Electric Shadow Channel

Our inaugural episode addresses the first question that generally comes out of people's mouths about Criterion: why Armageddon and The Rock? The short answer is that they belong there. Both more than fit the definition of "important" in a very specific way.

Our inaugural episode addresses the first question that generally comes out of people's mouths about Criterion: why Armageddon and The Rock? The short answer is that they belong there. Both more than fit the definition of "important" in a very specific way.

Our inaugural episode addresses the first question that generally comes out of people's mouths about Criterion: why Armageddon and The Rock? The short answer is that they belong there. Both more than fit the definition of "important" in a very specific way.

Christopher Nolan's Interstellar: like, love, or hate it, this is one of the biggest of the big movies of 2014. Can a movie this big live up to any (not even all) of our expectations?

Christopher Nolan's Interstellar: like, love, or hate it, this is one of the biggest of the big movies of 2014. Can a movie this big live up to any (not even all) of our expectations?

Moisés Chiullan introduces a new show that examines The Criterion Collection, stretching from the present all the way back to the beginning of Criterion in 1984.

Keith Calder and Simon Barrett talk about their new movie The Guest, being influenced by movies they (do and do not) love, the nuance in reaching modern audiences, and when to Blu-ray versus when to VOD.

Alejandro Brugués and Nacho Vigalondo (l. to r.) are writer/directors from Cuba and Spain, respectively, but they consider Austin their birthplace as filmmakers. In a format-defying episode, we travel through time to tell their stories as artists who love making their movies as much as they do celebrating the work of others. WARNING: Very explicit language and imagery throughout. Enjoy.

Apple has been using cinematic techniques in their events and ads since 1984. Horace Dediu, Jason Snell, and John Gruber discuss the story Apple has told on screens for 30 years: one of engineering thriving on dynamic creativity.

Eric Vespe and John Gholson discuss Ghostbusters and Ghostbusters II, as well as the various canonical and non-canonical offshoots, spinoffs, and wholly unconnected diaspora connected to them: video games, toys, and even Ecto Cooler.

Tim McCanlies and Harry Knowles discuss The Iron Giant and its hard road to completion. One wrote the screenplay for the movie, and the other wrote about the movie from afar. They touch on the genius of Brad Bird, removing a giant space bat from a rock opera, and the magic of animation, from Fleischer to Miyazaki. 15 years ago, The Iron Giant flopped at the box office, but it has become a beloved animated classic thanks to home video and cable. Share it with friends and family over the upcoming holiday weekend...or whenever it is you realize you know someone who hasn't seen it yet. Make sure you've seen The Iron Giant before listening to this episode, which is full of spoilers.

Andy Ihnatko joins Moisés to discuss the mind, career, and incalculable impact of Robin Williams. There never have been, nor will there ever be, one like him.

Howard the Duck co-creator Val Mayerik joins Moisés and Giant Size co-host John Gholson to talk about his past life as an actor, specifically in 1977 grindhouse Z-movie The Demon Lover. They discuss the infamous Demon Lover Diary, Z-movie auteur Donald G Jackson, and making things for the love of ma

David J Loehr joins Moisés to discuss FX's Fargo and The Strain, along with what makes (and has made) TV compelling as a "novelistic" art form. Is the approach of these new shows very different from Homicide: Life on the Street?

FOX comedy Enlisted got cancelled, but it might get a new lease on life elsewhere. Getting a show on the air is hard. Getting it brought back is harder. Enlisted did the first and might do the second.