Roman Mars and the Flop House team dive into Francis Ford Coppola's intriguing and controversial film, Megalopolis, exploring its chaotic narrative, ambitious ideas, and perplexing execution.
This is 99% invisible.
I'm Roman Mars.
If you've been listening to our Power Broker Breakdown series, you know my co host, Elliot Kalin.
Elliot is an unbelievably productive person who juggles way more projects than I could possibly keep track of.
But I first got to know Elliot over a decade ago as one of the co hosts of one of my first favorite podcasts called the Flop House.
It's from our friends at Maximum Fun, and it's all about movies.
Specifically bad movies, Box office bombs, critical duds, and movies that should not have ever been made in the first place.
As fate would have it, there is one movie in 2024 that lands at that exact Venn diagram of the Flophouse and the Power Broker, and that is Francis Ford Coppola's Megalopolis.
It is a difficult movie to summarize, as you will hear, but essentially, Adam Driver plays a city planner that's very, very, very loosely based on Robert Moses.
This time you've gone too far, Catalina.
This site, design authority, jurisdiction.
And what happens if you've overstepped your mandate?
We'll apologize.
Apologize?
After the building's down.
Mayor Cicero will be pissed.
And it is a bad movie.
And you think one year of medical school entitles you to plow through the riches of my Emersonian mind?
Entitles me?
Yes.