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  • The Wilhelm Scream: Hollywood’s Legendary Sound Effect


    Introduction

    Have you ever heard of The Wilhelm Scream? It might just be the most famous sound effect in the history of Hollywood. Sound effects are among the most critical yet often overlooked elements that contribute to a successful movie. Even early filmmakers realized the important role that sound effects played in drawing an audience “into” a film and making them suspend their disbelief.

    However, since this process usually tends to happen subconsciously, sound effects often don’t get the same respect that other film elements might garner. There are a few people, for example, who mention them in the same vein, while praising a film’s cinematography or musical score.

    https://www.youtube.com/watch?v=9FHw2aItRlw

    However, in the history of cinema, there’s one definite “star” in the category of sound effects. It’s one that even the casual movie-goer should have no trouble recognizing. You can hear it in literally hundreds of films, and it’s become sort of an in-joke within the movie industry. It goes by the name of The Wilhelm Scream. Yet how exactly did this sound effect become so popular, and where did it come from?

    Ben Burtt

    Let’s start by talking about the gentleman who made The Wilhelm Scream famous. His name is Ben Burtt, and he’s one of Hollywood’s top sound men. Having worked on dozens of movies, he’s been responsible for the sound design of the Star Wars movies, the Indiana Jones movies, as well as most of the other films directed by Steven Spielberg and George Lucas. He also created sound effects for many of Pixar’s films.

    Along the way, Ben Burtt has been nominated for twelve Academy Awards and has won four times. Burtt is also the person who is responsible for the lightsaber hum in the Star Wars films, which is a film projector idling combined with feedback from a broken television set. Burtt is also the man behind Darth Vader’s breathing, which is Burtt himself wearing an old Scuba regulator.

    In the late 1950s, which was way back before Burtt became incredibly successful in his chosen field, he was just like any other kid who loved going to the movies. While there, he became aware that he had a knack for remembering different sounds. He also noticed that all the movies made by Warner Bros. had a very distinctive scream as part of their soundtracks.

    The “Wilhelm’s” Origins

    Usually, this distinctive sound was uttered by some poor unfortunate cowboy who may have fallen from a great height or had been shot by an arrow in an Indian attack. Burtt remembered one film in particular: The Charge at Feather River, released in 1953 and directed by Gordon Douglas.

    Original Movie Poster for ‘The Charge at Feather River’ (1953). Photo courtesy of Warner Bros.

    This particular film featured the same cry of anguish no less than three different times. One of the characters was named “Private Wilhelm.” It was just his bad luck to be hit in the leg by an arrow. This prompted him to let loose the scream which would one day be heard around the world.

    When Burtt grew up, he embarked on a successful career in the movie business. However, he never forgot that particular scream. Having access to the Hollywood stock sound effects libraries, he began to do some research. Lots of movies had used the scream he remembered, but Burtt was interested in finding the very first one. This turned out to be from the Warner Bros. western Distant Drums (1951) with Gary Cooper.

    “Man Being Eaten by an Alligator”

    Looking through the original sound effects for Distant Drums, Burtt came across a reel with a very unassuming title: “Man Being Eaten by an Alligator.” The reel was edited into a scene that featured a soldier being attacked by an alligator. This was straight from the stock footage library.

    When Burtt played back the reel, he realized he had struck Hollywood gold. There was the famous scream he knew so well, as well as the sound effects coach giving cues to the actor who recorded it. Even though it was uncredited, some people claim the scream belonged to Sheb Wooley, who went on to record the novelty hit song “Flying Purple People Eater” in 1958.

    Burtt called the sound effect “The Wilhelm Scream,” which was based on the character’s name in Charge at Feather River. Additionally, as a sort of private joke, Burtt soon began to include it in every film that he worked on. It would go on to become his signature.

    A hapless character about to be eaten by an alligator in ‘Distant Drums’ (1951). But not before letting loose with the first instance of “The Wilhelm Scream”

    The “Wilhelm” in Star Wars

    Here are three instances from the original Star Wars films where you can hear the legendary Wilhelm Scream:

    Star Wars (1977). Just before Luke Skywalker and Princess Leia swing across the chasm in the Death Star, a stormtrooper is shot and falls in.

    The Empire Strikes Back (1980). In the battle on the ice planet Hoth, a rebel soldier screams when his big satellite-dish laser gun is struck by laser fire and explodes.

    Return of the Jedi (1983). During the battle on Jabba the Hutt’s ship, Luke slashes an enemy with his lightsaber. The bad guy lets loose a Wilhelm as he falls into the Sarlac pit.

    “The Wilhelm Scream” in Other Films

    Soon, other Hollywood sound designers picked up on what Burtt was doing and started inserting the Wilhelm into their movies too. It soon became Hollywood’s audio version of “Kilroy Was Here”:

    Now, the “Wilhelm Scream” is everywhere. At last count, over 200 films feature it. In addition to the Star Wars and Indiana Jones series, here’s just a partial list:

    Aladdin, Batman Returns, Beauty and the Beast, Blades of Glory, The Fifth Element, Gremlins 2, Hellboy, Hercules, Howard the Duck, A Goofy Movie, Kill Bill, Vol 1, King Kong (2005), Lethal Weapon 4, Lord of the Rings: The Two Towers and Return of the King, Pirates of the Caribbean, Poltergeist, Reservoir Dogs, Sin City, Small Soldiers, Spaceballs, Team America, Tears of the Sun, Them, Titanic, Wallace and Gromit, and Willow.

    If you still don’t think you recognize the famous “Wilhelm Scream”, try watching this series of clips from YouTube:

    https://www.youtube.com/watch?v=HNvZYzg7o68

    We’re pretty sure that from here on out, you’ll become an expert in spotting this ultra-famous sound effect.

    More from Cinema Scholars:

    FIDDLER ON THE ROOF – A Retrospective Review At 50
    POSSESSION (1981): A Retro Review

    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Twitter and Instagram.





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  • GriefTech: Death and Technology in The Shrouds,…



    This trend can also be traced in recent tele­vi­sion series. In Apple TV+’s Sev­er­ance, bio­corp giant Lumon man­u­fac­tures brain chips that allow users to ​“sev­er,” or switch on and off between, their work and per­son­al lives. Griev­ing wid­ow­er Mark Scout (Adam Scott) is com­pelled by the sci­ence as an oppor­tu­ni­ty to for­get his wife’s pass­ing for eight hours a day, ren­der­ing a ver­sion of him­self that is not only a pro­duc­tive work­er, but also lives rel­a­tive­ly pain-free. The pro­ce­dure is not with­out its down sides. The sev­er­ance chip, acti­vat­ed by a spa­tial bound­ary, ulti­mate­ly affects a tem­po­ral dis­so­nance: office-bound ​‘innies’ expe­ri­ence life as a con­tin­u­ous work­day – ​“A week­end just hap­pened? I don’t even feel like I left,” notes Britt Lower’s Helly R – while their ​‘out­ies’ miss whole chunks of time. The show real­izes this dis­crep­an­cy in episodes that take place in ​“real time,” like in the first season’s whirl­wind finale, or entire­ly with­in the warped lin­ear­i­ty of the sev­ered floor, as in the sec­ond season’s pre­mière, in which the time elapsed since the events of the first sea­son is delib­er­ate­ly mis­rep­re­sent­ed to audi­ences and innies alike. 

    As with Inven­tion and The Shrouds, the func­tion­al­i­ty of the tech at the root of Sev­er­ance​’s sci-fi con­ceit is echoed by the tele­vi­su­al tech­nol­o­gy that pro­duces the show. His­tor­i­cal­ly bro­ken up by ads, episodes, and sea­sons, tele­vi­sion – per­haps even more so than cin­e­ma – relies on time as its orga­niz­ing prin­ci­ple and pri­ma­ry medi­um. ​“The major cat­e­go­ry of tele­vi­sion” wrote the­o­rist Mary Ann Doane in 1988, ​“is time.” The lit­er­al­ly mind-bend­ing tech­nol­o­gy of Sev­er­ance, employed in the case of its pro­tag­o­nist to mit­i­gate grief, splices time in the same mode as, well, a TV show. 

    In some ways, this reflex­ive pat­tern harkens back to the ear­li­est days of mov­ing image cul­ture, when the technology’s new­ness often saw it put in con­ver­sa­tion with mod­ern anx­i­eties over acci­dent, dis­as­ter, or death. Ear­ly films like, for instance, the afore­men­tioned com­ic trick film, The Big Swal­low – in which a man approach­es a cam­era pho­tograph­ing him and, in an act of irri­ta­tion or amuse­ment, eats it whole – played on the film appa­ra­tus’ abil­i­ty to cap­ture or depict nonex­is­tence. Where the film might be assumed to end with a black screen, as the cam­era itself is swal­lowed, we’re instead shown the tri­pod and pho­tog­ra­ph­er dis­ap­pear­ing into dark­ness, sug­gest­ing that film has some­how been able to cap­ture an after­life, even after its own demise. 

    The effect of film’s abil­i­ty to rep­re­sent death has been the sub­ject of much crit­i­cism and foun­da­tion­al the­o­ry. In 1951, French crit­ic André Bazin sug­gest­ed that film’s abil­i­ty to cap­ture and then repeat the unre­peat­able moment of death – as in the doc­u­men­tary he was review­ing, Myr­i­am Bor­sout­sky and Pierre Braunberger’s Bull­fight – might both ​“des­e­crate” the final­i­ty of loss, while also ren­der­ing it ​“even more mov­ing.” That ambiva­lence is then affirmed in these recent works where the sci-fi tech­nol­o­gy mar­shalled to coun­ter­act their char­ac­ters’ grief does lit­tle more than com­pli­cate it. Mark Scout’s inabil­i­ty to recall the loss of his wife leads him to turn his back on her by the end of the sec­ond sea­son. Inven­tion​’s Cal­lie, after oper­at­ing the heal­ing machine, is moved to help­less tears rather than some deep­er sense of peace or com­pre­hen­sion. The Shrouds ends ambigu­ous­ly, with Karsh seem­ing to move on from his wife while, of course, con­tin­u­ing to see her everywhere. 

    But the lack of res­o­lu­tion is what makes these recent works such effec­tive med­i­ta­tions on what mov­ing image tech­nol­o­gy knows of – or owes to – death. Over the past few years, images of dev­as­ta­tion have pro­lif­er­at­ed across mobile plat­forms, stream­ers, and big screens alike. Fears that such images might ren­der view­ers desen­si­tized to grief or vio­lence are coun­ter­act­ed by projects that explore visu­al medi­ums as tools for fac­ing the fall­out of death head on. If there is no treat­ment for grief, cin­e­mat­i­cal­ly, it’s per­haps only because such treat­ment is nec­es­sar­i­ly ongo­ing, always unre­solved. As tech­nol­o­gy con­tin­ues to advance into realms some might call post-human, these recent works affirm that it can still remain a tool for explor­ing the most human thing: life and our respons­es to its end­ing. By invit­ing view­ers to see film and tele­vi­sion as a kind of ​“GriefTech,” these works under­score the blind­ing inevitabil­i­ty of loss with­out turn­ing from it. That is: we only tru­ly lose if we refuse to keep looking. 





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  • F1: The Movie Review – Wonderboy


    Introduction

    You’re probably going to see a bunch of reviews describing F1: The Movie as predictable and formulaic. Many will call it predictable, but that’s lazy because sports movies are always predictable. Others will call it formulaic, which is also lazy (all movies are formulaic), but also because they can’t resist bad puns (in case you don’t know, the F in F1 stands for formula). Ironically, F1 is formulaic. I don’t say that because it follows the standard racing movie formula (and it does). I say it because it’s The Natural on wheels.

    F1
    Brad Pitt stars in “F1: The Movie” (2025)—photo courtesy of Warner Bros. Pictures.

    Synopsis

    In F1: The Movie, young Sonny Hayes (Brad Pitt) was going to be the best there ever was. After showing off a bit, he suffers a near-fatal, life-changing injury. For a couple of decades after that, he disappears, occasionally racing in random places, and finally gets another shot at the biggest stage in racing – the F1 circuit with the APX team. Once there, he has to contend with the resident and younger star Joshua Pearce (Damson Idris).

    As the season progresses, Hayes wins over the fans and the racing team while also having to contend with a meddlesome journalist. In addition, one of the team’s owners wants to force another owner, Ruben Cervantes (Javier Bardem), to sell his stake (as long as they don’t win a race, the sale will happen).

    Near the end, and riding high, Hayes suffers another injury that appears to be his permanent end, but he grits his teeth and performs in the final race. Sound familiar? Would you be surprised at all if it were revealed that Hayes scratched a lightning bolt on the side of his car and named it Wonderboy? Before you scream SPOILERS!! at me, I did warn you in the first paragraph. And unless you’ve never seen a sports movie, don’t act surprised.

    https://www.youtube.com/watch?v=CT2_P2DZBR0

    Analysis

    Sports movies are always about underdogs. They always feature someone being redeemed. They always feature some form of rival. And, they nearly always end with the underdog winning unless it’s Rocky Balboa’s first title fight or the Mystery, Alaska hockey team playing the New York Rangers. And even in those cases, they still won while losing. People generally don’t like that there was no joy in Mudville.

    So don’t pretend there’s a chance F1: The Movie ends with Hayes and/or Pearce dying in a fiery crash and Ruben forced out and bankrupt. Besides, there are plenty of good things about this movie that provide a reason to watch.

    One of those reasons is Brad Pitt. He’s very easy on the eyes, confirmed by Pearce’s mother (Sarah Niles), when she first lays eyes on a large poster of Hayes and mildly grosses out her son with her comments.  But Pitt can also be relied on to always deliver a good, if not great, performance. Some might complain that Pitt always just plays himself, to which I reply – yeah, exactly. Isn’t that like complaining about pizza always being pizza?

    You know who else is easy on the eyes and gives a great performance? Damson Idris. Pearce is cocky, arrogant, entitled, and wildly talented. He’s essentially younger Hayes, which is another staple of sports movies like this, including…wait for it…The Natural.

    F1
    Brad Pitt and Damson Idris star in “F1: The Movie” (2025). Photo courtesy of Warner Bros. Pictures.

    Further Discussion

    Idris delivers a performance that nails all of those character traits, then nails Pearce’s character growth through Pearce’s very strong story arc. It’s so well done, you’ll go from wanting someone on the pit crew to hit him with a wrench to kinda, sorta rooting for him to win the last race. Don’t worry, that’s not a spoiler. Hayes and Pearce both participate in the races, and only one of them has to win to save Ruben’s ownership. You’ll be rooting for both of them in the end, I promise.

    You know who else is easy on the eyes and gives a great performance? Kerry Condon. She plays Kate McKenna, a former aerospace engineer and the team’s technical director. McKenna is the brains behind the team and the design of the car. She’s also the love interest, but the screenplay doesn’t turn her into the wide-eyed damsel pining for Hayes.

    Perhaps the best scene of the film features McKenna expertly handling her two head-butting drivers in a friendly game of poker to determine which driver gets to be the primary driver in an upcoming race. It’s the kind of scene and performance that confirms why she was nominated for an Academy Award (The Banshees of Inisherin).

    You know who else is easy on the eyes and gives a great performance? Just kidding, I’ll
    stop now. And, yes, Javier Bardem gives a great performance; not sure about the other part.
    Sorry, Javy, you’re no Brad Pitt.

    F1
    Kerry Condon stars in “F1: The Movie” (2025). Photo courtesy of Warner Bros. Pictures.

    Conclusion

    You know what else is easy on the eyes and performs great? All of the racing stuff and not just the racing scenes themselves (which are very cool). While the story is completely fictional, the filmmakers went to great lengths to showcase much of what goes into an F1 racing team. The technology alone is staggering for what seems like such a simple sport – to drive a car really fast.

    From wind tunnels, to racing simulators, to an operations room and team that looks like it’s going to launch rockets to the moon, to the various components of the cars, it’s mind-boggling to realize it’s all done to gain a few seconds of time. And for the low, low cost of a $50-150 million per year.

    F1: The Movie does all the right things. Not only does it check all the boxes of a good summer blockbuster: good action, beautiful people, and excellent visual effects. It checks all the boxes of movies that you’ll watch multiple times – good storytelling, well-developed characters, smart dialogue, and excellent performances. I knew next to nothing about F1 before this film, and now I’m far more interested in the entirety of it.

    Rating: Ask for the low, low cost of zero dollars back.

    More from Cinema Scholars:

    MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE – Judgement Day

    MAD HEIDI: A Review Of The Modern Grindhouse Epic

    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Threads and Instagram.





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  • The Shrouds review – precision filmmaking of the…



    It’s become a cliché to say that David Cronenberg’s The Fly remains one of the most heart­break­ing films of the 1980s, a film which cul­mi­nates in an inves­tiga­tive jour­nal­ist hav­ing to put down her sci­en­tist boyfriend for being too overzeal­ous with his toys. With his rumi­na­tive lat­est, The Shrouds, Cro­nen­berg once more makes a play for the heart­strings in what must be one of the most naked­ly mov­ing and rev­e­la­to­ry films with­in his canon.

    There is, of course, a lot of iron­ic lev­i­ty too, as seen in an open­ing sequence in which melan­choly wid­owed tech mag­nate, Karsh (Vin­cent Cas­sell, made up to look exact­ly like the film­mak­er), decides to dive into the dat­ing scene once more, organ­is­ing a lunch with a match for­mu­lat­ed by his den­tist in a restau­rant that’s adja­cent to a grave­yard. The joke is, it’s his restau­rant. And his grave­yard. And what’s more, his late wife, Bec­ci, is buried there – would you, dear date, like to come and see her decay­ing corpse in 8K res­o­lu­tion via live-relay videofeed?

    Get more Lit­tle White Lies

    Karsh is the founder of GraveTech, a com­pa­ny who have, in tan­dem with a Chi­nese firm named Shin­ing Cloth, devel­oped a new type of bur­ial shroud which allows the bereaved to be in con­stant con­tact with the recent­ly depart­ed. Ever the roman­tic, Karsh is just itch­ing to dive into his plot next to Bec­ci so they may enter the eter­nal rest togeth­er, but in the mean­time, he’s can zoom in on her des­ic­cat­ing skull and won­der­ing what those lit­tle nod­ules grow­ing on her bones might be.

    Explo­rations of grief on film are ten a pen­ny and so often lean on maudlin sen­ti­ment to achieve their intend­ed goal. The Shrouds offers some­thing that’s at once more nuanced, more com­plex and more rad­i­cal, as Karsh finds him­self hav­ing to deal with the fact that some­one may be sab­o­tag­ing his sys­tem to use it as a sur­veil­lance tool, some­thing one of his oper­a­tives and ex-broth­er-in-law Mau­ry (Guy Pearce) may have a hand in. This cen­tral con­ceit of man attempt­ing to dis­cov­er the prove­nance of strange broad­cast images and being swept into a world of polit­i­cal intrigue is a ful­some call-back to 1983’s Video­drome, and as a film about a husband’s con­spir­a­to­r­i­al obses­sions with his dead wife, there’s quite a bit of 1991’s Naked Lunch in there too.

    On a pro­duc­tion lev­el, this is just pre­ci­sion film­mak­ing of the high­est stripe, and there’s a heart­beat-like rhythm to both the syn­tax and syn­co­pa­tions of the dia­logue, and the beau­ti­ful­ly judged shot/​reverse shot edits. Howard Shore deliv­ers anoth­er one of his gor­geous synth scores, this one with an apt­ly fune­re­al vibe, and long-time pro­duc­tion design­er Car­ol Spi­er threads the nee­dle between a world of pris­tine mod­ern inno­va­tion, and Japan­ese minimalism.

    The Shrouds is a new type of cin­e­mat­ic love sto­ry, one that deals with our abid­ing con­nec­tion with the dead through dreams and real­is­tic inno­va­tion rather than hav­ing to lean on such time­worn crutch­es as ghosts and fan­ta­sy. Like much of his late work, there are a cer­tain set of demands placed on the view­er, but if you’re will­ing to take what Cro­nen­berg is giv­ing you and tap into the film’s rich emo­tion­al main­frame, then the gifts (and heart­break) will be plentiful.





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  • The Rise And Fall Of The Hollywood Studio System


    Introduction

    The curtain rose on a new age of Hollywood cinema in 1927, when The Jazz Singer shattered the silence of motion pictures with Al Jolson’s famous ad-lib: “You ain’t heard nothin’ yet!” That moment was more than the dawn of the ’talkies’—it heralded the maturation of Hollywood’s studio system. Cinema Scholars looks behind the curtain at the vertically integrated juggernaut that would dominate American entertainment for over a decade.

    “It was a factory, yes. But what a factory—stars for assembly lines, scripts for blueprints, and dreams for exports.”

    — Bette Davis, reflecting on the studio era

    Hollywood
    Jack Robin (Al Jolson) sings ‘Blue Skies’ to his mother (Eugenie Besserer) in “The Jazz Singer” (1927). Photo courtesy of Warner Bros. Pictures.

    Between 1927 and 1939, Hollywood wasn’t just making movies—it was manufacturing a mythology. Underneath the glitter and gloss lay a ruthlessly efficient machine, run by a handful of powerful studios known as the “Big Five”: MGM, Paramount, Warner Bros., 20th Century Fox, and RKO. Together, these companies controlled production, distribution, and exhibition, ensuring that the stars on the silver screen were as carefully cultivated as the orange groves Los Angeles was paving over.

    Rise of the Studio Titans

    Louis B. Mayer of MGM once quipped, “I don’t make art—I make pictures to make money.” And indeed, the major studios operated like corporate kingdoms, each with its stable of stars, directors, writers, and technicians all under (or handcuffed to) long-term contracts.

    MGM, the undisputed king of the 1930s, boasted “more stars than there are in heaven.” With a house style that emphasized glamour and polish, it churned out hits like Grand Hotel (1932), The Thin Man (1934), and The Wizard of Oz (1939). Meanwhile, Warner Bros. cultivated a grittier image, favoring gangster films and socially conscious dramas like The Public Enemy (1931) and I Am a Fugitive from a Chain Gang (1932).

    Behind every star was a carefully maintained image, orchestrated by publicists and studio heads alike. Judy Garland was the girl next door. Greta Garbo was the elusive goddess. Clark Gable was the King of Hollywood. Scandals were buried, teeth were capped, and waistlines were cinched.

    Hollywood
    Gretta Garbo and John Barrymore star in “Grand Hotel” (1932). Photo courtesy of Metro-Goldwyn-Mayer.

    Talkie Revolution and Artistic Shifts

    The transition to sound sent shockwaves through the industry. Silent film stars like John Gilbert and Clara Bow saw careers falter, while new voices—literally and figuratively—rose to prominence. Technological changes forced studios to reinvest in equipment, rewrite production norms, and retrain actors and directors for a medium where voice and dialogue now mattered.

    Yet the upheaval brought creative breakthroughs. Directors like Ernst Lubitsch and Frank Capra harnessed the power of sound to explore new genres. Capra’s It Happened One Night (1934) helped establish the screwball comedy, while Lubitsch’s Trouble in Paradise (1932) showcased the sophisticated wit that defined pre-Code Hollywood.

    Production Code and the Morality Police

    By 1934, under intense pressure from religious groups as well as conservative watchdogs, the Motion Picture Production Code—commonly known as the Hays Code—was fully enforced. Overseen by Joseph Breen, the Code clamped down on depictions of sex, crime, and anything resembling social subversion.

    Gone were the risqué innuendos of Mae West. In came the moral rectitude of wholesome family fare. Yet even within these constraints, filmmakers inevitably found creative ways to push boundaries. Gone with the Wind (1939), with its fiery heroine and burning Atlanta, danced on the edge of controversy.

    “We had to say everything without saying anything at all. That was the art.”

    — Ernst Lubitsch, on working under the Code

    Hollywood
    Clark Gable and Claudette Colbert star in “It Happened One Night” (1934). Photo courtesy of Columbia Pictures.

    The Star Machine in Full Swing

    The studio system’s most potent invention was the star. The studios discovered talent, gave them new fabricated names (Archibald Leach became Cary Grant), shaped their public personas, and sometimes orchestrated their personal lives. Actors like Bette Davis battled studio control fiercely. Davis once stated:

    “Until you’re known in my profession as a monster, you’re not a star”

    Davis fought Warner Bros. in court for the right to reject roles—though she lost the case, she won something more valuable: respect. Her performances in Jezebel (1938) and Dark Victory (1939) cemented her place among the elite.

    The Business of Dreams

    The Depression did little to stop the march of movies. Hollywood thrived. Films were cheap escapism for the public and big business for the studios. In 1939—the year often considered the greatest in Hollywood history—audiences were treated to The Wizard of Oz, Gone with the Wind, Mr. Smith Goes to Washington, Stagecoach, Ninotchka, and Wuthering Heights.

    The year truly symbolized the zenith of the Hollywood studio system. It was the end of the beginning. War loomed. Television whispered on the horizon. And antitrust lawyers were sharpening their knives.

    Hollywood
    Jimmy Stewart stars in “Mr. Smith Goes to Washington” (1939). Photo courtesy of Columbia Pictures.

    A Machine Facing Its Reckoning

    Though the studio system would survive the next decade, its foundations had been laid bare. In 1938, the U.S. government filed an antitrust suit against the Big Five and the Little Three (Universal, Columbia, and United Artists), challenging their monopolistic grip. The eventual Paramount Decree of 1948 would dismantle vertical integration, but the seeds were sown in the late ’30s.

    Still, in those heady years between 1927 and 1939, Hollywood stood as a glittering empire—a blend of artistry, industry, and illusion. It was a dream factory, yes. But what dreams.

    “They owned everything: the cameras, the theaters, even the lives of the people in the pictures. But they gave us magic, too.”

    — Olivia de Havilland

    Top Milestones in the Studio Era (1927–1939)

    • 1927 – The Jazz Singer premieres, introducing synchronized sound to film.
    • 1929 – The first Academy Awards are held; Wings wins Best Picture.
    • 1930 – Hays Code introduced (but not enforced until 1934).
    • 1934 – Enforcement of the Production Code begins under Joseph Breen.
    • 1935 – Merger of Fox Film and Twentieth Century Pictures forms 20th Century-Fox.
    • 1938 – The U.S. government files antitrust suit against major studios.
    • 1939 – Peak year of Hollywood’s Golden Age with Gone with the Wind and The Wizard of Oz 

    Join us for Part 2, 1939–1945…and Hollywood at War!

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    Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Twitter, Threads, Instagram, and Bluesky





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  • What to Do If You’re Facing Sexual Harassment at Work — Every Movie Has a Lesson

    What to Do If You’re Facing Sexual Harassment at Work — Every Movie Has a Lesson



    It is true that strict laws are decreed in the workplace against sexual harassment in the US but it still continues to happen even today. A 2025 Traliant survey found that 46% of employees had seen harassment in the last five years and 24% who reported it had been harassed themselves.

    According to Sexual Harassment Law Firm CA, workplace sexual harassment is any unwelcome behavior or conduct that is sexual in nature and creates an intimidating, offensive, or hostile workplace.

    You must learn to protect yourself if you are being a target of sexual harassment in your workplace. If you have been sexually harassed at work, you may be able to make a range of claims for damages. It is never right to tolerate inappropriate conduct. Document each and every incident carefully, and take time to understand your company’s policies, to whom you should report sexual harassment incidents, and who can be your support during this time.

    Let’s start with self-empowerment to make your workplace safe and respectful.

    Understanding Sexual Harassment

    Sexual offenses transform the office into a toxic space. There could be advances, suggestive comments, or gestures from a fellow worker or a superior.

    Such acts unsettle and harm your mental wellness plus working capacity. Anyone, not necessarily someone above the victim, can perpetrate verbal, physical, or visual harassment.

    The smallest insinuations build a very overpowering atmosphere. Recognizing such a factor should mean recognizing when a boundary has been crossed.

    Documenting Incidents

    When abuse occurs at a workplace, one needs to document the incident of such abuse so that the offender may be held accountable for their acts. The record shall indicate the precise date, hour, and site of occurrence. Detailed descriptions of the crime, spoken words, and names of possible witnesses can later be a means of drawing up a pattern of conduct. 

    Keep your notes in order, whether they are in a journal or on a computer. Keep up to date with the occurrences. Also, any emails or text messages that appear to relate to the harassment should be kept. 

    Documentation provides a platform not just for the allegations but also for feelings of empowerment. Keep in mind that a clear record is the first step toward staying secure and well at work.

    Reporting the Behavior

    Reporting the behavior to management may seem difficult, but it is necessary to protect your rights.

    Search for the company policy against harassment. Find out to whom you should direct your report: your immediate supervisor, an HR representative, or an ethics officer.

    Have written documentation ready when reporting. Provide a full or brief account of the incident, including dates, places, and whether any witnesses were present. 

    Indicate how the behavior affected you personally and those close to you or around you. Legal protection exists to safeguard you. 

    If this system does not protect you or makes raising a concern impossible, then justice must come into existence outside the organization. You and your coworkers have a right to decent working conditions.

    Seeking Support and Resources

    Healing from workplace harassment must be supported with assistance and solutions. Some trusted friends and family members are good people to provide support for you. Talking to someone about your negative experience gives you some peace of mind.

    Seek a counselor or therapist who takes care of workplace issues with the ability to offer coping strategies tailored to your situation.

    There are therapeutic small groups or even online forums that allow you to meet and mingle with other victims. You are not alone.

    If there is an Employee Assistance Program in your company, check for resources and counseling under strict confidentiality. Above anything else, take care of your present self.

    Knowing Your Rights and Protections

    Know your rights in the protective measures against sexual harassment at the workplace. It is your right to work in an environment free of harassment. Title VII of the Civil Rights Act prevents sex discrimination and harassment. Several other federal laws are also in place to prevent harassment.

    Learn your organization’s harassment policy, as the document will outline your possible path of reporting and what procedure will follow.

    Retaliation following an assertion of harassment is unlawful; maintain documentation of all occurrences. You can file a charge with either the Equal Employment Opportunity Commission (EEOC) or your corresponding local human rights agency.

    Your well-being is important and you have the right to defend yourself when you feel that your rights are being violated.



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  • 12 Eye-Popping 1950s Movie Posters

    12 Eye-Popping 1950s Movie Posters


    These Roger Corman 1950s movie posters are a testament to his storytelling and marketing genius.

    We love Roger Corman, who died last year at the age of 98 after a spectacular Hollywood career that helped launch such luminaries as Jack Nicholson, Ron Howard, Martin Scorsese, Jonathan Demme, Charles Bronson, and James Cameron, among many others.

    After studying industrial engineering at Stanford University and serving in the United States Navy, he got a job as a story reader in which he rejected most scripts — but saw the potential in one that became 1950’s The Gunfighter, with Gregory Peck.

    When his boss got all the credit, Corman resolved to make his own films — which he churned out quickly, on the cheap, with verve and panache. He was masterful at marketing them, especially to rebellious teenagers, as the following posters illustrate.

    Apache Woman (1955)

    American Releasing Corporation – Credit: C/O

    The second Roger Corman movie that he directed, after Five Guns West, which was also released in 1955, Apache Woman is about a government agent, Rex Moffett, sent to put down an Apache Rebellion. He soon crosses paths with the titular character, the half-Apache Anne Libeau (Joan Taylor).

    The film is notable for helping launch the career of Lloyd Bridges, who played Moffett. But it’s also notable for a clever bit of branding by Corman: Note how often he uses the words “woman,” “girl” or “teenage” in his titles, to catch the attention of teenage boys looking for something at the local drive-in.

    Day the World Ended (1955)

    American Releasing Corporation – Credit: C/O

    Roger Corman movie titles were never short on hyperbole, as Day the World Ended Reminds us.

    The film is about a scientist who, like many other heroes of 1950s films, faces off against a radioactive being. (Anxiety and curiosity ran high in the years after the first use of the atomic bomb.)

    The film is notably narrated by a man who soon go on to become one of the most trusted journalists in America, Chet Huntley, known for NBC’s The Huntley-Brinkley Report.

    It Conquered the World (1956)

    American International Pictures – Credit: C/O

    It Conquered the World is about an alien from Venus who wants to take over the Earth and Dr. Paul Nelson (Peter Graves) a human scientist who wants to help the alien because it believes it can save humanity from destroying itself. (A similar idea pops up in Netflix’s 3 Body Problem).

    The film marked an early appearance for Graves, the future star of Mission: Impossible, though he had already appeared in a notable role in 1953’s Stalag 17.

    Naked Paradise (1957)

    American International Pictures – Credit: C/O

    The first of eight (!) Roger Corman movies released in 1957, this one concerns an ill-fated sailing trip to the Hawaiian Islands and stars Beverly Garland as the alcoholic Max, a young woman who ends up determined to turn her life around.

    Garland also appeared in the Roger Corman 1950s movies Not of This Earth, It Conquered the World, and Gunslinger.

    Attack of the Crab Monsters (1957)

    Allied Artists – Credit: C/O

    Roger Corman was a master of inexpensive creature features — in the terrific 2013 book Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses: Roger Corman: King of the B Movie, author Chris Nashawaty shares Albert Ruddy’s account of how Corman once gave him a budget of $50 to create a monster for the movie The Beast With a Million Eyes.

    He ended up combining an aluminum mop, a syringe, and slimy green paint to create the creature.

    Ruddy’s ingenuity would lead to a long and fruitful career that included producing The Godfather, arguably the greatest movie ever made.

    Not of This Earth (1957)

    Allied Artists – Credit: C/O

    Part of the genius of Roger Corman was packaging his films as double features. Not of This Earth played with Attack of the Crab Monsters, which must have made for a very scary evening.

    The very 1950s movie is about an extraterrestrial humanoid who seeks to steal human blood because of a deadly blood disorder that is depopulating his home planet, Davanna.

    Teenage Doll (1957)

    Allied Artists – Credit: C/O

    Once in a while, a Roger Corman movie poster is a masterpiece of understatement. Just read the text of this one and try to contain your curiosity: What happened to the unfortunate young woman of the title?

    As Nashawaty wrote in Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses: Roger Corman: King of the B Movie: “Is she dead, or has she just been ravaged? Corman knows, and he isn’t saying. And if you want to find out, you’ll have to pony up for a ticket.”

    One of the many 1950s movies that dug into “kids gone wild” paranoia.

    Rock All Night (1957)

    American International Pictures – Credit: C/O

    When you think of rebellious rock music, you probably don’t think of The Platters, the beloved crooners and  Rock and Roll Hall of Fame inductees whose lovely hits included “Only You” and “The Great Pretender.” But Roger Corman had the good sense to make them seem like the soundtrack to shocking scenes of depravity in the poster for Rock All Night.

    The film is one of many Roger Corman 1950s movies that is a lot more sedate than its raucous poster suggests.

    The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957)

    American International Pictures – Credit: C/O

    You can forgive the poster for The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent for not including the full title of the film, about a group of Viking women led by Desir (Abby Dalton) who go out to sea in search of their missing men and encounter, you guessed it, a giant sea serpent.

    The film was a bit of a leap for Corman: He announced that he would budget it at $300,000, about triple his typical budget at the time, because he wanted to invest in the sea serpent effects.

    And let us save you a Google: $300,000 in 1957 dollars is equal to about $3.3 million today, which is still a breathtakingly small budget for a film, even in the era of computer-generated images that were unavailable to Corman and his team. 

    Sorority Girl (1957)

    American International Pictures – Credit: C/O

    Notably for its fairly respectable poster, this film (also known as Sorority House or The Bad One — Corman was happy to change a film’s name for different markets) is about poor little rich girl Sabra Tanner (Susan Tanner) who lashes out at her classmates.

    Her dangerous tendencies have calamitous repercussions for her sorority sisters — and for Sabra.

    Machine Gun Kelly (1958)

    American International Pictures – Credit: C/O

    This gangster biopic also featured Susan Cabot, but is better known for the actor who played its lead: Charles Bronson, who would go on to action movie icon status for films including The Magnificent Seven, The Great Escape, Once Upon a Time in the West, and the Death Wish series.

    Besides launching Bronson as a movie star, the film was also notable for earning some of the best reviews of any Roger Corman movie. Corman said in his memoir, How I Made a Hundred Movies in Hollywood and Never Lost a Dime, that it was “a major turning point in my career.”

    Even more impressive, it’s one of five Corman-directed films that were released in 1958. That’s down from the eight he directed in 1957, but still: wow.

    She Gods of Shark Reef (1958)

    Credit: C/O

    Corman’s filmmaking efficiency is legendary, and one way he saved money was to shoot two films back-to-back at the same location. Such was the case with She Gods of Shark Reef, which was shot in Kaua’i at the same time as the aforementioned Naked Paradise.

    The film concerns weapons theft, murder, and a shark-infested tropical island — as well as some lonely pearl divers who live in a secret, all-female village.

    We have to wonder if the film was any influence on Honey Ryder, the pearl-diving Bond girl of 1962’s Dr. No.

    Liked This List of Eye-Popping 1950s Movie Posters?

    Credit: Paramount

    You may also like this list of behind the scenes stories of Airplane!, which notes that the film’s directors, Zucker-Abrahams-Zucker, cast the film with actors they had seen playing serious roles in 1950s movies. We have to wonder if they caught Peter Graves in It Conquered the World.



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  • LEX by Nemiroff – A New Era of Ultra Premium Vodka — Every Movie Has a Lesson

    LEX by Nemiroff – A New Era of Ultra Premium Vodka — Every Movie Has a Lesson



    In a world where the ordinary fades into the background, LEX by Nemiroff emerges as a beacon of unparalleled refinement and craftsmanship. It is more than just vodka; it is the embodiment of sophistication, where tradition meets innovation, creating a spirit that speaks to those who appreciate the finer things in life. With its meticulous creation, LEX transcends mere consumption, becoming an experience in itself.

    This ultra-premium vodka is the result of a 13-stage filtration process, an intricate journey through silver, amber, and platinum filtration that refines the spirit to absolute purity. Each drop flows with an unearthly smoothness, a testament to both the craftsmanship behind it and the superior quality of its ingredients. From the moment it touches the lips, LEX unveils its impeccably smooth character, leaving a clean, crisp finish that lingers, whispering of luxury.

    More than a drink, LEX by Nemiroff represents a lifestyle—a statement of elegance and innovation. Its stunning bottle design mirrors the artistry and dedication that go into every step of its creation, capturing the essence of luxury in a single glance. Designed for the bold, the daring, and the refined, LEX appeals to those who demand the finest.

    This is not a spirit for the ordinary. It is for the discerning few who understand that true luxury lies in the details—the craftsmanship, the tradition, the innovation. LEX by Nemiroff is a new era in vodka, where every element combines to create something far greater than the sum of its parts.

    A History That Inspires: The Ukrainian Heart of LEX by Nemiroff

    The tale of LEX by Nemiroff is one deeply rooted in Ukrainian heritage, where centuries of tradition meet the bold spirit of innovation. Born from the land known for its rich culture, vibrant history, and deep connection to nature, LEX by Nemiroff carries within it the heart of Ukraine. The journey of this iconic brand began in 1872, when the Nemiroff distillery was established in the town of Nemyriv, a small Ukrainian village that would soon be known worldwide for producing some of the finest spirits.

    From its early days, Nemiroff embraced a philosophy of excellence and craftsmanship, blending the finest ingredients with centuries-old distillation techniques. Over the years, this commitment to quality and tradition paved the way for Nemiroff to rise as a leading name in the global spirits industry. However, it wasn’t just the quality that set Nemiroff apart—it was their dedication to preserving the Ukrainian heart in every bottle.

    LEX by Nemiroff represents the pinnacle of this dedication. It is the ultimate expression of the brand’s journey—a fusion of heritage and innovation. Each step of the creation process, from the selection of ingredients to the intricate 13-stage filtration, pays homage to the proud Ukrainian spirit that runs through the veins of this extraordinary vodka. The blend of traditional craftsmanship and modern excellence allows LEX to transcend the ordinary and capture the essence of Ukrainian soul in every drop.

    For those who choose LEX by Nemiroff, it is not merely a drink but a connection to a heritage that speaks of resilience, artistry, and a profound respect for the land and people who have shaped it. This is the story of a brand with a Ukrainian heart—one that continues to inspire, enrich, and captivate.

    LEX by Nemiroff: The Exceptional Choice

    LEX by Nemiroff stands as a testament to the artistry and mastery behind ultra-premium vodka. Crafted with meticulous attention to detail, it represents the pinnacle of Ukrainian distilling heritage, where centuries-old traditions meet cutting-edge innovation. The vodka’s refined 13-stage filtration process, incorporating silver, amber, and platinum, results in an unparalleled smoothness and clarity that sets it apart in a crowded market. LEX is more than a drink; it is an experience, an embodiment of sophistication and luxury, appealing to connoisseurs who seek perfection in every sip. With its elegant design and exceptional flavor profile, LEX captures the essence of the finest spirits, making it the ultimate choice for those who demand nothing but the best. It’s not just a beverage; it’s a symbol of taste, craftsmanship, and distinction.

    Innovations That Have Set a New Standard

    LEX by Nemiroff is also distinguished by the addition of botanicals distilled with alambic. Usually, according to European legislation, if aromatic spirits and aromas are added to vodka, it becomes a flavored vodka. LEX by Nemiroff is on the verge of doing so, and this is an additional uniqueness of the product.  

    Alambic distillation is a traditional method preferred by craft or premium distilleries/distilleries. The result of distillation is aromatic alcohol – a technology similar to the production of perfumes. The alcohol we get has a head, body and tail. Our distillery masters carefully select only the body of the alcohol to obtain the most delicate notes of aromatic alcohol. Then, linden blossom aromatic alcohol is added to the blend. In this way, the aromatic spirit imparts a light floral aroma and taste to LEX by Nemiroff and keeps it in the category of classic white vodka.  

    Complexity and Depth of Taste

    LEX by Nemiroff stands as a testament to the artistry of vodka craftsmanship, offering a complexity and depth of taste that sets it apart from ordinary spirits. Its ultra-premium quality is not only evident in its smooth texture but in the layers of flavors that unfold with each sip. The meticulous 13-stage filtration process refines the vodka to perfection, allowing its natural flavors to emerge in a balanced yet intricate profile. Subtle notes of softness and warmth are complemented by a crisp, clean finish, creating a depth that lingers on the palate. This remarkable flavor profile showcases the commitment to excellence in every detail, offering a drinking experience that is as sophisticated as it is unforgettable. LEX by Nemiroff transcends the ordinary, revealing the beauty of vodka at its finest.

    The Specialty of LEX by Nemiroff

    We use only artesian water from deep wells, as it has a low level of mineralization, which makes it as pure and neutral as possible. Also, artesian water is softer, which is also important in the process of making ultra-premium vodka, which is characterized by its extremely mild taste. Prepared water for LEX by Nemiroff undergoes additional filtration with shungite, which improves its taste and structure.  Next, the main filtration of the finished liquid is carried out in order to combine the two raw materials and obtain the formula that is needed for additional filtration.  Also we use three additional filtrations to perfect the liquid.  

    Silver filtration is part of the quality control and liquid purification process implemented by Nemiroff. It helps to eliminate harsh flavor notes from the vodka, which contributes to a milder taste. Platinum filtration is an additional filtration step that LEX by Nemiroff passes through. It provides the final softening of the liquid to guarantee a refined and elegant taste and aftertaste. In particular, it improves the organoleptic properties of the final product, resulting in a softer and more delicate flavor. As a result, vodka that undergoes platinum filtration is characterized by a luxurious flavor profile.  

    Amber filtration is a part of the LEX by Nemiroff production process, as it purifies and improves the sensory qualities of the vodka. One of the characteristic features of amber filtration is that it gives LEX by Nemiroff vodka a light golden hue, which increases its visual appeal. In addition, after passing through amber filtration, LEX by Nemiroff acquires more complex flavor notes, as new shades are added and the taste is delicately enhanced. Finally, amber filtration emphasizes the artisanal approach used to produce LEX by Nemiroff vodka.  

    Conclusion

    LEX by Nemiroff isn’t just a vodka; it’s an experience. It’s a testament to craftsmanship, tradition, and the pursuit of perfection, making it the drink of choice for those who seek luxury, refinement, and a truly exceptional taste.

    Enjoy responsibly!



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  • Edit Like a Pro With These Free Online Video Editors — Every Movie Has a Lesson

    Edit Like a Pro With These Free Online Video Editors — Every Movie Has a Lesson



    Want to make your videos look amazing without spending money? Free online video editors can help you do that fast and easy. You don’t need to be an expert. These tools are simple to use and packed with features.

    You can cut, trim, add music, and more in just minutes. Perfect for social media, school, or fun projects. No downloads needed. Ready to edit like a pro? Start now and see how simple it is!

    Quick and Easy Tools

    You don’t need special skills to start editing videos. Many free tools online are made for beginners. They have simple layouts and clear buttons. You can drag clips, cut scenes, and add music in just a few clicks. These tools save time and help you work faster.

    Most have ready-made templates you can use. This makes it easier to start and finish your project. You can preview changes as you go. Some even have built-in tutorials. This helps you learn as you edit. You don’t need to install anything. Just open your browser and begin. Editing videos has never been this easy.

    No Download Needed

    You can start editing right in your browser. There’s no need to install any software. This saves time and space on your device. It works on most computers, phones, or tablets. All you need is a good internet connection. You can upload your video files with just a few clicks.

    Most tools support common video formats. You can edit, trim, and add effects quickly. Everything runs smoothly online. You don’t have to worry about updates or crashes. These tools are always ready to use. It’s perfect for fast and simple editing. Just go online and start creating your video.

    Drag and Drop Editing

    Editing videos is much easier with drag and drop features. You can move clips around with your mouse. Just click, drag, and place them where you want. It saves time and keeps things simple. You don’t need to type commands or open menus. This method works great for beginners.

    You can also drag music, text, or images into the timeline. Everything fits into place automatically. It helps you see your project clearly. You can fix mistakes fast with just a quick move. Most free editors online offer this feature. It feels like building something fun. Anyone can use it without stress.

    Trim Videos Fast

    Cutting out parts of a video is simple with online editors. You can trim the start or end in seconds. Just slide the edges of the video clip to where you want. There’s no need to learn hard steps. This helps make your video short and clean. You can remove mistakes or unwanted scenes fast.

    It works well for all types of videos. Many tools even show a preview as you trim. This helps you see the changes right away. You can undo any step if needed. Most editors also let you split clips in the middle. That gives you more control. Trimming videos has never been this quick.

    Add Text and Music

    You can make your videos more fun with text and music. Add a title at the start or captions throughout. Most tools have many fonts to choose from. You can also change the size and color of the text. Drag it to any part of the screen. Music adds feeling to your video.

    Many editors let you upload your own songs. Some even offer free music tracks to use. You can set the music to play in the background. Adjust the volume so it’s not too loud. You can even fade the music in or out. Adding both text and music is easy with just a few clicks. It helps your video stand out.

    Use Cool Effects

    Free online video editors offer fun effects to boost your video. You can add filters to change the look. Make your clips brighter or more dramatic. Many tools also have slow motion and fast forward. These help you set the mood. You can add transitions between scenes.

    This makes your video smoother. Some tools even let you blur parts of the video. You can highlight one area with special focus. Add pop-up text or stickers for fun. Most effects just need one click. You don’t need editing skills to use them. 

    Export in HD

    You can save your finished video in high quality. Many free editors let you export in HD. This makes your video look sharp and clear. It’s great for sharing on YouTube or social media. You can pick the resolution that fits your needs. Some tools even offer 1080p for free. Your video will still look good on big screens. The export process is quick and easy.

    You just click a button and wait a few moments. Some editors also let you choose the file format. This helps your video play on more devices. High-quality export makes your project look more professional. You don’t need to pay to get great results.

    Works on Any Device

    You can edit videos on your phone, tablet, or computer. These free tools are made to work on all devices. You don’t need a fancy setup to get started. Just open your browser and begin. It works on both Windows and Mac. You can also use it on Android and iOS. The layout fits well on small screens.

    Touch controls make editing easy on phones. You can switch devices anytime. Your project stays safe online. Some tools even let you save work in the cloud. This makes it easy to come back later. 

    Share to Social Media

    Once your video is ready, you can post it to your favorite platforms. Most editors have a share button built in. You can upload to YouTube, Facebook, or Instagram fast. There’s no need to open another app. This saves you time and effort. You can also choose the right video size for each platform. Some tools even suggest the best settings.

    Sharing your work is part of the fun. It helps others see what you made. These tools make it easy to edit video for free online and get it out there. You can add hashtags and captions before posting. 

    Learn More About Online Video Editors

    Online video editors make editing simple and fun. You don’t need special skills to use them. Many are free and work right in your browser. You can create and share videos in just minutes. These tools help anyone edit like a pro.

    Visit our blog for more!



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  • 12 Old SNL Sketches That Wouldn’t Fly Today

    12 Old SNL Sketches That Wouldn’t Fly Today


    Here are 12 SNL sketches they wouldn’t do today, thanks to changing standards of what’s funny. As the show marks its 50th anniversary, we look back on things that were funny then but might not fly now.

    Some SNL sketches and characters — like the Dana’s Church Lady, above — hold up incredibly well. In fact, SNL brought her back this past season.

    But not every Saturday Night Live sketch stands the test of time because what the general public considers OK is always changing. And evolving technology — people no longer have to send letters or call NBC, they can just gripe on X — can create a very fast, very public sense that objections to a given joke or setup are snowballing, which makes everyone involved in the show more hesitant to run the risk of doing something potentially offensive to someone, somewhere.

    Let’s take a dip into the past and remember some SNL sketches that some would prefer to be forgotten.

    Pat

    NBC

    Perhaps the most infamous of SNL characters is Pat. The “It’s Pat” SNL sketches were all built around a single joke: Nobody could tell if Pat was a man or a woman. They’d poke and prod around, trying to find the answer, but they never would.

    You can probably deduce why Julia Sweeney’s Pat character would be missing from modern SNL sketches.

    Remarkably, there was a Pat movie, probably the worst movie ever produced based on an SNL character, which is really saying something.

    Uncle Roy

    NBC

    Buck Henry was primarily known as a great comedy writer whose work included The Graduate and Get Smart. He was also a staple of the early seasons of Saturday Night Live, hosting a total of 10 times between 1976 and 1980.

    He also had his own recurring characters, including three appearances as Uncle Roy — a predatory babysitter. The sketches are, obviously, very uncomfortable.

    Anne Beatts was one of the writers on the Uncle Roy sketches. A veteran of National Lampoon, she was famed for her brazenness, a necessity to be a female comedy writer back in the 1970s.

    Ching Chang

    NBC

    Dana Carvey had some incredible SNL sketches and countless great recurring characters: Garth. Church Lady.

    Then, there’s Ching Chang. We don’t even like writing the character’s name out.

    There is no malice in Dana Carvey’s Ching Chang character, but he’s hard to watch now. There’s a reason they didn’t make the Best of Dana Carvey collection. Let’s just focus on all the good Carvey characters, like Church Lady (above).

    Lyle, the Effeminate Heterosexual

    NBC

    Hey, Dana Carvey returns! This one is less dicey, but does feel like something that would probably be avoided now, given the potential for it to stir controversy. Like many Saturday Night Live characters, this is a one-note premise, and it is right there in the character’s name.

    Carvey plays Lyle, and basically everybody assumes he’s gay because of his mannerisms. These could have been really iffy, but the “game” of the scenes is that everybody who assumes he’s gay is totally fine with it, including his wife.

    Much of the comedy comes from Lyle’s surprise and shock that anyone could think he’s gay.

    John Belushi’s Samurai

    NBC

    A white guy could be a samurai. Tom Cruise did it in a movie! However, John Belushi was not simply playing a samurai who was white in all his various sketches about a samurai who runs whatever business. No, in the samurai SNL sketches, Belushi is playing a Japanese samurai.

    That means, in addition to his traditional garb and hairstyle associated with samurai, Belushi is doing gibberish Japanese. He appeared in many sketches, mostly involving Buck Henry. Henry was a fan of the original sketch and asked to do a samurai sketch every time he hosted.

    That’s even though one time Belushi hit Henry with his sword and cut his head open.

    Robert Goulet

    NBC

    Will Ferrell played Goulet, the famed crooner, a few times. He’s a very Ferrell style person to play. There was no inherent issue with Ferrell’s Goulet impression. No, it is one particular time that Ferrell played Goulet that would not fly today.

    The joke in one of the Goulet SNL sketches was that he was crooning famed rap songs such as “Thong Song.” A couple of the songs in the sketch, though, contained the N-word. And Ferrell said it. Live from New York.

    Famously, Chevy Chase and Richard Pryor did a sketch that involved the use of that word, but it was 1975, Pryor was central to the sketch, and it was actively about racial prejudice.

    Canteen Boy

    NBC

    We will stump for the infamous iteration of the Canteen Boy sketches not being problematic, if only being fitfully funny and a smidge lazy. Adam Sandler played Canteen Boy several times, but only once was did it spark offense — so much so that it was referenced in Alec Baldwin’s monologue the next time he hosted.

    Canteen Boy is a classic Sandler character in that he is almost an anti-character. He’s just an odd assistant scoutmaster who has a canteen. Baldwin, in one sketch, played the scoutmaster who, well, makes sexual advances on Canteen Boy. Canteen Boy knows what is going on, and he flees and summons animals to attack Baldwin’s scoutmaster.

    Still, the idea of a sexually aggressive scoutmaster upset people. Modern SNL sketches tend not to make jokes about this kind of thing.

    Jazz Man

    NBC

    Billy Crystal was only on Saturday Night Live for one season, the infamous 1984-85 season when a show that was on the ropes was trying to right the ship. That included bringing in people like Crystal who were already famous.

    In fact, Crystal had previously appeared on Saturday Night Live, and the first time he did he brought his Jazz Man character into the mix.

    The Jazz Man is one of the wilder recurring characters in comedy. Crystal has brought it out time and time again, including into the new millennium. It’s one of multiple characters Crystal plays in blackface. At least when he plays Sammy Davis Jr. he’s doing an impression of a real person (not that it inoculates him, of course). With the Jazz Man, he’s just doing a stereotypical jazz guy. In, you know, blackface.

    David Paterson

    NBC

    Paterson was the governor of New York for a couple years, and SNL is a New York-based show. Fred Armisen played Paterson several times on SNL. Given their respective racial makeup, that was already not ideal. However, Paterson is also legally blind, and Armisen’s impression of Paterson leaned heavily into that.

    Armisen’s Paterson was a squinting, bumbling klutz. That would be questionable if Armisen was just playing a generic blind guy, but he was playing a real person who was legally blind. He turned Paterson into Mr. Magoo.

    The real Paterson was bighearted enough to appear next to Armisen doing his impression one night — part of Armisen apologizing for the broad caricature.

    Vinny Vedecci

    NBC

    Bill Hader is a fantastic impressionist, and he loves old-school archetypes. There’s a reason why he did a recurring Vincent Price sketch. One of his other recurring Saturday Night Live characters was Vinny Vedecci. Vedecci was the host of an Italian talk show, and he was boorish and brash. He also spoke largely in gibberish Italian. You know, that classic patter of Italian that isn’t actually words.

    We include this one because Hader himself has said he would not do Vedecci again. An Italian woman told him that she did not like the sketch, because it sounded so much to her like a gibberish version of her father.

    Hader had seen it in his head as a riff on classic comedy tropes, but this changed his perception.

    Nude Beach

    SNL Sketches
    NBC

    We end with a sketch that only occurred once, and personally we have no problem with it, but it raised huge objections at the time.

    We’re talking about a beach sketch written by the indelible Conan O’Brien alongside the also great Robert Smigel. Matthew Broderick was the host when it finally aired, and Dana Carvey features prominently again. The sketch takes place at a clothes-free beach, and even the amount of skin in the sketch feels like it might not be tried today.

    However, when writing the sketch, O’Brien and Smigel had a goal: “Penis” is a clinical, medical word that refers to an organ of the male body. O’Brien and Smigel set out to use it as many times as they could — more than 40 times in all.

    Reportedly, well over 40,000 complaints were registered with NBC. We doubt the show would ever poke the bear this way again.

    The Sharon Stone Airport Security Sketch

    Dana Carvey Doesn't Apologize for 1992 Sharon Stone Sketch on SNL
    NBC – Credit: C/O

    Last year on his Fly on the Wall podcast, Dana Carvey playfully apologized to Sharon Stone for a 1992 SNL sketch in which he played one of several airport security employees who try to get her to undress — supposedly “for security reasons.”

    Besides the sexual harassment joke, Carvey played the character as Indian. Carvey joked on the podcast that “we would be literally arrested now,” for attempting to do the sketch today.

    But he later clarified that he was just joking when he apologized to Stone, noting that when the sketch aired, “the whole audience went crazy, you do the sketch like six times with the read-through and the rehearsals, and she was such a sport with it. So there was no reason to apologize.”

    He also noted that he’s done imitations of all nationalities and doesn’t apologize. But the modern SNL would never go for the sketch today.

    Liked These Old SNL Sketches That Wouldn’t Fly Today?

    NBC

    You might also like this list of the 12 Best Saturday Night Live Sketches or this list of 15 Best SNL Characters.

    Main image: SNL. NBC



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