThe tension between scripted and unscripted storytellingNew York City as a character in the filmHow Shadows opened doors for generations of indie filmmakersFeaturing returning guest:Robert Bellissimo, actor, filmmaker, and host of Robert Bellissimo at the Movies Follow the Show:TwitterInstagramWebsite Music by Mike Natale

In this special bonus episode, we sit down with Congressman Robert Mrazek, the man whose legislation led to the creation of the National Film Preservation Board. Without his efforts, the National Film Registry as we know it wouldn’t exist.Mrazek shares the inside story of how film preservation became a congressional priority, the cultural battles that shaped the legislation, and why preserving America’s cinematic heritage is a matter of national importance. From the first films selected to the political resistance he faced, this conversation is an essential companion to everything we cover on You’re Missing Out.If you’ve ever wondered how movies like Do the Right Thing, The Godfather, or Meshes of the Afternoon ended up in the National Film Registry, this is where it all started.Episode Notes:A conversation with Congressman Robert Mrazek, sponsor of the National Film Preservation Act of 1988Mrazek’s legislation created the National Film Preservation Board and the National Film RegistryDiscussion topics include:The political and cultural climate that made film preservation urgentThe origins and goals of the National Film RegistryEarly champions of the legislation in Congress and the film industryThe ongoing importance of preserving culturally, historically, and aesthetically significant filmsReflections on:The evolving definition of American cinematic heritageHow preservation efforts safeguard not just movies, but national memoryThis episode offers essential historical context for our entire podcast Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“He was some kind of a man. What does it matter what you say about people?” – Touch of Evil (1958)This week, we’re crossing into the shadowy borderlands of noir with special guest Ryan Luis Rodriguez to unpack Orson Welles’ Touch of Evil. From its legendary opening tracking shot to Welles’ haunting turn as the corrupt Hank Quinlan, the film stands as a dark, complex swan song to the classic noir era.Together, we explore the film’s bold visual language, its controversial casting choices, and the fascinating story behind the restored cut that finally honored Welles’ original vision. Touch of Evil isn’t just a masterwork of style—it’s a film that continues to challenge how we think about authority, morality, and the boundaries we draw. Episode Notes:Touch of Evil (1958) was directed by Orson Welles and stars Charlton Heston, Janet Leigh, and Welles himselfSelected to the National Film Registry in 1993Famous for:A 3+ minute opening tracking shot widely regarded as one of the best in cinemaWelles’ portrayal of the morally bankrupt Captain Hank QuinlanA studio-meddled post-production process that was later corrected by a 1998 restoration using Welles’ notesDiscussion topics include:The film’s place at the end of the classic noir eraInnovations in camera movement, sound design, and lightingHow Touch of Evil navigates race, identity, and law enforcement on the U.S.–Mexico borderThe legacy of the restored version and its impact on Welles’ reputationFeaturing special guest:Ryan Luis Rodriguez, film podcaster and host of The Coolness Chronicles and Reels of Justice Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“’S Wonderful! ’S Marvelous!” – An American in Paris (1951)This week, we step into the dreamlike Technicolor world of An American in Paris with special guest Arlene Hellerman. A Publications Associate for Broadway Licensing Global, Arlene brings a multifaceted perspective shaped by a career spanning theatre, film, television, broadcast news, and print journalism.Together, we explore how Vincente Minnelli’s 1951 musical turned Gershwin’s music and Gene Kelly’s choreography into a lavish cinematic spectacle—culminating in one of the most ambitious ballet sequences in film history.An American in Paris (1951) was directed by Vincente Minnelli and stars Gene Kelly and Leslie CaronSelected to the National Film Registry in 1993Known for:Its 17-minute ballet finale inspired by French impressionist artA seamless blend of Gershwin’s music with vivid choreography and designWinning six Academy Awards, including Best PictureDiscussion topics include:The film’s legacy in shaping the movie musicalIts stylized depiction of postwar ParisThe interplay between fine art and popular culture in Minnelli’s visionFeaturing special guest:Arlene Hellerman, Publications Associate for Broadway Licensing Global, whose career spans theatre, film, TV, broadcast news, and print journalism Follow the Show:TwitterInstagramWebsite Music by Mike Natale