Dec. 27, 2025
The Death of Entertainment: Unravelling the Dystopia of 'The Running Man'
In this episode of *Movies First*, Chris and Jessica plunge into the dystopian depths of the new remake of *The Running Man*, a chilling take on Stephen King's 1982 classic that feels eerily relevant in today's society. The hosts dissect how the film updates the original premise, where a desperate father enters a deadly game show to secure medical care for his ailing child, reflecting our current anxieties surrounding healthcare and corporate control.
Listeners will be captivated as Chris and Jessica analyze Glen Powell's portrayal of Richards, which diverges from Arnold Schwarzenegger's iconic performance, bringing a sense of vulnerability and realism that resonates deeply. They highlight the film's exploration of media manipulation, particularly through Josh Brolin's character, Killian, who embodies the terrifying power of entertainment executives.
The episode also delves into the supporting cast's contributions, with standout performances from William H. Macy and Michael Cera, who add layers to the narrative's resistance theme. The hosts appreciate Edgar Wright's direction, noting how he skillfully balances action with darker satirical elements, ensuring that each sequence serves a purpose in character development and plot advancement.
As they reflect on the film's commentary about society's trajectory, Chris and Jessica emphasize the unsettling plausibility of the depicted technology and the cultural implications of an entertainment landscape driven by corporate greed. With a score of 7.5 out of 10, this episode invites listeners to consider the fine line between entertainment and exploitation, and the enduring hope for authentic human connection amidst a manufactured reality.
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To access the Movies First reviews archive visit our website at www.bitesz.com/podcast/movies-first
To access the Movies First reviews archive visit our website at www.bitesz.com/podcast/movies-first
This episode includes AI-generated content.
WEBVTT
0
00:00:00.000 --> 00:00:02.320
Chris: Reality TV has always pushed boundaries for
1
00:00:02.320 --> 00:00:04.400
ratings, but imagine a world where
2
00:00:04.400 --> 00:00:06.480
contestants literally fight to the death
3
00:00:06.720 --> 00:00:09.600
while millions watch. That's the terrifying
4
00:00:09.600 --> 00:00:12.040
premise of the new Running man remake. And
5
00:00:12.040 --> 00:00:14.760
what's scarier is how close to reality it
6
00:00:14.760 --> 00:00:15.200
feels.
7
00:00:15.919 --> 00:00:18.000
Jessica: The timing of this film is so interesting,
8
00:00:18.480 --> 00:00:20.600
especially as we're seeing reality shows
9
00:00:20.600 --> 00:00:23.560
become increasingly exploitative. How m do
10
00:00:23.560 --> 00:00:25.200
you think they managed to Update Stephen
11
00:00:25.200 --> 00:00:27.840
King's 1982 story for today's audience?
12
00:00:29.250 --> 00:00:31.450
Chris: Well, they've brilliantly tapped into our
13
00:00:31.450 --> 00:00:33.570
current anxieties about healthcare and
14
00:00:33.650 --> 00:00:36.570
corporate control. The premise hits harder
15
00:00:36.570 --> 00:00:39.530
now. A desperate father enters a deadly game
16
00:00:39.530 --> 00:00:41.970
show because he can't afford medical care for
17
00:00:41.970 --> 00:00:44.770
his sick child. It's like Black Mirror
18
00:00:44.770 --> 00:00:46.770
meets the Hunger Games, but with this
19
00:00:46.770 --> 00:00:48.530
uncomfortable layer of plausibility.
20
00:00:49.490 --> 00:00:51.370
Jessica: The way they've incorporated modern media
21
00:00:51.370 --> 00:00:53.570
manipulation is particularly chilling.
22
00:00:54.300 --> 00:00:56.540
Josh Brolin's character, Killian represents
23
00:00:56.540 --> 00:00:58.300
everything scary about entertainment
24
00:00:58.300 --> 00:00:59.900
executives with too much power.
25
00:01:00.860 --> 00:01:02.980
Chris: You know what's fascinating? The whole
26
00:01:02.980 --> 00:01:04.860
concept of doctoring Richards video
27
00:01:04.860 --> 00:01:07.100
commentary to paint him as a villain. It's
28
00:01:07.100 --> 00:01:09.500
not even that far fetched anymore. We're
29
00:01:09.500 --> 00:01:11.380
already seeing deep fakes and selective
30
00:01:11.380 --> 00:01:14.340
editing in reality tv. This just takes it
31
00:01:14.340 --> 00:01:16.700
to its logical, horrifying conclusion.
32
00:01:17.180 --> 00:01:17.260
Jessica: Hmm.
33
00:01:17.260 --> 00:01:19.940
Um, speaking of which, let's talk about
34
00:01:19.940 --> 00:01:22.060
Glen Powell's performance as Richards.
35
00:01:22.710 --> 00:01:24.550
It's quite different from Schwarzenegger's
36
00:01:24.550 --> 00:01:26.470
take in the 1987 version.
37
00:01:27.350 --> 00:01:29.350
Chris: That's exactly what makes this version work.
38
00:01:29.670 --> 00:01:31.350
Powell brings this vulnerability that
39
00:01:31.350 --> 00:01:33.910
Schwarzenegger never could. He's not an
40
00:01:33.910 --> 00:01:36.550
invincible action hero. He's a regular
41
00:01:36.550 --> 00:01:39.350
guy pushed to extremes. Though I
42
00:01:39.350 --> 00:01:41.590
noticed those awkward facial expressions in
43
00:01:41.590 --> 00:01:44.030
early scenes, they actually help sell his
44
00:01:44.030 --> 00:01:45.950
character's discomfort with the whole
45
00:01:45.950 --> 00:01:46.390
situation.
46
00:01:47.110 --> 00:01:49.310
Jessica: The supporting cast really elevates the whole
47
00:01:49.310 --> 00:01:52.010
film too. William H. Macy and Michael
48
00:01:52.010 --> 00:01:54.290
Cera bring such different energies to their
49
00:01:54.290 --> 00:01:54.770
roles.
50
00:01:55.650 --> 00:01:58.490
Chris: Oh, man. Sarah Zelton Parakis
51
00:01:58.490 --> 00:02:01.250
is exactly what this movie needed.
52
00:02:01.570 --> 00:02:04.050
This sort of awkward rebel whose father was
53
00:02:04.050 --> 00:02:06.930
destroyed by the same system. It adds this
54
00:02:06.930 --> 00:02:09.130
whole generational aspect to the Resistance
55
00:02:09.130 --> 00:02:11.810
narrative. And Macy's character, Moly
56
00:02:11.810 --> 00:02:14.610
Jernigan, brings this world weary wisdom
57
00:02:14.690 --> 00:02:16.530
that makes the underground resistance feel
58
00:02:16.530 --> 00:02:17.170
more credible.
59
00:02:17.980 --> 00:02:19.780
Jessica: The technical aspects, uh, really serve the
60
00:02:19.780 --> 00:02:22.580
story well too. Edgar Wright's direction
61
00:02:22.580 --> 00:02:24.540
brings his signature style while still
62
00:02:24.540 --> 00:02:26.380
feeling different from his previous work.
63
00:02:27.180 --> 00:02:30.140
Chris: Well, that's what impressed me most, how
64
00:02:30.140 --> 00:02:32.780
Wright balances the action sequences with
65
00:02:32.780 --> 00:02:35.660
darker satirical elements. Each
66
00:02:35.660 --> 00:02:38.340
chase or fight scene reveals something about
67
00:02:38.340 --> 00:02:40.860
the characters or advances the plot.
68
00:02:41.500 --> 00:02:43.340
It's not just mindless spectacle.
69
00:02:44.080 --> 00:02:45.760
Jessica: The way they handle the public's changing
70
00:02:45.760 --> 00:02:48.000
perception of Richards is particularly well
71
00:02:48.000 --> 00:02:50.680
done. It really reflects how social media can
72
00:02:50.680 --> 00:02:52.800
turn someone into a hero or villain
73
00:02:52.800 --> 00:02:53.520
overnight.
74
00:02:54.240 --> 00:02:56.520
Chris: You know what's clever about that? The
75
00:02:56.520 --> 00:02:58.560
system's attempts to destroy Richards
76
00:02:58.960 --> 00:03:01.920
actually create this unexpected folk hero.
77
00:03:02.480 --> 00:03:05.200
Even with all their media manipulation, they
78
00:03:05.200 --> 00:03:06.960
can't control how people connect with his
79
00:03:06.960 --> 00:03:09.680
authentic struggle. It's like a commentary
80
00:03:09.980 --> 00:03:11.740
on how truth can still break through in our
81
00:03:11.740 --> 00:03:13.180
age of manufactured content.
82
00:03:14.060 --> 00:03:15.700
Jessica: The film's length has been a point of
83
00:03:15.700 --> 00:03:18.420
discussion at, uh, 2 hours and 13 minutes.
84
00:03:18.420 --> 00:03:21.020
Some say it runs long. What's your take?
85
00:03:21.820 --> 00:03:24.260
Chris: Here's the thing about the length. It gives
86
00:03:24.260 --> 00:03:26.940
them time to really build this world and show
87
00:03:26.940 --> 00:03:29.020
how the game show has become this cornerstone
88
00:03:29.020 --> 00:03:31.900
of society. Though, yeah, there
89
00:03:31.900 --> 00:03:33.260
are moments in the middle that could have
90
00:03:33.260 --> 00:03:35.700
been tighter. The pacing serves the story's
91
00:03:35.700 --> 00:03:37.780
larger themes about systemic corruption and
92
00:03:37.780 --> 00:03:38.460
resistance.
93
00:03:39.340 --> 00:03:41.300
Jessica: The way they've updated the technology for
94
00:03:41.300 --> 00:03:44.220
2025 feels unnervingly possible too.
95
00:03:44.780 --> 00:03:46.500
Chris: That's because they kept it just advanced
96
00:03:46.500 --> 00:03:49.380
enough to be scary, but not so far fetched
97
00:03:49.380 --> 00:03:51.500
that it breaks your suspension of disbelief.
98
00:03:52.300 --> 00:03:54.060
The surveillance systems, the tracking
99
00:03:54.060 --> 00:03:56.660
methods, the footage manipulation, it all
100
00:03:56.660 --> 00:03:58.420
feels like it could exist five minutes from
101
00:03:58.420 --> 00:03:58.700
now.
102
00:03:59.820 --> 00:04:01.700
Jessica: So, looking at the bigger picture, what do
103
00:04:01.700 --> 00:04:03.300
you think this film says about where we're
104
00:04:03.300 --> 00:04:04.300
heading as a society?
105
00:04:05.590 --> 00:04:07.390
Chris: Well, it's essentially warning us about the
106
00:04:07.390 --> 00:04:09.670
logical endpoint of our entertainment culture
107
00:04:09.910 --> 00:04:12.590
colliding with corporate power. When you
108
00:04:12.590 --> 00:04:14.390
combine unlimited corporate control,
109
00:04:15.030 --> 00:04:17.670
desperate people, and an audience hungry for
110
00:04:17.670 --> 00:04:20.470
increasingly extreme content, this is where
111
00:04:20.470 --> 00:04:22.990
you end up. The scariest part isn't the
112
00:04:22.990 --> 00:04:25.550
action or the violence. It's how believable
113
00:04:25.550 --> 00:04:26.790
the whole premise feels.
114
00:04:27.430 --> 00:04:29.190
Jessica: That's m what makes it more than just another
115
00:04:29.190 --> 00:04:30.230
remake, doesn't it?
116
00:04:31.460 --> 00:04:34.460
Chris: Exactly. It takes King's original concept
117
00:04:34.460 --> 00:04:36.900
and makes it relevant for today while still
118
00:04:36.900 --> 00:04:38.860
honoring what made the story compelling in
119
00:04:38.860 --> 00:04:41.500
the first place. It's both a warning about
120
00:04:41.500 --> 00:04:44.100
where we're heading and a reminder that
121
00:04:44.100 --> 00:04:46.900
resistance against corrupt systems isn't
122
00:04:46.980 --> 00:04:49.540
futile. Even in this dark future,
123
00:04:49.780 --> 00:04:51.660
there's still hope for human connection and
124
00:04:51.660 --> 00:04:54.620
truth to break through. We give
125
00:04:54.620 --> 00:04:56.820
the Running Man a score of 7.5 out of 10.
126
00:04:57.060 --> 00:04:59.300
Voice Over Guy: You've been listening to movies first
127
00:04:59.540 --> 00:05:02.260
available at Apple Podcasts, Spotify,
128
00:05:02.720 --> 00:05:05.600
iHeartRadio or your favorite podcast player.
129
00:05:05.680 --> 00:05:08.640
You can also stream on demand@bytes.com
130
00:05:08.800 --> 00:05:09.080
this.
131
00:05:09.080 --> 00:05:11.440
Chris: Has been another quality podcast production
132
00:05:11.440 --> 00:05:12.960
from bytes.com.
0
00:00:00.000 --> 00:00:02.320
Chris: Reality TV has always pushed boundaries for
1
00:00:02.320 --> 00:00:04.400
ratings, but imagine a world where
2
00:00:04.400 --> 00:00:06.480
contestants literally fight to the death
3
00:00:06.720 --> 00:00:09.600
while millions watch. That's the terrifying
4
00:00:09.600 --> 00:00:12.040
premise of the new Running man remake. And
5
00:00:12.040 --> 00:00:14.760
what's scarier is how close to reality it
6
00:00:14.760 --> 00:00:15.200
feels.
7
00:00:15.919 --> 00:00:18.000
Jessica: The timing of this film is so interesting,
8
00:00:18.480 --> 00:00:20.600
especially as we're seeing reality shows
9
00:00:20.600 --> 00:00:23.560
become increasingly exploitative. How m do
10
00:00:23.560 --> 00:00:25.200
you think they managed to Update Stephen
11
00:00:25.200 --> 00:00:27.840
King's 1982 story for today's audience?
12
00:00:29.250 --> 00:00:31.450
Chris: Well, they've brilliantly tapped into our
13
00:00:31.450 --> 00:00:33.570
current anxieties about healthcare and
14
00:00:33.650 --> 00:00:36.570
corporate control. The premise hits harder
15
00:00:36.570 --> 00:00:39.530
now. A desperate father enters a deadly game
16
00:00:39.530 --> 00:00:41.970
show because he can't afford medical care for
17
00:00:41.970 --> 00:00:44.770
his sick child. It's like Black Mirror
18
00:00:44.770 --> 00:00:46.770
meets the Hunger Games, but with this
19
00:00:46.770 --> 00:00:48.530
uncomfortable layer of plausibility.
20
00:00:49.490 --> 00:00:51.370
Jessica: The way they've incorporated modern media
21
00:00:51.370 --> 00:00:53.570
manipulation is particularly chilling.
22
00:00:54.300 --> 00:00:56.540
Josh Brolin's character, Killian represents
23
00:00:56.540 --> 00:00:58.300
everything scary about entertainment
24
00:00:58.300 --> 00:00:59.900
executives with too much power.
25
00:01:00.860 --> 00:01:02.980
Chris: You know what's fascinating? The whole
26
00:01:02.980 --> 00:01:04.860
concept of doctoring Richards video
27
00:01:04.860 --> 00:01:07.100
commentary to paint him as a villain. It's
28
00:01:07.100 --> 00:01:09.500
not even that far fetched anymore. We're
29
00:01:09.500 --> 00:01:11.380
already seeing deep fakes and selective
30
00:01:11.380 --> 00:01:14.340
editing in reality tv. This just takes it
31
00:01:14.340 --> 00:01:16.700
to its logical, horrifying conclusion.
32
00:01:17.180 --> 00:01:17.260
Jessica: Hmm.
33
00:01:17.260 --> 00:01:19.940
Um, speaking of which, let's talk about
34
00:01:19.940 --> 00:01:22.060
Glen Powell's performance as Richards.
35
00:01:22.710 --> 00:01:24.550
It's quite different from Schwarzenegger's
36
00:01:24.550 --> 00:01:26.470
take in the 1987 version.
37
00:01:27.350 --> 00:01:29.350
Chris: That's exactly what makes this version work.
38
00:01:29.670 --> 00:01:31.350
Powell brings this vulnerability that
39
00:01:31.350 --> 00:01:33.910
Schwarzenegger never could. He's not an
40
00:01:33.910 --> 00:01:36.550
invincible action hero. He's a regular
41
00:01:36.550 --> 00:01:39.350
guy pushed to extremes. Though I
42
00:01:39.350 --> 00:01:41.590
noticed those awkward facial expressions in
43
00:01:41.590 --> 00:01:44.030
early scenes, they actually help sell his
44
00:01:44.030 --> 00:01:45.950
character's discomfort with the whole
45
00:01:45.950 --> 00:01:46.390
situation.
46
00:01:47.110 --> 00:01:49.310
Jessica: The supporting cast really elevates the whole
47
00:01:49.310 --> 00:01:52.010
film too. William H. Macy and Michael
48
00:01:52.010 --> 00:01:54.290
Cera bring such different energies to their
49
00:01:54.290 --> 00:01:54.770
roles.
50
00:01:55.650 --> 00:01:58.490
Chris: Oh, man. Sarah Zelton Parakis
51
00:01:58.490 --> 00:02:01.250
is exactly what this movie needed.
52
00:02:01.570 --> 00:02:04.050
This sort of awkward rebel whose father was
53
00:02:04.050 --> 00:02:06.930
destroyed by the same system. It adds this
54
00:02:06.930 --> 00:02:09.130
whole generational aspect to the Resistance
55
00:02:09.130 --> 00:02:11.810
narrative. And Macy's character, Moly
56
00:02:11.810 --> 00:02:14.610
Jernigan, brings this world weary wisdom
57
00:02:14.690 --> 00:02:16.530
that makes the underground resistance feel
58
00:02:16.530 --> 00:02:17.170
more credible.
59
00:02:17.980 --> 00:02:19.780
Jessica: The technical aspects, uh, really serve the
60
00:02:19.780 --> 00:02:22.580
story well too. Edgar Wright's direction
61
00:02:22.580 --> 00:02:24.540
brings his signature style while still
62
00:02:24.540 --> 00:02:26.380
feeling different from his previous work.
63
00:02:27.180 --> 00:02:30.140
Chris: Well, that's what impressed me most, how
64
00:02:30.140 --> 00:02:32.780
Wright balances the action sequences with
65
00:02:32.780 --> 00:02:35.660
darker satirical elements. Each
66
00:02:35.660 --> 00:02:38.340
chase or fight scene reveals something about
67
00:02:38.340 --> 00:02:40.860
the characters or advances the plot.
68
00:02:41.500 --> 00:02:43.340
It's not just mindless spectacle.
69
00:02:44.080 --> 00:02:45.760
Jessica: The way they handle the public's changing
70
00:02:45.760 --> 00:02:48.000
perception of Richards is particularly well
71
00:02:48.000 --> 00:02:50.680
done. It really reflects how social media can
72
00:02:50.680 --> 00:02:52.800
turn someone into a hero or villain
73
00:02:52.800 --> 00:02:53.520
overnight.
74
00:02:54.240 --> 00:02:56.520
Chris: You know what's clever about that? The
75
00:02:56.520 --> 00:02:58.560
system's attempts to destroy Richards
76
00:02:58.960 --> 00:03:01.920
actually create this unexpected folk hero.
77
00:03:02.480 --> 00:03:05.200
Even with all their media manipulation, they
78
00:03:05.200 --> 00:03:06.960
can't control how people connect with his
79
00:03:06.960 --> 00:03:09.680
authentic struggle. It's like a commentary
80
00:03:09.980 --> 00:03:11.740
on how truth can still break through in our
81
00:03:11.740 --> 00:03:13.180
age of manufactured content.
82
00:03:14.060 --> 00:03:15.700
Jessica: The film's length has been a point of
83
00:03:15.700 --> 00:03:18.420
discussion at, uh, 2 hours and 13 minutes.
84
00:03:18.420 --> 00:03:21.020
Some say it runs long. What's your take?
85
00:03:21.820 --> 00:03:24.260
Chris: Here's the thing about the length. It gives
86
00:03:24.260 --> 00:03:26.940
them time to really build this world and show
87
00:03:26.940 --> 00:03:29.020
how the game show has become this cornerstone
88
00:03:29.020 --> 00:03:31.900
of society. Though, yeah, there
89
00:03:31.900 --> 00:03:33.260
are moments in the middle that could have
90
00:03:33.260 --> 00:03:35.700
been tighter. The pacing serves the story's
91
00:03:35.700 --> 00:03:37.780
larger themes about systemic corruption and
92
00:03:37.780 --> 00:03:38.460
resistance.
93
00:03:39.340 --> 00:03:41.300
Jessica: The way they've updated the technology for
94
00:03:41.300 --> 00:03:44.220
2025 feels unnervingly possible too.
95
00:03:44.780 --> 00:03:46.500
Chris: That's because they kept it just advanced
96
00:03:46.500 --> 00:03:49.380
enough to be scary, but not so far fetched
97
00:03:49.380 --> 00:03:51.500
that it breaks your suspension of disbelief.
98
00:03:52.300 --> 00:03:54.060
The surveillance systems, the tracking
99
00:03:54.060 --> 00:03:56.660
methods, the footage manipulation, it all
100
00:03:56.660 --> 00:03:58.420
feels like it could exist five minutes from
101
00:03:58.420 --> 00:03:58.700
now.
102
00:03:59.820 --> 00:04:01.700
Jessica: So, looking at the bigger picture, what do
103
00:04:01.700 --> 00:04:03.300
you think this film says about where we're
104
00:04:03.300 --> 00:04:04.300
heading as a society?
105
00:04:05.590 --> 00:04:07.390
Chris: Well, it's essentially warning us about the
106
00:04:07.390 --> 00:04:09.670
logical endpoint of our entertainment culture
107
00:04:09.910 --> 00:04:12.590
colliding with corporate power. When you
108
00:04:12.590 --> 00:04:14.390
combine unlimited corporate control,
109
00:04:15.030 --> 00:04:17.670
desperate people, and an audience hungry for
110
00:04:17.670 --> 00:04:20.470
increasingly extreme content, this is where
111
00:04:20.470 --> 00:04:22.990
you end up. The scariest part isn't the
112
00:04:22.990 --> 00:04:25.550
action or the violence. It's how believable
113
00:04:25.550 --> 00:04:26.790
the whole premise feels.
114
00:04:27.430 --> 00:04:29.190
Jessica: That's m what makes it more than just another
115
00:04:29.190 --> 00:04:30.230
remake, doesn't it?
116
00:04:31.460 --> 00:04:34.460
Chris: Exactly. It takes King's original concept
117
00:04:34.460 --> 00:04:36.900
and makes it relevant for today while still
118
00:04:36.900 --> 00:04:38.860
honoring what made the story compelling in
119
00:04:38.860 --> 00:04:41.500
the first place. It's both a warning about
120
00:04:41.500 --> 00:04:44.100
where we're heading and a reminder that
121
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resistance against corrupt systems isn't
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futile. Even in this dark future,
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there's still hope for human connection and
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truth to break through. We give
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the Running Man a score of 7.5 out of 10.
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Voice Over Guy: You've been listening to movies first
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available at Apple Podcasts, Spotify,
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iHeartRadio or your favorite podcast player.
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You can also stream on demand@bytes.com
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this.
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Chris: Has been another quality podcast production
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from bytes.com.
