The Complete Catalog

Rebel Heart is probably the purest example of the trend the past few episodes of the show have addressed: that of Madonna’s, shall we say, extensive array of producing and songwriting collaborators. While Tristan and friend of the show JT_Lizzard differ somewhat on how successfully that comes out in the wash, the maligned 2015 release still has some distinct pleasures.

MDNA, released in 2012, defines Madonna’s approach to production collaboration in the 2010s; that is to say, with a wide array of songwriting “camp” teams. Tristan and Michael Dango, Associate Professor of English at Rice University and author of Madonna’s Erotica (an installment of the 33 ⅓ series), discuss the heights born out of this diffused working style as well as the questionable moments of the album.

Released in 2008, Hard Candy noticeably carries the production and songwriting tendencies of its all-star collaborators. Music writer Sydney Urbanek and Tristan discuss the good and bad of those tendencies and how Madonna’s own presence is integrated, or subsumed, in an unprecedented way.

For quite a few, Confessions on a Dance Floor, released in 2005, is Madonna’s “last great album.” While that may not exactly be the conclusion Tristan and film historian and cultural critic PT Klein come to, they certainly find its distillation of music that makes you move and sweat exhilarating.

Not since Erotica had Madonna faced as much controversy as she did with American Life. Her artistic statement on the state of the country and world, released in 2003 in the midst of the “Bush II era,” is often intentionally abrasive but has many fascinating and enjoyable facets, as Tristan and Giulio Mazzoleni, author of Madonna Songbook and host of the podcast of the same name, explore.

Released in 2000, Madonna’s Music ushered in the 21st century for the everlastingly iconic pop star. And it did so with still-impressive forethought and freshness, which Tristan and friend of the show Trevor Bermingham constantly appreciate even for all its nostalgic qualities.

Ray of Light is often cited as Madonna’s greatest album. That’s a heavy expectation, but as basically Madonna novices Tristan and Caitlin Casiello, Assistant Professor of Japanese Film and Media Studies at the University of Florida, discuss, it’s one that the 1998 release could understandably live up to.

Evita was a major push for Madonna’s film career as well as her musical artistry, notably stretching her voice to new ranges to accommodate the Andrew Lloyd Webber sound. Tristan and theater artist and writer Ben Gierhart discuss the expansiveness, the messiness, and the moments of brilliance to come from the 1996 release, Madonna’s final soundtrack album to date.

Discussion about Bedtime Stories, released in 1994 and two years after Erotica, is defined by the conscious “softening” of Madonna’s image. And as Tristan and former film critic and podcaster Michael Snydel address, that shift, especially in her embrace of contemporary R&B sounds, isn’t always successful, even as the record has a bit more edge than its been given credit for.

Erotica was considered the nadir of Madonna’s career when it was released in 1992. But as Tristan and journalist Caroline Delbert uncover, the album has been reclaimed, especially removed from its pairing of the (unfairly!) infamous Sex book, and should be considered as a bold progression for the artist.

I’m Breathless, the 1990 soundtrack to Dick Tracy, is Madonna’s basically faithful ode to old Hollywood…plus one of her most “hip” and lasting tracks. Tristan and Lucy O’Brien, author of Madonna: Like an Icon, talk about how the album did (and did not) intersect with the aesthetics of the film in which she starred and how it can basically stand alone as a unique effort in Madonna’s discography.

1989’s Like a Prayer is considered a watershed moment in Madonna’s career. Tristan and actor, writer, and comedian Frankie Lee dive deep into the monumental work; they think it’s going to catch on!

Who’s That Girl almost wasn’t included in the run of episodes for this Madonna season of The Complete Catalog because this soundtrack record isn’t made up of a majority of her songs. But the 1987 release still has the presence of a “Madonna album,” as filmmaker and critic Scout Tafoya and Tristan discuss, not least because her tracks are far and away the collection’s best and her starring role in the film of the same name looms large.

True Blue, released in 1986, was Madonna’s third album in as many years right at the start of the career and continued her meteoric rise in both the commercial and critical arenas. Author Tim Riley (Madonna Illustrated, Riley Rock Report) and Tristan get into how the record is simultaneously a refinement of accessible pop construction and a deepening of lyrical themes.

Like a Virgin was only Madonna’s second album but it is often credited as the one that “made” her. Tristan and Santiago Fouz-Hernández, professor in Iberian Studies and Film Studies at Durham University and co-editor of Madonna's Drowned Worlds: New Approaches to her Cultural Transformations, 1983-2003, discuss how the 1984 album made a huge global splash and continues to carry many distinct pleasures.

Welcome to The Complete Catalog, a podcast for media deep dives. For this second season, host Tristan Ettleman and his guests explore the 18 albums of Madonna (including some videos, movies, and other releases) across 43 years.Madonna’s 1983 self-titled debut almost feels like a fully-formed artist burst into pop culture consciousness out of nowhere. But as Tristan and Matthew Rettenmund, author of Encyclopedia Madonnica, discuss, there were a lot of work ethic and New York scenes/aesthetics that led to the Madonna (the album and the artist) as we know them, and her meteoric success wasn’t necessarily immediately assured.

This is it: the season finale of The Complete Catalog: Studio Ghibli (at least for now)! Hayao Miyazaki’s The Boy and the Heron stands as his and the studio’s final film (again, for now) and it offers a rich yet complicated host of thematic threads and compelling characterizations; all while being beautiful of course. Tristan and Edmond “Edo” Ernest dit Alban, Assistant Professor in Communication and Asian Studies at Tulane University, cover as much ground as possible but the film will certainly continue to offer nuanced readings upon subsequent rewatches.And announcing season two of The Complete Catalog: Madonna! Tristan and his guests will explore the 17 albums released by the pop icon over 36 years. Follow your host on Bluesky, Instagram, and/or TikTok to stay tuned for the premiere date!

Earwig and the Witch has the infamous reputation as Studio Ghibli’s worst film. That is indeed true, as Tristan and Assistant Professor of Japanese Film and Media Studies at the University of Florida Caitlin Casiello agree, but they also try to find some things to appreciate about Goro Miyazaki’s 2020 release.

Michaël Dudok de Wit’s 2016 feature The Red Turtle almost didn’t make it into the episode run of the “complete Studio Ghibli catalog.” But this Japanese/French/German co-production, helmed by Ghibli’s only non-Japanese filmmaker, is, besides being great, full of recurring themes and its own unique readings and aesthetic, as Tristan and Kyle Macciomei, Ghibli cuisine enthusiast, discuss.

When Marnie Was There, directed by Hiromasa Yonebayashi, has been read through a few different lenses since its 2014 release, with many centering platonic female friendships and/or queer relationships. Theater artist and writer Ben Gierhart and Tristan tackle these nuanced themes and generally praise this downtempo and somewhat unconventional Studio Ghibli film.

The Tale of the Princess Kaguya is Isao Takahata’s final directorial effort. So it comes with a bit of resonance as the conclusion to the career of a great filmmaker, and Tristan and Ethan Simmie, host of the The Movie Draft Podcast, explore the many emotions and themes of the expansive film, released just months after The Wind Rises in 2013.

For quite a while, it seemed like 2013’s The Wind Rises would be Hayao Miyazaki’s final film. While that ended up not being true, there is a sense of something ending with this complex movie, and Tristan and Gabe Gurwin, SEO Editor at GameSpot, discuss that and much more.

From Up on Poppy Hill has settled into a place of recognition as not just Goro Miyazaki’s best film, but also an underrated slice of life period drama. Tristan and Yuki Irikura, Assistant Professor at Waseda University, talk about its finer points and dive into the historical context of its 1960s milieu and 2011 production and release.

Catherine Butler, Professor of English Literature at Cardiff University, wrote quite a bit about The Secret World of Arrietty (as it is known in the US, at least) and its relation to, and deviations from, its source material in her book British Children's Literature in Japanese Culture: Wonderlands and Looking-glasses. While Hiromasa Yonebayashi’s 2010 directorial debut may live in the shadow of the more renowned Studio Ghibli fantasies, its spectacular and clever rendering of scale and themes of change are certainly still entertaining and moving.

Hayao Miyazaki’s 2008 film Ponyo feels like the end of an era for Studio Ghibli, as it stands (as of now) as the director’s final movie to present a rosy fantasy realm cultivated for children. But as Tristan and Seth S. Scott, video game developer as Perfect Hat, discuss, it still carries deep themes and beautiful moments that make the film resonant (and fun) for everyone.

Goro Miyazaki’s debut feature, 2006’s Tales from Earthsea, was bound to be compared to his father’s work. Unfortunately, within the scope of the complete Studio Ghibli catalog, this is done so unfavorably. But as Tristan and David Lewis, host of the Cinemallenials podcast, discuss, there are plenty of things to like about the fantasy film.

Hayao Miyazaki’s 2004 film Howl’s Moving Castle is yet another example of the director’s, and Studio Ghibli’s, massive hits with ongoing cultural impact. So Tristan and Brendon Bouphachay (@theboopbear on TikTok) fittingly explore the movie from many angles, reflecting on its incredible nuance and sheer entertainment value.

The Cat Returns is Studio Ghibli’s only feature sequel, although as Tristan and Mihaela Mihailova, Assistant Professor at San Francisco State University, discuss, its connection to 1995’s Whisper of the Heart isn’t its defining feature. But Hiroyuki Morita’s 2002 follow-up can’t help living in the shadow of the monumental Ghibli films that surround it and the two acknowledge this while evaluating its more lackluster moments.

Well, here we are: Tristan’s favorite Studio Ghibli film. Hayao Miyazaki’s 2001 masterpiece Spirited Away broke the studio into unprecedented international fame and repute, and Tristan and Shiro Yoshioka, Lecturer at Newcastle University, go long on its richness and impact.

Isao Takahata’s penultimate feature My Neighbors the Yamadas features “rude” family comedy akin to his early career work, such as Chie the Brat. Tristan and Zoe Crombie, researcher and lecturer at Lancaster University, discuss how Studio Ghibli’s 1999 film, while sometimes seen as “just” a series of vignettes, is an incredibly refined commentary on modern life and family dysfunction (and indeed, is quite funny).

Malcolm Cook, Associate Professor of Film at the University of Southampton, is co-editor, with Kirsten Moana Thompson, of Animation and Advertising, and that particular research interest informs the prologue segment of this episode about Studio Ghibli’s commercial work. But Malcolm and Tristan of course certainly dedicate a lot of conversation to Hayao Miyazaki’s 1997 pop culture behemoth Princess Mononoke, Ghibli’s most violent film and, as is becoming a common refrain this season, one that doesn’t have any easy answers about how to face environmental destruction.

Esteem for Yoshifumi Kondo’s Whisper of the Heart has grown among Studio Ghibli fans in the 30 years since its release in 1995. Tristan and friend of the show Madeleine Clermont discuss why it deserves its dark horse “favorite” status due to, among many other things, its wonderfully understated yet emotional depiction of the creative process.

Isao Takahata’s 1994 eco-fable Pom Poko is simultaneously full of silly humor and morbid reflections on the fate of creatures affected by humanity’s destruction of the environment. As friend of the show J.J. DiUbaldi and Tristan discuss, however, the film doesn’t take the easy way out in its conclusion of these themes and its collective cast of tanuki represent utter joy and deep loss.

Ocean Waves is far and away the Studio Ghibli film with the worst reception so far and the first to not be directed by Hayao Miyazaki or Isao Takahata. But as friend of the show Michael Burns and Tristan discuss, Tomomi Mochizuki’s 1993 TV movie contains beautifully detailed backgrounds and touching threads of nostalgia and the high school experience.

The resonance of Hayao Miyazaki’s 1992 film Porco Rosso is hard to deny. From an iconic line to a chilling moment of morbid beauty, Tristan and film historian Matt Page address the many connections to Miyazaki’s personal temperament, life, and beliefs, even while they celebrate the movie’s ability to serve as a thrilling “genre picture” with universal appeal.

With Only Yesterday, Studio Ghibli’s 1991 film, director Isao Takahata took a number of creative liberties and experimented outside the bounds of typical animation processes of the day. As writer and critic Marta McFly (host of Rewind and Revive) and Tristan discuss, this approach is the basis of a reflective piece with universal empathy on growing up, centered on a young girl’s, then woman’s, experience.

Studio Ghibli broke into big box office hit territory with Hayao Miyazaki’s 1989 cozy movie Kiki’s Delivery Service. As friend of the show Garrett Arseneault and Tristan discuss, the film’s vibes are impeccable, with classic “I want to go to there” scenery, but they contain a depth of commentary on growing up, found family, and young womanhood.

David Blakeslee, host of the Criterion Reflections podcast, is used to thinking seriously about often overwhelming films. That comes in handy in his conversation with Tristan about Isao Takahata’s 1988 masterpiece Grave of the Fireflies, a stunning and moving work of art that many praise and proclaim they’ll never watch again in equal measure.

Hayao Miyazaki’s 1988 film My Neighbor Totoro is now an animation milestone and famed title in the Studio Ghibli catalog, although as writer and journalist Caroline Delbert and Tristan discuss, its success was not immediately assured. Their conversation attempts to explore the rich depths of the amazingly pleasant movie, a film so revered and analyzed in so many different ways.

Isao Takahata’s 1987 live-action documentary The Story of Yanagawa’s Canals is probably Studio Ghibli’s most obscure feature. As James Willey (@moviegoodormoviebad on TikTok and YouTube) and Tristan discuss, however, this seemingly uncharacteristic Ghibli film, only the studio’s second, still carries a lot of beautiful and recurrent themes for the director.

Shawn Hall, behind the @shawntokssilents TikTok account and The Everyday Cinephile, and Tristan both admire the beauty and deeper themes of the first official Studio Ghibli work, Hayao Miyazaki’s 1986 film Castle in the Sky. While a recurring disconnect from some of the characters and action doesn’t dominate the conversation, they commiserate on why this feels left out of the extremely warm feelings felt for Miyazaki’s other movies.

Nausicaä of the Valley of the Wind is a thorny film without easy answers, as film historian and cultural critic Paul T. Klein and Tristan find. Their conversation does, however, attempt to plumb the depths of the pacifist, environmental, and feminist messages woven throughout the arresting images of Hayao Miyazaki’s 1984 classic.Paul writes at howtoreadmovies.com and co-hosts the Cold War Cinema podcast.

Listeners to this show will soon hear a lot of quotations from Rayna Denison’s book Studio Ghibli: An Industrial History. Although Isao Takahata’s 1982 film Gauche the Cellist still resides in the pre-Ghibli history, Rayna’s great expertise on the director’s work is brought to bear on this conversation about this gorgeously animated movie with a classical music focus.

Journalist Andrew Osmond has made a career of writing about animation and anime, including the books BFI Film Classics: Spirited Away and 100 Animated Feature Films. So it makes sense that Tristan came upon his work, specifically Andrew’s review of the 1981 film directed by Isao Takahata: Chie the Brat, which the two discuss as an underseen yet delightful gem of its director’s varied career.

Lupin III: The Castle of Cagliostro, Hayao Miyazaki's feature directorial debut, seems like the product of immaculate conception. But as friend of the show Austin Clark and Tristan discuss, Miyazaki's incredibly fluid and beautifully structured 1979 film is a great success based on over 15 years of television work.

Welcome to The Complete Catalog, a podcast for media deep dives! For this first season, host Tristan Ettleman and his guests explore the 30 films of Studio Ghibli (including some pre-history and shorts, TV shows, and other projects).Friend of the show Trevor Bermingham inaugurates The Complete Catalog by joining Tristan to talk about The Great Adventure of Horus, Prince of the Sun, future Ghibli co-founder Isao Takahata’s feature directorial debut. This apparently simple 1968 film is an ambitious work of its time and the two find many layers to discuss in this “prehistoric” Ghibli film.

The boys are back nearly a year after Tears of the Kingdom's release to bring you a bonus episode reflecting on the latest installment in The Legend of Zelda series. Its massive scope has digested a bit and they have opinions (especially Isaac).Also, guest Luke Stoutenburg shares how the new hit affected him in the midst of a deeper dive into the franchise in general. And an updated guest ranking list is "calculated" and shared!

The end of Butt Heads season 1 is here...for now! On the eve of the release of Tears of the Kingdom, the boys look back on their journey across the 19 (soon to be 20) mainline games in The Legend of Zelda series.Tristan and Isaac walk through their respective lists, butting of heads actually results in some changes, the "Boscars Hemmys" are awarded to various outstanding aspects of the series, and friends of the show's first season share what Zelda means to them and their own ranked lists, all building to a crowd-sourced ultimate "guest list."It's an extravaganza of Zelda love, with more sure to come with a Tears of the Kingdom bonus episode and season 2 news!

Breath of the Wild came out of the gate with fans calling it not only the best Zelda game, but also the best game of all time. That's quite the reputation to build in so little time and the boys discuss how that conflicts with their nostalgic feelings for older games in the series.Plus, Corey Sotelo joins the show again for this penultimate episode, talking his in-depth experiences with the 2017 installment. He's gotten all the Korok seeds!

Tri Force Heroes will always and forever be defined by how hard its structure and multiplayer is to access years removed from its 2015 release, however basically solid its gameplay is. The boys discuss that "disappointment..."...but as Eric R. Miller (three-time guest and apparent resident multiplayer Zelda expert) points out, disappointment might be too strong a word.