It used to be that making documentary films meant taking a vow of poverty (and obscurity). The streaming revolution changed that. Award-winning filmmaker R.J. Cutler talks to Stephen Dubner about capturing Billie Eilish’s musical genius and Martha Stewart’s vulnerability — and why he really, really, really needs to make a film about the New York Mets.
It takes a highly skilled stenographer — and some specialized equipment — to transcribe TV dialogue in real time at 300 words per minute. Will A.I. rewrite the script? Zachary Crockett tries to keep up.
Jens Ludwig has an idea for how to fix America’s gun violence problem — and it starts by rejecting conventional wisdom from both sides of the political aisle.
It’s been in development for five years and has at least a year to go. On the eve of its out-of-town debut, the actor playing Lincoln quit. And the producers still need to raise another $15 million to bring the show to New York. There really is no business like show business. (Part three of a three-part series.)
In an episode from 2012, we looked at what Sleep No More and the Stanford Prison Experiment can tell us about who we really are.
The ability to get into any home, car, or safe can be lucrative — but fixing locks is a tough business. Zachary Crockett gets the key information.
A hit like Hamilton can come from nowhere while a sure bet can lose $20 million in a flash. We speak with some of the biggest producers in the game — Sonia Friedman, Jeffrey Seller, Hal Luftig — and learn that there is only one guarantee: the theater owners always win. (Part two of a three-part series.)
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