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American Criminal, the most recent podcast launch from Airship, amassed over one million downloads within the first few months of launching their partnership with Rhapsody Voices (Rhapsody) in 2024. Now, CEO of Airship and Executive Producer of American Criminal, Lindsay Graham, has announced an expanded partnership with Rhapsody and Evergreen Podcasts (Evergreen), inclusive of shared IP of the hit podcast.

The partnership between Airship and Rhapsody was announced in 2024, with this most recent news signaling great success from the relationship. Late last year, Evergreen announced its acquisition of Rhapsody and their respective slate of shows. The American Criminal expanded partnership, including owned IP , is their first major announcement after the acquisition.

Highly decorated producers in the space, Lindsay Graham and the team at Airship have reached hundreds of millions of listeners through the podcasts American Scandal, American History Tellers, History Daily, American Elections: Wicked Game and more. This new venture, however,...

Award-winning podcaster and CEO of Airship, Lindsay Graham, has announced a multi-show partnership with Rhapsody Voices for the first launch of the new true crime podcast American Criminal.

With a Webby award and Ambie nominations, Graham is no stranger to leading chart-topping podcasts. He has amassed hundreds of millions of listens through his podcasts American Scandal, American History Tellers, History Daily, American Elections: Wicked Game and more.

This new venture, however, sees Graham jump into the world of true crime. American Criminal is a weekly true crime podcast that dives deep into the country’s most infamous felons, historical and modern, from mob bosses to Crypto kings. Every week, the show reveals the men and women who cheated, lied, and murdered in their own twisted pursuit of the American dream.

Hosted by Jeremy Schwartz, each episode of American Criminal is as thoroughly researched as it is gripping. Listeners will delve...

Seven Seas Entertainment is pleased to announce “Airship,” a new imprint dedicated to Seven Seas’ ever-growing library of light novels and Japanese prose novels. The Airship imprint, like the existing Seven Seas Ghost Ship imprint that targets mature readers, will be aimed at a specific audience–in this case, light novel fans. Light novels, a popular format of prose novels with intermittent manga-style illustrations, have increasingly inspired manga and anime adaptations in Japan. The category has enjoyed a surge of popularity among teen and adult readers globally over the last decade, including Seven Seas light novel hits Classroom of the Elite, I’m in Love with the Villainess, and Didn’t I Say to Make My Abilities Average in the Next Life?!

“We’ve been publishing light novels from Japan since 2006, when there were only a handful in the North American market,” says Seven Seas publisher Jason DeAngelis. “But in the last several years,...

Jack Reynor and Will Poulter aren’t done terrorizing movie-goers just yet, as the “Midsommar” duo have re-teamed for another chilling outing that hinges on the kind of myths and folklore that just won’t die. Reynor makes his directorial debut on the new project, a short entitled “Bainne,” which features his frequent co-star Poulter as an Irish farmer already dealing with some gnawing terror who seems bound for even worse circumstances.

Reynor himself has posted the first trailer for the film on his YouTube page, where he bills the outing as “an Irish ghost story set during The Great Famine of 1845-1852. It is inspired by ancient Irish mythology and traditional Japanese legends, as recorded by the Irish writer Lafcadio Hearn at the end of the 19th century.” The film, shot in black and white, boasts stunning lighting and shadows even in the truncated format of a trailer.

Reynor...

Of the Big Three new wavers of German cinema—Rainer Werner Fassbinder, Werner Herzog and Wim Wenders-- who “came of age” as it were in the ‘70s, when I was in college and my own stake in the movies was budding into something more learned and substantial than what it was when I first discovered my love for them, Herzog has emerged as the director who most speaks to me now as an adult. I think that’s true at least in part because when his movies do speak to me it never feels like a one-sided conversation. I feel like I’m in there engaging in a push-pull with Herzog’s ability to seduce me (disarm me?) with his simplicity of approach, an ability which rarely seems satisfied to consider subjects from the less-perverse of two perspectives, and his tendency to rhapsodize and harangue and sidestep visual motifs...

A man said to the universe:

"Sir, I exist!"

"However," replied the universe,

"The fact has not created in me

"A sense of obligation."

--Stephen Crane

&nbsp

That man can be found at the center of Werner Herzog's films. He is Aguirre. He is Fitzcarraldo. He is the Nosferatu. He is Timothy Treadwell, who lived among the grizzlies. He is Little Dieter Dengler, who needed to fly. She is Fini Straubinger, who lived in a land of silence and darkness since she was 12. He is Kaspar Hauser. He is Klaus Kinski. He is the man who will not leave the slopes of the Guadeloupe volcano when it is about to explode. He is those who live in the Antarctic. She is Juliana Koepcke, whose plane crashed in the rain forest and she walked out alive. He is Graham Dorrington, who flew one of the smallest airships ever built...

Let the record show, Werner Herzog is the best when it comes to choosing music--after all, he said so last night. Talking to a completely full room at the Brooklyn Academy of Music's Rose Theater after a screening of "The White Diamond," Herzog mulled over opera and working with musicians, and briefly entertained a Nicholas Cage question over an hour-and-a-half dialogue with moderator Paul Holdengräber, director of Live of the New York Public Library.

"We are doing this as a pair of co-conspirators," said Holdengräber as the duo introduced the film. The choice of screening "The White Diamond" had to do entirely with the film's soundtrack, written and recorded before the film had been shot save for the ending track.

"It's very hard to speak, to verbalize about music," said Herzog. "Though I do stage opera once in a while, I do it quite well." The statement elicited laughter from the crowd,...

Werner Herzog is personally participating in two events in New York this week, beginning tonight with Paul Holdengräber's Live from the New York Public Library conversation series and again with Holdengräber tomorrow at the Brooklyn Academy of Music for a post-screening discussion of Herzog's use of music in The White Diamond and beyond. Screenings of Fitzcarraldo Friday night fill out Bam's duet of a series, Ode to the Dawn of Man: Film and Music with Werner Herzog. In addition, Herzog's video installation in the Whitney Biennial goes on display Thursday incorporating footage he filmed during an improvisation between cello and organ (here is a spellbinding clip of some of the footage from that session). Truly, 'tis the season in New York to contemplate the director's transformation of the world into music.

Herzog's knack for fusing his own astonishing images to somehow equally astonishing music has always been exceptional, to the...

Owf’s Rob Beames also reviewed the film at the Berlin Film Festival.

Through his documentaries Werner Herzog has dared to confront natural disasters first hand – such as the imminent eruption of a volcano (La Soufriere – Warten auf eine Unausweichlishe Katastrophe) or the flaming Kuwaitian Oil Fields (Lessons of Darkness). He has taken us on dare devil adventures – like the airship exploration of the rainforest canopy (The White Diamond) and the Antarctica (Encounters at the End of the World). And he has even pondered quasi-sci-fi futuristic endeavours (The Wild Blue Yonder) – such as exploring new planets for humankind to prosper. Now he ventures where few people have ventured before to present to us “one of the great recent discoveries in the history of human culture”.

In Cave of Forgotten Dreams Herzog has gained exclusive access to film inside the Chauvet caves of Southern France to glimpse at the oldest known...

He has a reputation for being difficult and dangerous, his films celebrated for their nihilistic brilliance. Yet despite saying he never smiles, the German director can't stop laughing at himself – and the comedy in his work

Perhaps it is because the German film-maker Werner Herzog has, over the years, during working hours, been shot at, hauled a steamboat over a mountain, threatened to kill his leading man, thrown himself on a cactus, informed the Greek military that he would kill anyone who got in the way of his filming, been caught in the middle of a South American border war, taken a film crew to the lip of a volcano, and once, on camera, ate his shoe, he has a reputation for, let's say, reckless eccentricity.

It is a reputation that has been compounded by events that have happened to him off sets – including being shot by an air rifle...

It's no secret that Film Junk has a few documentary fans on staff and every year we try and highlight some of the stand out non-fiction films. Although The Cove and Anvil! The Story of Anvil made some appearances on our year end lists -- along with a few others on our end of decade list -- we didn't really get a chance to write up any doc specific lists, so I figured I'd share some of the love The Documentary Blog has been spreading over the past week. Below you'll find my top 10 docs of 2009 followed by my top 50 documentaries of the decade. Also, I put together a collection of some acclaimed non-fiction filmmakers (including Joe Berlinger, Sarah Price and Jeff Feuerzeig among others) who have shared their picks for best of the decade as well! You can check that list out here [1]. Until then, have a look below...

No one online knows the world of documentary films as well as the aptly named "The Documentary Blog". It was only appropriate then that Tdb should assemble a list of what they consider to be the best documentary films over the last decade.

Instead of a measly top 10... they give us a top 50.

50. Rize (Lachapelle, 2005) — Trailer

49. The Smashing Machine (Hyams, 2002) — Trailer

48. Lost in La Mancha (Fulton & Pepe, 2002) — Trailer

47. Dig! (Timoner, 2004) — Trailer

46. Protagonist (Yu, 2007) — Trailer

45. Ring of Fire: The Emile Griffith Story (Berger & Klores, 2005) — Trailer

44. Bowling for Columbine (Moore, 2002)

43. Rank (Hyams, 2006) — Trailer

42. Our Daily Bread (Geyrhalter, 2005) — Trailer

41. Helvetica (Hustwit, 2007) — Trailer

40. New World Order (Meyer & Neel, 2009) — Trailer

39. Best Worst Movie (Stephenson, 2009) — Trailer

38. The Cove (Psihoyos, 2009) — Trailer

37. Kurt Cobain: About a Son (Schnack, 2006) — Trailer

36. Tyson (Toback, 2008) — Trailer

35. Anvil! The Story of Anvil (Gervasi, 2008) — Trailer

34. When the Levee’s Broke: A Requiem in Four Acts (Lee, 2006)

33. Bus 174 (Padilha & Lacerda, 2002)

32. God Grew Tired of Us (Quinn & Walker,...

It seems like Werner Herzog never sleeps. The 67-year-old Bavarian buccaneer of cinema astounded hungry-eyed cinephiles back in 2005 when he had four documentary features in theaters ("The White Diamond," "Wheel of Time," the decade best "Grizzly Man" and the sci-fi quasi doc "Wild Blue Yonder"). This fall, Herzog's again kept our senses busy with back-to-back narratives: first up was "The Bad Lieutenant: Port of Call New Orleans," a hilariously addled live-action Nicolas Cage cartoon destined for the cult classics shelf.

Equally nervy is "My Son, My Son, What Have Ye Done," which Herzog himself has called "a horror film without the blood, chainsaws and gore." Loosely based on the real story of Mark Yavorsky -- a University of San Diego grad student who killed his mother with an antique sword -- this ominous if sensitive portrait of mental illness stars "Revolutionary Road" Oscar nominee Michael Shannon, here renamed Brad McCullum.

German filmmaker Werner Herzog will be honoured with a career achievement award by the International Documentary Association at a ceremony in Los Angeles in December.

Herzog is recognised for his work on factual movies Grizzly Man, Little Dieter Needs to Fly and The White Diamond.

He says of the accolade, "Documentary filmmaking is called upon to find new answers. In these of redefinition, it is a particular honour for me to receive the award."

Last year's prize was won by Michael Moore.

I had in mind to write about something else this week, but our new software platform for the blog was acting up (as you might have noticed), and in the meantime I received an intriguing communication from a reader, the art critic Daniel Quiles, about Werner Herzog. Yes, there has been a lot about Herzog on the site recently, but in my mind there can never be too much. He and a few other directors keep the movies vibrating for me. Not every movie needs to vibrate, but unless a few do, the thrill is gone.

Herzog seems to react strongly to subjects he wants to make a film about. You never hear him saying someone "brought me a project," or his agent sent him a screenplay. Every one of his films is in some sense autobiographical: It is about what consumed him at that moment. The form of the film might be fiction,...

Brokeback Mountain continued to dominate the year-end critics' awards, winning Best Picture, Actor and Director from the New York Film Critics Circle, and two more honors from the National Board of the Review. The Ang Lee western was the dominant movie for the New York critics, scooping up awards for leading man Heath Ledger and director Lee in addition to Best Picture. Hot on its heels was David Cronenberg's A History of Violence, which nabbed both supporting honors, for William Hurt and Maria Bello; Reese Witherspoon was named Best Actress for her portrayal of June Carter Cash in Walk the Line. Other winners included The Squid and the Whale (Screenplay), 2046 (Foreign Language Film and Cinematography), and Capote (First Feature). At the National Board of Review, Brokeback received two awards - Best Director and Best Supporting Actor for Jake Gyllenhaal - but was passed over for Best Picture, which went to Good Night, and Good Luck. Philip Seymour Hoffman, who's emerging as the favorite for Best Actor, won the group's lead award for Capote, while Emmy winner Felicity Huffman received the Best Actress award for Transamerica. Gong Li was the surprise Best Supporting Actress winner for Memoirs of a Geisha, and Terrence Howard of Hustle & Flow received another breakthrough performance award. Ensemble acting went to Mrs. Henderson Presents, and screenplay honors were given to The Squid and the Whale (original) and Syriana (adapted). The National Board of Review also named their top ten films of the year, listed below. Here's the list of winners for both groups: New York Film Critics Circle: Picture: Brokeback Mountain Actor: Heath Ledger, Brokeback Mountain Actress: Reese Witherspoon, Walk the Line Supporting Actor: William Hurt, A History of Violence Supporting Actress: Maria Bello, A History of Violence Director: Ang Lee, Brokeback Mountain Screenplay: The Squid and the Whale Non-Fiction Films: Grizzly Man and White Diamond Foreign Language Film: 2046 First Feature: Capote Animated Feature: Howl's Moving Castle Cinematography: 2046 National Board of Review: Picture: Good Night, and Good Luck Actor: Philip Seymour Hoffman, Capote Actress: Felicity Huffman, Transamerica Supporting Actor: Jake Gyllenhaal, Brokeback Mountain Supporting Actress: Gong Li, Memoirs of a Geisha Director: Ang Lee, Brokeback Mountain Ensemble Acting: Mrs. Henderson Presents Breakthrough Performance: Terrence Howard, Hustle & Flow, Crash, Get Rich or Die Tryin' Original Screenplay: The Squid and the Whale Adapted Screenplay: Syriana Top 10 Movies of 2005: Brokeback Mountain, Capote, Crash, Good Night, and Good Luck, A History of Violence, Match Point, Memoirs of a Geisha, Munich, Walk the Line...