At the Pictures

Are romantic comedies finding their home on the small screen? As Meg Ryan signs on to Too Much, Lena Dunham’s upcoming Netflix series, Benjamin Wilson and Dashiel Silva explore whether the genre is undergoing a long-form revival — and what that shift means for cinema as we know it. Plus: the newly restored 1913 serial Fantômas — all inky shadows and theatrical intrigue — reminds us how early cinema shaped everything from film noir to comic book heroes. And a cold and calculating turn from Angela Lansbury in The Manchurian Candidate. We consider why her performance remains one of the most haunting — and subversive — in film history.

This week on At the Pictures, we’re taking a short break for the Bank Holiday — time to enjoy a little sunshine here in Soho. But before we disappear into the weekend, we’re sharing a special preview of a new series: Dorothyland.Marking 100 years since the release of the original Ben-Hur, the series begins with the story of Ramon Novarro — one of Hollywood’s first great leading men, and a quietly radical figure whose identity defied the norms of his era.  While conversations about diversity in cinema often feel distinctly modern, Dorothyland reveals a forgotten history of queer creatives who helped shape popular culture from the very beginning.  Dorothyland is coming soon. Tune in now for a sneak peek, and we’ll return next week with a fresh edition of At the Pictures.

Long before the rise of digital effects and billion-dollar franchises, the surreal cartoon shorts of Fleischer Studios brought Popeye, Betty Boop, and Superman to life with inky charm and urban wit. As the BFI prepares to screen a beautifully restored series, we explore the enduring legacy of Max Fleischer with his granddaughter, Jane Fleischer Reid. Plus: the Oscars is finally requiring voters to watch the films they’re voting on. Artist, illustrator, and resident Oscars obsessive Dash Silva joins a lively conversation about awards-season absurdities and the curious culture of the Academy.

Where do good ideas really come from—and must they always be new? As Hollywood faces renewed accusations of creative fatigue, we investigate the origins of originality with special guest Mr Bingo, the celebrated artist and provocateur known for turning irreverence into an art form. And while the industry hunts for the next big thing, one icon refuses to go quietly. With nearly forty films under his belt, Godzilla is returning once again. But why does the monster still resonate—and what does his enduring appeal tell us about the power of reinvention?

What happens when sex becomes just another side hustle? We speak with writer-director Mikko Mäkelä about Sebastian, a provocative new film exploring the blurred lines of intimacy, desire, and transaction in the digital age. Plus, the director and star of Four Mothers join us to discuss their sharp yet tender comedy about family, obligation, and the unique — sometimes fraught — relationships gay men share with their mothers. All that, and a little cinematic elegance.

Disney’s "Snow White" was a $250 million gamble and it's off to a shaky start. Benjamin and Karen ask whether the controversy could signal a turning point in the studio’s live-action strategy. Plus: Steven Soderbergh’s "Black Bag" has all the hallmarks of a sleek spy thriller, so why is it struggling to find its audience? And revisiting "I Know Where I’m Going", a British classic that sweeps you away to the windswept Scottish isles—whether you’re ready or not.

The haunting beauty of “Picnic at Hanging Rock” returns in stunning 4K—what its enigmatic mystery can teach today’s filmmakers. Plus, why the next chapter of James Bond remains elusive nearly four years on. And Apple’s “The Studio”—a sharp Hollywood satire where art and commerce collide.