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Before Martin Scorsese decided to end "Killers of the Flower Moon" with a profound coda set amidst the melodrama of a classic true crime radio show, the filmmaker considered taking inspiration from a controversial, FBI-influenced 1959 movie. In a new interview with Entertainment Weekly, Scorsese opened up about the making of the film's somber surprise ending, and explained that the Jimmy Stewart-led film "The FBI Story," directed by Mervyn LeRoy, was almost the basis for the final sequence.

"It's a series of the greatest hits of the FBI," Scorsese told the outlet, but he didn't exactly offer a glowing review for the movie. He's not alone: it's often been labeled as overt copaganda in retrospect. "It's in beautiful Technicolor and actually has some very well-done scenes, but there is a section on the Osage murders that is reviled by the Native American community," the filmmaker explained, concluding simply, "It's a travesty.

Watch out! This post contains spoilers.

Martin Scorsese's "Killers of the Flower Moon" takes a true-crime narrative and flips it on its head. The movie, based on author David Grann's nonfiction book of the same name, debuted in theaters on Oct. 20 and tells the true story of the murders of Osage Indians and the FBI investigation that finally identified some of the culprits. The involvement of the FBI - which was then just called the Bureau of Investigation - is a major part of the book; Grann's tome is subtitled "The Osage Murders and the Birth of the FBI." The book is a well-crafted true-crime story, and finding out who committed the murders is a shocking twist, but Scorsese takes a different perspective on the same material.

The identity of the killers is immediately apparent in the film. The FBI doesn't come into the picture until the movie's last act.

The following article contains spoilers for "Killers of the Flower Moon."

Martin Scorsese's "Killers of the Flower Moon" hits theaters this week, and if you've seen it, you know that the cast is astonishing. Lily Gladstone turns in a powerful performance as Mollie Burkhart, an Osage woman whose family is part of the horrifying murders of tribespeople to gain their money and profit rights after oil is discovered on their land. The Osage Nation became wealthy, and white men used a number of underhanded and despicable ways to get their hands on the money. That includes the plotting of a series of murders by William King Hale (Robert De Niro) and his nephew Ernest Burkhart (Leonardo DiCaprio).

Based on the true story of the Osage murders in Oklahoma at the beginning of the 20th century, the cast includes Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Cara Jade Myers,...

So, what do the 4th Primetime Emmy Awards, which took place Feb. 18, 1952, have in common with the 2022 edition?

Lucille Ball and Desi Arnaz.

The stars of the No. 1 TV series, CBS’ “I Love Lucy,” were the hosts of the Emmy ceremony, which was telecast in Los Angeles on Kcea, now known as Kabc. And it was the first time that the Emmys embraced national television networks. Previously, nominations and awards were bestowed on projects that were produced or aired in Los Angeles.

This year, Amy Poehler’s valentine of a film, “Lucy and Desi,” not only received strong reviews but six Emmy nominations including Best Documentary or Nonfiction Special and directing for Poehler. The Amazon Prime doc won two: writer Mark Monroe and composer David Schwartz.

Traveling back to the 1952, the ceremony took places at venerable nightclub, the Cocoanut Grove. It must have been a short show because only seven awards were handed out.

Edgar G. Ulmer movies on TCM: 'The Black Cat' & 'Detour' Turner Classic Movies' June 2017 Star of the Month is Audrey Hepburn, but Edgar G. Ulmer is its film personality of the evening on June 6. TCM will be presenting seven Ulmer movies from the mid-1930s to the mid-1960s, including his two best-known efforts: The Black Cat (1934) and Detour (1945). The Black Cat was released shortly before the officialization of the Christian-inspired Production Code, which would castrate American filmmaking – with a few clever exceptions – for the next quarter of a century. Hence, audiences in spring 1934 were able to witness satanism in action, in addition to other bizarre happenings in an art deco mansion located in an isolated area of Hungary. Sporting a David Bowie hairdo, Boris Karloff is at his sinister best in The Black Cat (“Do you hear that, Vitus? The phone is dead. Even the phone is dead”), ailurophobic (a.