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lgbtpopcult · 6 months

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What cool WLW projects do we know are coming in 2024?

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Drive-Away Dolls

Arguably the most important representation of the year comes from a movie directed by one of the Coen brothers. Ethan Coen directs this wacky comedy that is very much in style for him.

Synopsis:

This comedy caper follows Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian who desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way.

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Lost Records: Bloom and Rage

A game had to be added to this list and here it is, the best one. From the creators who gave us Life is strange. Lost Records: Bloom and Rage tells the story of four friends who experience a transformative summer in 1995. After 27 years of no contact, Nora, Swann, Autumn, and Kat are reunited by fate and forced to confront the long-buried secret that made them agree to never speak again all those years ago. From the teaser alone it is obvious at least two of them dated.

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Pluto

A Thai gl from GMMTV, known for its successful Thai dramas. The story is the telenovela cliche we've always wanted. Two girls in love. One gets in an accident and her twin takes her place to find out who was behind her accident, the other girl is blind. The twin has to fake being the real one so has to be in a relationship with the blind girl and of course falls in love with her. Match made in fanfic heaven.

The Seven Husbands of Evelyn Hugo

It was announced so long ago people are getting frustrated. However, with both a writer and a director now attached to the project, and the strikes over, we have every reason to believe we will finally get to see the hit novel, that centers the love story between two closeted Hollywood actresses, come to life. Whether you loved the novel or were indifferent and didn't see what the fuss was about, it is a very successful wlw romance and we want to see it on screen!

The Paying Guests

The director that brought us Carol adapting a book by the author of Fingersmith? Yes please!

Speaking to Indiewire, Haynes revealed he’s developing an adaptation of Sarah Waters’ 2014 novel The Paying Guests. “It’s a three-part limited series that would need to be a British production, but it’s a really great novel.” Set in post-WWI London, the drama is part lesbian love story and part murder mystery following a down-and-out widow and her daughter, the latter taking up a relationship with one of their lodgers. Waters also wrote Fingersmith, which was adapted into The Handmaiden by Park Chan-wook.

NCIS Hawaii season 3

One of our favorite pairings of last year, Kate and Lucy are the main couple of their show and they carry it well. They look good together, have progress and evolution in their relationship and have fun working together.

The Secret of Us

Thai channel CH3 is expected to hit us strong with this Thai gl. CH3 is big in Thailand so this one is a big deal. The story is the typical exes meet again trope and it's magnificent. It centers Doctor Fahlada, nicknamed Doctor Angel. She is trying to hide the pain after being abandoned by the woman she loved. But then...by chance that woman comes back into her life.

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Whisper Me a Love Song

Our resident anime entry has to be Whisper me a love song. Based on a manga it is the story of Himari Kino. On the first day of entering high school, Himari Kino "falls" for her senior, Yori Asanagi, whom she watched singing with a band at the welcome party for new students. When Himari confesses her admiration to Yori, Yori misinterprets Himari's feelings as romantic love. However, before Yori realizes, she comes to fall for Himari anyway, and promises to win her affections for real.

Bad Sisters season 2

Bad Sisters is one of the best reviewed and hilarious shows on this list. Coming back for a season 2 was inevitable. Bibi, the lesbian sister, will keep entertaining us in 2024.

Station 19 season 7

One of the most enduring shows and wlw couples on TV are coming back for a season 7! That is a lot of seasons but Maya and Carina do still have that spark.

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About Galaxy The Series

Part of the gl renaissance that is expected to go full force next year, this series is already hugely popular among Asian romance fans.

Synopsis:

‘About Galaxy’ is based on author Zezeho’s yuri of the same name, with a Thai title of “มูลค่าดาวล้านดวง”. The story revolves around Hong Yok, a designer who has a big scar on her face which led her to hide away from the public due to her inferiority complex. But something changed in her life when she met Note, a woman she was measuring clothes, and realized she is the same person who gave her that huge scar! However, despite the incident, she doesn’t outright despise her, and instead… feels safe. What will happen to the two women?

My Ex-Friend's Wedding

Kay Cannon ("Blockers") will direct from a script co-written by Taylor Jenkins Reid? Staring a group of friends trying to stop their friend from getting married? And one of them is queer? We're all in!

Arcane (Season 2)

It seems like forever since we first watched Arcane but we're definitely looking forward to season 2. Needs no introduction.

Dream the Series

We already have enough Asian dramas in this list but we couldn't leave out one of the most anticipated gl, Dream. The story is that of a woman that sees a girl in her dreams every night only to meet her in real life. While in real life they are friends in her dreams they do much more. She thinks her friend doesn't know about that what she doesn't know is that she also remembers everything they do in their dreams.

Harley Quinn the Animated Series season 5

Another season of our favorite criminal duo Harley Quinn and Poison Ivy? Yes please and thank you. These two, and this particular iteration of them, might be the best representation American television has ever given us.

Chaser Game W

Chaser Game W is the first gl produced by TV Tokyo so it has a historic significance for the advancement of representation for queer women in Japan. First episode airs January 8. Based on manga series "Chaser Game" written by Hiroshi Matsuyama & illustrated by Yukitaro Matsuyama

The story:

synopsis: Itsuki has been working in the "Dynamic Dream" game company for five years and is now appointed as the lead for a big Japanese-Chinese collaboration project, which she is fully motivated to work on. However, it turns out the Chinese company team is led by her ex, Fuyu, whom she one-sidedly broke up with back in university! After breaking up with Fuyu, Itsuki never dated anyone else and chose to focus on her work, all while not coming out to her family and coworkers... But when her ex-girlfriend suddenly appeared in front of her, her feelings immediately started to sway. Meanwhile, Fuyu always resented Itsuki for breaking up with her without saying why. She takes charge of the project and pushes impossible tasks onto Itsuki. While Fuyu plots her revenge, Itsuki is rekindling her unrequited love. What will the outcome be for these two opposites?

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Vigil season 2

The first couple of episodes of Vigil season 2 will technically be shown in December 2023 (in the UK only) but we'll basically be able to watch it beginning 2024 and we're looking forward to it!

Several upcoming TV shows and movies have cast actors that make it obvious they'll have lesbian and bi characters but until we know whether the representation will be enough to be worth watching we're holding off on making that other, more elaborate, list.

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mylarena · 2 years

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i really love that trope where geralt lends jaskier his clothes at kaer morhen without mentioning theyre his, and all the other wolves are endlessly amused and smug about it. geralt just scowls at them and their teasing and jaskier doesnt know what the big deal is or why they keep giving his shirt pointed looks- he thinks it looks great with the way hes styled it! over his years of traveling the path, hes thought up plenty of ways he can make the bland and dark clothing geralt wears look fashionable. he hasnt convinced geralt to let him style his clothes on him yet, but this shirt is close enough, almost exact, he thinks, so he’s testing out his ideas on himself now that he can.

geralt took his laundry to wash and he hasnt returned it just yet, which is a little annoying but the clothes hes given him to wear are fine for now. again, he has a lot of looks to try out. geralt probably managed to misplace it, or something. the keep is huge, after all.

what isnt fine, though, is the smug smirk lambert gives him every damn morning with no explanation. and geralts always so growly in the mornings, too! gods, youd think he’d be more at ease around his brothers, but its like hes always straight up snarling at lambert and glaring at eskel and coen. vesemir doesnt seem to get any of his ire, at least.

one day, while he’s lost exploring the expansive halls, a basket of bright, familiar fabrics catches jaskiers eye. when he pushes open the door fully, he’s a bit surprised to see all of the clothes he had handed to geralt to be washed- all in perfect condition, if a little dusty. he furrows his brow and deigns to ask geralt about it later- right now, all he wants to do is take his clothes back to his room and put on his favorite doublet.

and so he does! he looks fucking great,if he says so himself. and he does say so. after tousling his hair a bit to give it a charmingly disheveled look, he struts himself into the main hall, practically preening. hes hoping for some acknowledgement on his clothes, even if its just teasing from lambert.

but what he gets is silence throughout the hall. lambert is staring at him with an eyebrow raised. eskel is looking between him and geralt. coen knowingly snickers into his mug. geralt looks fucking devastated. vesemir is minding his own business.

jaskier opens his mouth to speak, but then lambert looks at geralt and bursts into howling laughter. geralt snarls at him and stands from his place at the table, brushing past jaskier as he stomps his way down the hall.

coen gives him a sympathetic look as he approaches the table they're seated at. lambert wipes away a fake tear of joy, giving jaskier a wolfish grin.

#jasktag #geralt of rivia #jaskier #julian alfred pankratz #geraskier #geralt x jaskier #the witcher #lambert #eskel #vesemir #coen #might write more of this later on #not sure i can get dialogue in character though #new tag!#myposting #mydrabbles

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good-realtor-bad-realtor-dynamic · 1 year

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New Sunny podcast is out and, as teased, it's about the guys' upcoming films, Fool's Paradise and Blackberry, out on 12 May!

Meg showed up at 9:00 which some people might say is late.

Shopify ad is full of Succession references, "Glendall Roy!!!!" and Logan Roy-isms: "FUCK OFF!"

There are a few new clips for the creeps.

Fool's Paradise

Hollywood satire with a focus on persona, ego and stage names, hence why the main character is accidentally named "Latte Pronto" and a passive observer reflecting the surrounding characters' projections.

Explores different sides of the industry with the big cast and spirals into chaos by the end as the ppl behind the stars are revealed

Charlie started on the script during Sunny S10 (~2014) bc he felt certain '70s and '30s style comedies weren't being made anymore.

Felt he'd never be cast in them even if they were

Directed because he didn't want to give up control of his script especially if he was going to play the passive lead without a voice

Influences: Being There (1979) starring Peter Sellers and directed by Hal Ashby; also films by Woody Allen, Albert Brooks, Robert Altman, Coen Brothers, Paul Thomas Anderson, Buster Keaton, and Charlie Chaplin

Charlie plays the MC but Ken Jeong's character is the protagonist

Movie follows their journey together looking for real relationships in Hollywood.

Reshoots focused on making Ken the heart of the movie

Charlie worried that he was pushing Ken too much, but Ken was willing to do many takes to get to a non-sarcastic heartfelt place

Jon Brion's score is very classic old-fashioned Hollywood and used a lot of old recording techniques to add to the timeless fairytale feel of the movie

Glenn loved Charlie's script from the first draft and every revision

Charlie and Rob, the Original Glenn Girlies, found Glenn and his glacting choice to do a "vaguely European" accent (like Jan?) for his Business Manager character to be the funniest part of the film

Film contains Sunny easter eggs and actors like Peter McKenzie

Blackberry

Glenn was nervous about playing a character based on a real person, especially since he only had 3.5 weeks to prepare and couldn't do as much research as he would have liked.

IRL Jim met Glenn at the Toronto premiere and seemed to approve his onscreen portrayal.

Glenn felt like he lacked film experience where characters have arcs, so it was a challenge to keep track of Jim's anxiety levels through the story while shooting out of order.

Read the script many times and talked to director Matt Johnson about every scene because he didn't have the benefit of being a writer here like he does on Sunny

Worried about being too unlikeable but committed fully to the character because of his experience with Dennis

Glenn played Jim very earnest and sincere, and not at all for laughs — that's where the comedy comes from

Rob and Charlie found Jim to be nothing like Dennis or Glenn because even though they both experience rage, Jim is competent and has a cold killer look in his eyes -> DENNIS IS NOT A COLD CALCULATING KILLER.

Matt Johnson shot with long lenses on gimbals so that the cameras were far away enough for the actors not to know if they were being filmed and what was on screen — this adds to the handheld thriller but kinda comedic aesthetic of the whole film

Charlie was excited that a director finally let Glenn go full Glenn all over this movie and wished he was in every frame

Also wished he was the one directing the movie showing off Glenn

Rob, Charlie and Meg are annoyed that people are so surprised how good Glenn is in this role (we know and agree!) and predict that he will get more roles off this performance

Glenn has a theory on why he thinks things are shifting for the Sunny cast BUT HE DOESN'T GET INTO IT BECAUSE THERE'S NO TIME LEFT NOOOOOOOOOOOOOO

The girlies were all too happy and nice-looking today for me not to screenshot away.

I'm so excited to watch these movies... can't find any showings for Fool's Paradise yet, but Blackberry is playing at my local cinema later this week, and I will be there!

#iasip podcast #always sunny podcast #tasp #glenn howerton #charlie day #rob mcelhenney #fool's paradise #blackberry 2023 #blackberry movie #rcg #68 fool's paradise and blackberry #glacting #sur rambles #sur

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for-a-longlongtime · 9 months

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Wow. Y'all. I truly never expected so many awesome responses on the post I wrote last night about Dieter, Goya and Pedro on Talk Art. It is the first 'fun' thing I've written in so many years - after having felt blocked/paralyzed re: creative pursuits since 2020 (shit happened) -, without stressing about how I wrote it, and it means the world to me that so many people liked it and shared it.

I don't want to clutter up all the feeds by individually sharing and responding to the reblogs etc, so I'm throwing it together in one post here - because I want y'all to know I appreciate it so much. And it honestly made me even more excited that some of my favorite PP fic authors did so, because I've been enjoying YOUR work so much!

@chaoticgeminate Sending those hugs right back, and your fic was absolutely not a silly little piece! I truly love(d) it, and I'm glad it sent me down this little rabbithole. And yes, while writing that piece I also became more convinced that Pedro himself was a really big part in shaping Dieter and his background story. It's so damn intelligent and very much his style.

One thing I didn't mention yesterday (and I'm sure this is something a lot of people already spotted since the first day that the movie was online) is that I also came to realize how much Pedro has based Dieter's outfits and some mannerisms on Jeff Bridges' character The Dude from 'The Big Lebowski'. Never really saw that movie but I put it on today for a bit, and it was striking -- I'd even dare to say that the "'Bola, hold my hair!" moment on the toilet is a nod to how The Dude (who has longer hair) gets his face shoved into a toilet. Also, at one point when Bridges' character is addressed with "Mr Lebowski", he dismisses that and tells the guy to call him Dude, or even 'Duder' which, yeah, that's just a small step from 'Dieter Bravo'.

amycben on Reddit said the same thing about Bridges, and shared these Dieter pics, which definitely made it clear how our Feral Raccoon Boy's style is inspired by 'The Dude' <3 I don't care much for the Lebowski movie, but I love a good reference, especially since it's a Coen brothers movie - and we all know that Pedro now has a small role in Ethan Coen's upcoming movie 'Driveaway Dolls'. Anyway, I honestly hope that at some point Pedro will be asked about the work he did in shaping Dieter, because I'd love to hear more about this. There's no chance in hell that'll happen, because which journalist would ask him this? But I'm cool though if the universe wants to manifest one of us getting to interview him some time in the future, haha.

Anyway, again @chaoticgeminate - thank YOU really. I needed that deep dive more than I knew thanks to your writing!

@nicolethered thank you too for being responsible for my deep dive, haha, it were your screenshots that made me recognize the other Goya paintings! <3 (and I love your gifs btw!

@mysterious-moonstruck-musings well hearing from you that you loved MY writing is just such a super awesome thing after how much I've been enjoying your Dieter story! <3 <3

@julesonrecord I'M TOTALLY IN hahaha, I saw your comment right before I went to bed last night and it made me smile so much!

@imaswellkid I'm def not an Apatow person either, and I'll be honest - the first time I watched the Bubble I couldn't get past the first half, haha. But I later began to realize that you should indeed watch it through a critical lens and as a reflection about the craziness that was going on, rather than 'oh this is a movie about the pandemic'. The Mando bud is great btw! But even better is the Baby Yoda bud - I have no clue how growers/dispenseries (I'm in the midwest) get away with naming their product after Disney stuff, but I'm sure glad it got me to try that hahaha.

@lunapascal IKR artist Dieter is so damn underrated, and I'm so glad that at least a whole lot of fic authors are giving him more of what he deserves! OK and I totally want to write some too now, hahaha. Especially because there's a lack of Dieter x OMC/m!reader fics, which tbh needs to be fixed.

@survivingandenduring @sp00kymulderr @thesimulationswarm @pedrit0-pascalit0 @gemmahale @sin-djarin @perotovar @ladamedusoif @gracie7209 thank you so much for your kind words, they honestly mean so much to me! @angelofsmalldeathandthecodeine WOW, that Dali piece is fuckin incredible! And @basicoccult woahhh maybe y'all did!? See now I feel like I need to inquire about whether y'all take new initiates! <3

@chronically-ghosted God don't get me started, it's so tempting - next thing you know I'll have suckered myself into writing Dieter fic (while I'm only just getting started now on two other WIPs), haha. But yes I'm so curious about what the unspoken canon is there -- and most probably Pedro is the one with answers to that since it seems so much like he created Dee. I ended up googling some Apatow interviews this morning and saw that he set out to make the Bubble as a sort of Christopher Guest movie (the mockumentary style), and other articles said that there was a lot of improv involved - so obviously Pedro must've contributed a lot. Particularly because I've read at least interviews with four directors (Zeke who did Prospect, Craig Mazin from TLOU, I wanna say Patty Jenkins, and I'm currently blanking on the other name) who spoke about how involved Pedro was, down to specific dialogue and character's motivations etc in shaping the movie (I think Zeke said that Pedro worked with them to tone down Ezra's Shakespearian manner of speech a little, which I can totally see happening since Pedro has done/read so much Shakespeare and it's easy to picture that he wants to fine tune it so it's accessible enough for audiences). Ugh, it's probably gonna take a long while until there'll be any long form interviews with him again, and sadly interviewers are probably not gonna ask about any of this.

Re: painting or acting, yesterday I read @blueeyesatnight 's That's Not Your Name-Dieter fic (LOVED it, can def recommend it!) and one of the coolest things about Dee's character development there is that it indeed delves into 'okay how did he pick acting versus art' and more background story, plus how in the current day events of the story he is even making his own oil paint. That has become my headcanon now <3

@tessa-quayle I'm so glad you liked my post!! I really really wish that Russell and Robert would do another episode with Pedro. I love Russell in particular (sorta followed his work since Being Human was released, which holy crap was already 15 yrs ago?), but the way they attempted to interview Pedro back then was kind of a hot mess - and I say that lovingly hahaha. They were so enthusiastic that they talked over him so/too many times, so I'd love a tad calmer conversation where P has the opportunity to go more indepth.

@tvversionperson IKR there is SO much plot and character development to be explored with Dieter in that movie, which of course it doesn't have room to delve into but shit I wish they would/could. Or at least to just hear Pedro talk about what his thoughts are on it, because you know he most definitely had Dee's entire back story fleshed out in his head when he shot this movie.

Super long post, but again, I just wanted to thank y'all for the love. This is the first time I've done anything writing wise re: the PP cinematic universe, and all your responses have been so heartwarming and really encouraged me to do more stuff in one way or another with the Pedro boys, be it rabbit hole analysis or fic.

#pedro pascal characters #dieter bravo #dieter bravo x f!reader #goya #francisco goya #black paintings #saturn devouring his son #witches sabbath #two old men eating soup #he-goat men #pedro pascal character fanfiction #pedro pascal #dieter bravo fanfiction #the bubble #art #talk art #painting #oil painting #mural

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romanceyourdemons · 1 year

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the big lebowski (1998) is not only a beautifully filmed and scripted movie, but also a brilliant experiment in narrative scale. the intense complication of the story, paying homage both to the narrative and visual style of film noir and especially chandler-style gumshoe detective novels, gives the illusion of an epic story getting at the heart of the american experience. that is certainly the impression the dramatic cowboy framing device conveys. the film seems to subvert the promised epic narrative through the person of its “hero,” jeff “the dude” lebowski, a former hippie and self-identified loser whom the narrator postulates is “possibly the laziest man in all of los angeles.” the epic scope of the narrative seems to be subverted through the loser person of the protagonist, but, as the story goes on, it proves not to be an epic story at all; the story itself is very small, confined to the petty obsession of each character. the dude’s obsession with his rug is particularly clockable as petty, but the millionaire lebowski’s obsession with the appearance of success, maude lebowski’s obsession with her principles, and of course walter’s obsession with his vietnam war service all reduce their actions—and their actions’ scope—to something almost comedically small when compared to the grand story the film’s narrative framing promised. the repeated juxtaposition of the characters’ petty problems and obsessions with war—the gulf war, the vietnam war, the korean war, wwii—seems to echo the similar juxtaposition in cléo from 5 to 7 (1962); however, whereas that film uses the juxtaposition to legitimize the personal magnitude of the character’s problems, this film uses it to delegitimize and draw attention to the pettiness of the obsessions that drive the film. the big lebowski (1998), like many coen brothers films, uses a fast-paced and complex plot to give the illusion of an epic story; it instead draws attention to the true smallness of the scope, parodying its noir genre and resulting in a very entertaining film

#i think that was one of the worst ones of these i’ve done in a while #someone tell me why that took me half an hour to write #ryddles

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timemachinereviews · 1 year

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I Watched The Big Lebowski — Am I Part of the Cult?

HELL YES. (Spoilers ahead.)

I’m not entirely sure what I just watched.

But it was fucking amazing.

The Big Lebowski. Where do I even begin? Well, why not with the fact that I finally watched the damn thing? You don’t need me to tell you how beloved this film is, how it’s one of the biggest cult classics out there. I was alive the year it came out, I had no excuse. Sure, I was in diapers, but that’s still no excuse. I’m kicking myself in the shins right now for not having watched it sooner.

Regardless, I watched it, and the minute I finished it, I knew this was going to be one of those movies for me. You know, the ones you constantly quote, the ones you have dozens upon dozens of conversations about with several different people, the ones you force every movie fan in your life to watch.

I’m not much of a Coen Brothers fan. Before The Big Lebowski, I had only seen one of their other films: True Grit. That was such a long time ago, though, and I don’t remember much — really, the thing I remember most about it is that it introduced most of us to Hailee Steinfeld. However, The Big Lebowski has got me seriously interested in watching more Coen Brothers films, particularly because of how fantastically funny the screenplay is.

Man, this movie is quotable. So, so quotable. I tried to keep note of all my favorite quotes while watching the film but after a certain point, there were just so many, I decided a rewatch would have to be necessary. I’m sure I missed out on a ton, but here are some of my favorite quotes from my first watch:

“I’m talking about the Dude here.”

“It’s down there somewhere. Let me take another look.”

“Yeah? Well, you know, that's just, like, your opinion, man.”

“Her life is in your hands, Dude.”

“Careful, man! There’s a beverage here!”

“The goddamn plane has crashed into the mountain!”

“I dig your style too, man. Got a whole cowboy thing going.”

If you think these quotes are a lot, they’re not even half of all the great quotes present in this movie. According to IMDb, very few lines were improvised and virtually every line, every "man" and "dude," was scripted. That’s insane to me and a testament to just how talented the Coens are at screenplays — but it’s mostly insane to me because the acting in the film felt so natural, I was convinced some of these lines had to be improvised.

Jeff Bridges, especially, owns the role of The Dude. No other actor could’ve played him, which is pretty wild because according to Joel Coen, he and his brother did write for John Goodman and Steve Buscemi, but didn’t know who was going to play the lead role. Mel Gibson was even considered and thank God that didn’t happen, because The Dude was pretty much the role Jeff Bridges was born to play. The way he brings this character to life is absolutely top-notch.

The rest of the cast is a delight too — nearly all of them shine in their roles, delivering their lines with terrific comedic timing and a perfect understanding of their respective characters, but the two particular standouts to me were Philip Seymour Hoffman as Brandt and Julianne Moore as Maude Lebowski. The two aren’t on-screen a lot, but when they are, they’re irresistible — it’s near impossible to not pay attention when they’re talking.

Of course, given the spoiler warning above, you’ve probably already seen this movie, or you just don’t care much about spoilers. Let’s talk about this film’s ending then, where apart from the death of a friend, nothing in The Dude’s life really changes. Everything just kind of resolves itself and The Dude goes on living nearly the exact life he had at the beginning of the movie, presumably never interacting with the majority of the characters he met in this film ever again.

Does this make the whole thing pointless? I can see why one would think that. After all, if the protagonist doesn’t seem to have undergone any significant changes throughout the story, why bother telling the story at all? If, by the end, he’s almost the exact same person he was at the beginning, why was this specific period in his life the one the Coen brothers thought was worth making a movie about?

The way I see it, The Big Lebowski’s whole point is that it’s pointless. There have been plenty of times in my life when something big happens, only for everything to go back to the way it was right after. That’s just how life works sometimes — does that mean these stories aren’t worth telling or remembering?

Of course not. Maybe this film is just a blip in The Dude’s life, an interesting story he tells at parties but one that never really made a big impact in his timeline. (Again, apart from Donny’s death.) Still, he has fun telling this story, doesn’t he? Or at least the Coen brothers do. And we have fun listening to it. Maybe that’s just what life is sometimes — a series of events that don’t seem to add up to any discernible purpose, but we have fun living through them anyway.

But you know, that's just, like, my opinion, man.

P.S. Y’all know that stoner comedy cult classic called Dude, Where’s My Car? Apparently, that title is a reference to The Big Lebowski. I knew it the minute John Goodman said, “Dude, where’s your car?”

#The Big Lebowski #Big Lebowski #Coen Brothers #Film #Dude Where's My Car

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ebitchwriting · 1 year

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Music Taste The RE Characters Give Me Vibes Of Part Two:

Annette Birkin: Unironically loves orchestra and classical music over the music of the 60's and 70's she grew up with. It helps her focus on her work, it lets her mind disconnect when she's far too stressed, and it doesn't give her a raging headache. She doesn't like that neither her husband or daughter appreciate it's beauty, but indulges them and their music taste(more specifically Sherry and her boy bands and pop stars).

Barry Burton: I feel like he genuinely loves old country music, especially Johnny Cash. If not that, then the old singers like Peggy Lee, Nat King Cole, and Fred Astaire. Would absolutely belt out and sing along to his favorite songs, though two songs of Cash are both hard and impossible not to listen to when he's going through a horrible time: Hurt, especially after he snapped and blamed Moira for finding his guns and accidentally shooting her sister; and When The Man Comes Around after Raccoon City because it just hits way too close to home.

Moira Burton: Evanesence, Sick Puppies, My Chemical Romance, and Guano Apes were the main bands she listened to, but she would listen to any punk rock or goth rock. Especially if it got a reaction out of her dad. It also helped her have a safe place to feel her anger, grief, and trauma of nearly killing her sister because the guns weren't put away. After the events of Revelations 2, she listened to these bands less out of spite or of pain but because she genuinely loved this style of music.

Rebecca Chambers: I feel like her music is all over the place. She'll listen to The Suede(aka London Suede), Red Hoy Chili Peppers, Porcupine Tree, The Amazing Devil, The Crane Wives. She just finds whatever she likes and adds it to her playlist. She doesn't really sing or dance along with the songs, but she'll tap her fingers and bop her head along if she's really into it. One band she listens to in private and only in private is Nine Inch Nails because it reminds her of Billy Coen. She has no idea if he survived the Racoon City Bombing or if he perished, but it's nice to remember him. (my dumbass didn't realize this was blank when i posted this)

Alex Wesker: Unironically believes orchestra, opera, and classical music to be superior to all other music like she was raised to believe by the scientists. All other forms of music, to her, is unevolved, brutish, or just migraine inducing. If you worked in the lab with her, there was a list of music that was banned if you chose to listen to anything at all. It was also the only thing thag calmed her down before she took the Protype Virus, when she was chronically ill and expected to die, and what Albert chose to play when he visited her in her office. It was her last connection to her brother aside from her work of achieving immortality after Albert had perished, and the only thing that kept her tethered to this Earth.

Ada Wong: Her taste of music is as mysterious as the woman herself. Whoever she was getting information out of, or was spending a one night stand with picked the music. If the night was spent with Leon, whatever he suggested she went along with. Even if he suggested weird ass shit just to get a reaction out of her and try to learn something new about her. The only thing Leon learned was a hard no and would make her disappear for years was suggesting Weird Al. Good to know...

#resident evil #resident evil headcanons #annette birkin #alex wesker #ada wong #barry burton #moira burton #rebecca chambers

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inapat17 · 2 months

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Text-screen relationships 1/4 - No country for old men: a book to a movie, a movie to a book

I'm interested in the relationship, in a broad sense, between text and image. In this case, I'm looking at the case of a book brought to the screen. One is a book written by Cormac McCarthy, and the other is a movie directed by the Coen brothers. For me, No country for old men is a special case of a book adapted to cinema, because the Cohen brothers’ film respects McCarthy’s original work while transcending it to create a new one.

A book with cinematic qualities

No country for old men tells the story of the aftermath of a drug deal gone wrong near the Mexican border in southwest Texas. This tragic circumstance sends the three central characters in pursuit of each other: Llewelyn Moss has found and taken a suitcase full of money; he is being pursued by the killer Anton Chigurh; and their two intertwined leads are being followed by old Sheriff Ed Tom Bell. In No Country, McCarthy writes about the depravity of America by capitalism, and about a world irreparably destroyed, broken and torn apart by the violence of wars (all three characters are war veterans: Vietnam or WWII).

The Coen brothers like the book for its darkness and noisy violence, as well as for being set in American space.

For them, the setting plays a central role. Whether it is Arizona in Raising Arizona, Minnesota in Fargo, Los Angeles in Barton Fink and The Big Lebowski, New York in The Hudsucker Proxy or Texas in Blood Simple. Each film defines a territory, and this is often what justifies the action. So, the story is always intimately linked to the setting and the protagonists are thus regularly captive of their environment.

In No Country, it’s Texas and its scorching plains, which is both a concentration of the country’s historical memory and the birthplace of the Western. The evocations of the frontier and the wilderness run through all the Coen brothers' films. Indeed, they join McCarthy in depicting Texas as a frontier, a primitive and violent space that bears the legacy of the conquest of the West and reminds us that the United States was built on violence. And here it’s both the historical border, that of the settlement of the West, and the contemporary border, that of the 1980s. So, here, man’s main adversary is indeed the country, as evoked in the title: a primitive territory haunted by the ghost of past violence and the spectre of future violence.

The opening of No Country for old men, reminiscent of John Ford’s westerns (The Searchers, 1956).

The Coen brothers’ film is therefore the result of the understanding of a literary universe, its specificities, its atmosphere, its tone, and its style that gives the illusion of fidelity.

The Coen's adaptation was incredibly successful, especially because the film is considered to be very faithful to the novel. Indeed, the brothers are guided by respect for the authors, but they don't stupidly adapt classic literary works, they are rather in the same line as François Truffaut who spoke of "establishing an intimate relationship" between literature and cinema.

Indeed, the particularity of No Country is that it was a script before a novel. The text is therefore placed under the sign of orality. The dialogues are relatively short and not very punctuated. This is a point that strongly contributes to the film's fidelity to the text since the Coens did not need to rewrite scenes or dialogue.

However, the rhythm of the film contrasts with that of the novel. Indeed, the film is slower: the scenes and shots are long, whereas the novel has a more breathless rhythm.

And what the Coen bring to the original text is above all their dark and offbeat humour. This can be felt in the astonishment of some of the characters and in the transformation of certain situations. Also, by the camera angles, the editing, the music (or lack thereof).

But since it is impossible to turn 309 pages into two hours of film, the Coens had to cut out some of the subplots, thus creating many ellipses. But these ellipses are often related to the character of Chigurh, which makes him even more enigmatic than he is in the novel. So I would like to try to study Chigurh as a figure. I think he is the most interesting aspect of the film from a cinematographic point of view, since he is the very best example of the intermediality between literature and cinema.

From the literary figure to the cinematographic figure

Indeed, in McCarthy’s novel, Chigurh is presented as an allegorical personification of evil incarnate. Sheriff Bell refers to him as a “prophet of destruction”. Chigurh is thus presented as an elusive figure, as a “ghost” (to quote Sheriff Bell again). And throughout the film, Chigurh is consistently associated with extreme shots, unnatural angles and perspectives, which give the character a supernatural quality. Most significantly, Chigurh is introduced as a faceless figure filmed from the back, then he is repeatedly filmed as a silhouette or a shadow.

And it’s through the power of cinema that Chigurh can fully embody himself as a spectre, a figure of the in-between, both actual and virtual.

Anton Chigurh is thus already a purely cinematic figure in McCarthy's novel.

Chigurh regularly appears in reflections: on mirrors or car windows for example.

#Anouck Morin

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agentnico · 3 months

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Drive-Away Dolls (2024) review

Do not see this movie with your mum. I repeat, do not not see this movie with your mum!!

Plot: Jamie regrets her breakup with her girlfriend, while Marian needs to relax. In search of a fresh start, they embark on an unexpected road trip to Tallahassee. Things quickly go awry when they cross paths with a group of inept criminals.

The Coen Brothers are behind some of the most thrilling crime capers in cinema history, and are known for their flashy neo-noir style and highly convoluted plots featuring eccentric characters. However recently the brothers decided to temporarily part ways and focus on their own separate projects, with Joel adapting the famous Shakespeare play Macbeth, which by the way was a superb piece of post-modern black-and-white cinema, and gave Roman Polanski a run for his money. Honestly, Tragedy of Macbeth was visually striking, as it stripped down the classic Bard play to its narrative and perceptible essentials, and also the cast was terrific! Then again, you can never go wrong with Denzel Washington. I honestly don’t know a single person who doesn’t love Denzel!

Anyway, whilst Joel was up to his master-class ways, what has the other Coen bro been up to? We would have found out last year if it weren’t for the strikes, but now we finally have an answer - Ethan has decided to go back to his roots and make a road trip movie that is infused with the 80s/90s goofy feel to it, and he even brings back the briefcase from Fargo! Or from No Country for Old Men. Or The Big Lebowski. Or Hail Caesar!. Pretty sure Brad Pitt also seeks a briefcase full of cash in Burn After Reading…. Honestly what is it with the Coens and their briefcases!? Not only that, I swear most of the time it’s the same model briefcase that’s used! So anyway, Ethan Coen is evidently driving down memory lane here, but is it a drive across the greatest hits, or a drive-away to disappointment?

It’s the latter unfortunately. Now we have seen the true colours and know which of the Coen bros is the talented one and which is riding on their sibling’s success! I’m kidding, everyone has a bad day at the office, but Ethan Coen has really made a stinker with Drive-Away Dolls. Playing out in less than an hour and a half, this is a very short film, so on a plus size is does whiz past you. However the storyline is so thin and disengaging, and the jokes are also really unfunny. The Coen Brothers are known for their signature wit and hilarious dialogue, however none of that is present here. Additionally, similar to how I found Poor Things to feature one too many sex scenes for my liking, Drive-Away Dolls features a lot of lesbian friction throughout, to unnecessary amounts. I thought it was bit too much, and too icky for my tastes.

The cast features a lot of talented people, all of whom I’ve seen give great performances in other projects, however here they were either miscast or simply wasted with their minimal inconsequential screen time. Margaret Qualley is way too over-the-top and silly as the fast talking Jamie with a cringe-inducing accent twang, and she got really overbearing by the end of the movie. Geraldine Viswanathan as Marian plays the straight faced counterpart to Qualley’s annoying energy ball. Again, it’s not the first time we’ve seen such a dynamic in films, yet Viswanathan can’t seem to find any interesting layers within her one-dimensional character and as such came off really boring. The rest of the cast comes and goes, some for sheer forced comedy and others to at least make some attempt to have a cohesive plot, but even then are taken out of the equation quickly and pointlessly. Pedro Pascal, Colman Domingo, Beanie Feldstein, Matt Damon, Bill Camp, Miley Cyrus….all wasted.

The movie also features very sloppy editing, and also the transitions! We have to speak about the transitions! What the hell was going on there? So from scene to scene we’d get these weird wacky psychedelic kaleidoscopic inserts, and I mean in a stoner film this would probably serve more purpose, but in a movie like this it felt totally random. To be fair at the end a character does mention about something that happened years ago that somewhat mildly justifies these inserts, but even then having so much of them throughout the film felt like a useless gimmick. I’m all for filmmakers trying something different and unique visually, but as long as it serves a purpose to the overall narrative, which in this case it did not.

It’s really disappointing as I’m a major fan of the Coen Brothers works, however this was such a messy misfire, I’m honestly shocked it made it through to actual release. It’s silly but not in a fun way, featuring wasted talent and bland gags, and one should simply drive away from this as far as possible.

Overall score: 2/10

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dustedmagazine · 3 months

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Listed: Angry Blackmen

Photo by Joseph Torres

Since joining forces in late 2016, Chicago rappers Quentin Branch and Brian Warren have become more lyrically pointed and sonically experimental with each new release. Their 2017 debut Ok! sounds positively poppy despite the self-lacerating lyrics. By 2019 on the EP Talkshit!, the music is darker, drawing from Detroit techno and industrial music as much as underground acts like Clipping and Dälek. On their latest album, The Legend of ABM, the pair combine ferocious dexterity and radical truth-telling with the coruscating sonic architecture of producer Formants. As Andrew Forell noted in his recent review, “Rapping from within the belly of a diseased beast, the pair rely on human rhythms that dodge and weave the noise of the city ricocheting around them.”

Quentin

Philip K. Dick — Do Androids Dream of Electric Sheep

A lot of Dick’s novels inspired some of the writing for The Legend of ABM, especially the themes that deal with existential struggles with technology, authoritarian governments, paranoia, and consumerism. A lot of those core themes are explored in his book Do Androids Dream of Electric Sheep.

Wu-Tang Clan — Enter the Wu-Tang (36 Chambers)

youtube

One of the most influential albums in music history. This album taught us how to channel some of the most traumatic aspects of being Black in America with humor and charisma while being accessible to people unfamiliar with said aspects.

Charles Bukowski — Women and Factotum

Most of his poems came from the perspective of the dying working class: working while pursuing art, alcoholism, suicide, and the American dream. His books, most notably Women and Factotum heavily influenced the writing on this album.

Public Enemy — Fear of a Black Planet

youtube

This group is very significant to us. The way they infused political messages critiquing American racism and the media have had a profound effect on our own music. One project that has had a huge influence on our style is Fear of a Black Planet.

Paul Thomas Anderson — There Will Be Blood

youtube

2007 American classic directed by Paul Thomas Anderson. The film explores the dark side of capitalism and the American dream in late 19th and early 20th centuries. Similar themes are exposed in The Legend of ABM.

Brian

OutKast — Stankonia

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The duo perfected the art of juggling themes of self-inflicted struggles and interpersonal relationships. They also helped me with my approach towards some of the writing process on The Legend Of ABM, especially the album Stankonia.

Kendrick Lamar — Damn

youtube

This project taught me the art of balancing the flaws within oneself and keeping a level head in a crazy world.

Safdie Brothers — Uncut Gems

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A movie directed by the Safdie bros with its unique and unsettling camera speed and turbulent atmosphere gave me the inspiration to rap as chaotic as the feeling you get when watching this film.

Earl Sweatshirt — Some Rap Songs

youtube

An artist that has a profound Influence on my lyrical content as well as my approach to the artistry. His ability to step out of the box while pushing his artistic integrity to new levels is unmatched.

Coen Brothers — No Country for Old Men

youtube

A huge theme that stuck out to me was the passing of time and generational change. I wanted to make lyrics that made the listener feel as uncomfortable as Anton Chigur's cold but calculated nihilism.

#dusted magazine #listed #angry blackmen #quentin branch #brian warren #philip k. dick #wu tang clan #charles bukowski #public enemy #there will be blood #outkast #kendrick lamar #uncut gems #safdie brothers #earl sweatshirt #no country for old men #coen brothers

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cinematicct · 6 months

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Burn After Reading (2008)

Written, produced and directed by Joel and Ethan Coen (aka the Coen Brothers), this black comedy thriller is about a series of mishaps that unfold when a disc containing the memoirs of an ex-CIA analyst falls into the hands of a pair of gym employees who attempt to profit from their find.

A star-studded cast includes: George Clooney as womanizing U.S. Marshal Harry Pfarrer, Frances McDormand as insecure yet determined Linda Litzke, John Malkovich as disgruntled former intelligence officer Osborne Cox, Brad Pitt as amiable, dim-witted gym trainer Chad Feldheimer, Tilda Swinton as Osborne's unfaithful wife Katie Cox, Richard Jenkins as gym manager Ted and J.K. Simmons as a CIA director.

George Clooney is a terrific actor who can easily go from charmer ("Well, hello!") to coward ("WHO ARE YOU?!") in a matter of seconds. Frances McDormand plays a driven fitness instructor obsessed with reinventing her body. John Malkovich is a consummate performer who basically plays a ridiculously outrageous manic prone to aggressive behavior. Brad Pitt is extra funny in this movie given that he takes his all-too-rare comedic style to a whole new dimension to play such a likable goofball. Tilda Swinton excels in the ice queen archetype as well.

A major theme of the film is supremacy of idiocy. Everyone in this movie (including the CIA) is under the impression that they think they know better when in fact they don't. Nevertheless, the incompetence is played for laughs, subverting the expectation of a high-stakes spy movie (although surveillance is a major factor in this film).

In terms of analyzing the indiscretion of each character, Harry Pfarrer (Clooney) is a self-centered playboy (despite being married) with paranoid tendencies. Linda Litzke (McDormand) is hell-bent on getting cosmetic surgery to the point where she resorts to engage in blackmail without thinking it through. Harry and Linda meet via online dating as they both seek love in the wrong places. Osborne Cox (Malkovich) decides to write a book about his past achievements in the CIA, only for his digital files to wind up in ineptly unscrupulous hands. Chad Feldheimer (Pitt) is a can-do colleague whose childish eagerness to capitalize on what he believes to be "raw intelligence" is arguably the high point of the film. Katie Cox (Swinton), in the process of filing for a divorce, indirectly circulates her husband’s classified documents.

Music-wise, the score contains a pulse-pounding percussion that gives the film a grandiose sound to reflect the overblown stakes.

Together, the Coen Brothers have outdone themselves in creating an original screwball comedy that depicts its characters in a "my way or the highway" situation against the backdrop of a poorly operated infrastructure. That being said, I seriously recommend this tour de force (or tour de “farce”) masterpiece to every Coen fan.

“Osborne Cox?”

-Chad Feldheimer

#burn after reading 2008 #focus features #coen brothers #black comedy #screwball comedy #tragicomedy #george clooney #Harry Pfarrer #frances mcdormand #Linda Litzke #John Malkovich #Osborne Cox #brad pitt #Chad Feldheimer #tilda swinton #CIA

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nicklloydnow · 8 months

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“Each day in Jocktober, which takes place in October, Opie & Anthony producer Sam Roberts picks a different radio show from around the country and then the show spends an hour diagnosing exactly what makes that oh-so-zany “morning zoo”-style show so shitty. Jocktober is like if Warner Herzog or the Coen Brothers spent a month each year just attacking movies like Paul Blart and Mortdecai – but also explaining the conventions of why they are so bad. Wouldn’t that make the film industry better? Wouldn’t it at least be entertaining? At least one of those things, yes.

Exaggerating the characteristics of drive-time radio, interrogating the conventions of the radio industry, is a way to ask: Why do people act this way? If this sounds familiar to improv people, it should: the goals are exactly the same, they just go about it in different ways. The work of improv is to excavate some truth of a situation and then heighten it to show why it’s funny, like some kind of fiendish archeological dig. Opie and Anthony, on the other hand, prefer to throw the entire situation into a giant rock tumbler to shake the dirt off of it and leave the fossils of truth at the end. Sure, some delicate things might get broken, but if they were that delicate, then how valuable were they in the first place?

The public at large pigeonholes Opie & Anthony as those terrible zany “morning zoo”-style DJs. But there’s a difference. Gregg “Opie” Hughes gives a shit when it’s done badly. Around the tenth day of every Jocktober, Opie and, to a lesser extent, the rest of the crew, kind of reach a point where it’s not longer even fun to mock these shows. Like Radiohead turning its back on Creep, it hurts them too much. Radio hosts, by and large, the targets of Jocktober, do nothing but play Creep. (…)

Prepburger and other services like it license content, like The Fugitive and War of the Roses, and the other, smaller, refillable formats that allow shows to comment on topical events, to any radio show who can pay. That’s why every morning show in every market is indistinguishable white noise. They’re literally saying the exact same thing. It’s like that part of Going Clear that talks about L. Ron Hubbard as a sci-fi writer where he’s like “never write any character who has not appeared in that magazine before. Realism or originality is the enemy,” or something like that, I wasn’t listening that hard.

One element that continues to be at the heart of a lot of programming philosophies is localness. With the advent of huge national radio shows like Howard Stern and Opie and Anthony, smaller market shows were forced to use what they had to stay relevant. They literally did stuff like hang up signs in studios that reminded jocks to “Stay Local” and talk about the stuff in the town, or inject specifics about the nearby highway, or talk about local news stories. Which is fine, but can come at the cost of prioritizing actually stimulating conversation. Focusing on trying to work the name of the local mall into your story is completely missing the point that people don’t give a shit what specific you use, the important thing is you’re talking about things that are honest and immediate and you’re good at talking.

(…)

Nothing encapsulates what Jocktober is about better than the name itself. “Jocktober” refers to the seemingly universal cliché where every radio show calls the month of October “Rocktober” and makes all these loud promos about it and hypes it up and makes this huge deal about how they play [radio station bro voice – you know the one] the most rock out of any station and October is going to rock so hard. But then they just PLAY EXACTLY THE SAME FUCKING SONGS THEY NORMALLY DO. The sound and fury, etc. To quote Anthony Cumia circa 2009: “There’s all this energy… but it’s all wasted energy. It’s like sitting in your driveway in neutral and just gassing it.”

(…)

Not to put too fine a point on it, but the first ever Jocktober episode was actually and explicitly inspired by a jock on some other show chastising O&A for, “not [having] anything to talk about, so they just talk about their real lives.”

And so, like NutraSweet, Jocktober was invented by accident. Even die-hard Pests might forget that when The Show went after 97.1 ZHT’s Morning Zoo on October 1, 2008, it was based on bad intelligence from a listener, that Frankie and Danger Boy were “talking shit” about the show.

The damage was done. Opie & Anthony had “napalmed the wrong village” as Anthony replacement Jim Norton put it.

But in the process, they realized that there were a lot of little villages out there that deserved napalming. Enough, in fact, to sustain the heady fall tradition of Jocktober for the next six or seven years… depending on how you count.

Anthony and Jim Norton supplied the bulk of the comedic voice, historically, and Opie was the point guard who kept things on track, but Jocktober really gave Opie’s voice a time to shine. He’s a student of radio and prides himself on knowing its history and the theory behind why it works, so he particularly hates seeing it done badly. And he’s usually thought of as almost the heart of the show, where Anthony or Jim make the really dirty, cutting jokes about child molesting or how fat/skinny/old/young/famous/washed up/etc. someone is. But there are moments every once in a while where Opie is suddenly just enormously cruel and you realize… this show has no heart. When the moral compass of the show blows up, Jocktober is like a some kind of Bermuda Triangle nightmare.

(…)

The early years of Jocktober, starting in 2008, was a very particular era for shock jocks. Satellite radio allowed them to be out from under the thumb of the FCC, but it was still before the Internet progressed to the point where personalities are really accountable for what they say. All these shows were just lost to the ether, but now everyone knows that everything’s permanent and the internet is forever. For that reason, I’d argue that there’s two distinct periods of Jocktober: 2008-2011 and 2011-present.

It was during the first period, 2008-2011, when they really learned how to effectively use social media as a tool for mischief. In the Jocktober of 2008, there were some mentions of sending “pictures of roosters” to email addresses and administrators of the official sites of different stations, as well as the long-standing tradition of listeners bombarding any station mentioned on-air with horrific phone calls.

But soon enough, Opie and Anthony walking into the studio was basically like the pilots in Pacific Rim climbing into those huge robots. They could get on mic and command their huge social media following to destroy whatever target they pleased. So each day in Jocktober would go like this: they’d announce the name of that day’s show, and then the clock started until “phase 1 is complete,” which means the show was forced to disable posts on their Facebook wall. Then began phase two, where listeners would leave the most vile, disgusting jokes and pictures on the comments of the Facebook wall. That went on until Phase 2 was complete—as in, the entire Facebook page had to be deleted.

This seems like it took place back in some era when cyberbullying was a more innocent thing. Maybe “innocent” is the wrong word for spamming a Facebook page with hundreds of pictures of a man eating shit or a terrifying bus accident, but there was certainly a time when you could say “hey, just unplug the computer if it’s too much!!” and really believe it. But as we entered the more recent era, though, social media began to fragment even more and bleed into people’s “real” lives, until finally, coincidentally very near Jocktober 2014, the whole GamerGate thing happened and everyone kind of realized, hey, maybe even radio station cyberbullying isn’t just good clean fun.

(…)

On the last day of Jocktober, Opie & Anthony turned the focus on themselves, because after all, they’d be just as hacky as Terry Clifford if they didn’t call out their own shortcomings. This usually consisted of listening to some old shows from their Boston days or early in New York and pointing out flaws. Personally, I have to say that one definite flaw in the Opie & Anthony Show was that one of them liked to go on racist tirades that ended up on the front page of the newspapers.

But this isn’t about Anthony, it’s about Jocktober. And if you’re saying that he shouldn’t be on the radio anymore, then here is some good news for you: he’s not. Jocktober remains a fascinating cultural artifact. I was listening to one of these shows with a friend once and her reaction was, “How can you listen to these? It’s… so funny.” I think she meant just how decadent the kind of humor is in O&A in general, and then Jocktober in particular. They’re responding to this shitty, watered down entertainment, so they purposely make their show the most sugary, rich product possible. It was like they were getting mad that someone’s Kool-Aid is weak and doesn’t have enough sugar, so you dump 10x too much sugar in it. Jocktober was the most high-proof, premium-grade version of O&A’s cartoon-cruel comedic voice possible. (…)

Shortly after Anthony got fired in July of 2014, comedian and frequent guest Joe DeRosa compared the freedom of speech to the right to eat as much candy as you wanted. Sure, the thinking goes, knock yourself out, but if you eat too much, eventually you’re going to get sick. Looking through this lens, SiriusXM’s decision to fire Anthony was like Bloomberg’s decision to ban large sodas. Sure, you can drink this sweet, decadent soda, but it’s in the interest of everyone concerned that you don’t literally drink all of it.

Probably good thinking. But if you are so inclined, every episode of Jocktober is right here.”

#opie and anthony #jocktober #jim norton #sam roberts #radio #satellite radio #sirius xm

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