Art from ‘Y: The Last Man – Vol. 4: Safeword’ by Pia Guerra, José Marzan, Jr., and Zylonol.
Gobbledygeek episode 309, “Y: The Last Man – Vol. 4: Safeword (feat. Chance Mazzia),” is available for listening or download right here and on iTunes here.
Slip on your shiniest boots of leather and grab those whips, it’s Four-Color Flashback time! Professional Grendel podcaster Chance Mazzia joins Paul and Arlo for their year-long exploration of Brian K. Vaughan and Pia Guerra’s Y: The Last Man for Vol. 4: Safeword, wherein things get a little kinky. When the gang stops at a remote cabin in the woods (never a good sign), Yorick is in for a femdom fiesta complete with chains, ropes, and soul-searching. The boys discuss how the series subverts conventional ideas of masculinity; what Yorick’s sexual history tells us about him; and how the story functions in a post-9/11, circa Trump world. Plus, Chance wants you to know The Name of the Wind, and Arlo furthers the kink with Park Chan-Wook’s The Handmaiden.
Next: it’s been more than a decade since Alfonso Cuarón’s Children of Men hit theaters. Paul and Arlo examine how the film’s dark and despairing future reflects our dark and despairing present.
(Show notes for “Y: The Last Man – Vol. 4: Safeword.”)
Gobbledygeek episode 296, “Swing Away (feat. Kenn Edwards),” is available for listening or download right here and on iTunes here.
Armed only with a glass of water and his trusty baseball bat, Kenn Edwards of So Let’s Get to the Point invades the podcast this week to help Paul and Arlo kick off Gobbledyween 2016. This year’s month-long horror-fest gets off to a miraculous start with a discussion of M. Night Shyamalan’s sci-fi thriller Signs. After the runaway success of The Sixth Sense and the lukewarm contemporary response to Unbreakable, Signs is often considered the last film Shyamalan made before a precipitous decline; that is, when it’s considered at all. The gang gets to the core of what makes Signs a worthwhile film, including a question you may hear repeated about the other movies on this year’s slate: Is it a horror film at all? The boys also delve into Shyamalan’s exploration of faith, how the film functions as a response to 9/11, whether or not it’s okay to still enjoy a Mel Gibson performance, and more. Plus, Paul violently shames Arlo for not watching Luke Cage, and the mythical episode 300 is teased.
Next: Gobbledyween 2016 grows fangs for Kathryn Bigelow’s 1987 vampiric neo-Western Near Dark.
(Show notes for “Swing Away.”)
Smoke Gets in Your Ears: A Mad Men Podcast episode 14 is available for listening or download right here, and on iTunes here.
Where were you when JFK was shot? The characters on Mad Men find their everyday lives, their ad campaigns, and their affairs interrupted by those bullets in Dallas. AJ, Kenn, and Joe, who weren’t around on 11/22/63, sift through Sterling Cooper’s sense of loss and share reactions to their generation’s closest reference point: 9/11. The episodes under the lens this week are “The Color Blue,” wherein Betty consults an attorney; “The Gypsy and the Hobo,” in which Ms. Farrell spends a lot of time in the car; and “The Grown-Ups,” wherein Lee Harvey Oswald ruins Margaret’s wedding. Plus, don’t miss another exciting installment of Hamm Watch!
(Show notes for Smoke Gets in Your Ears episode 14.)
The Ultimate Gift is the worst movie I’ve ever seen. You probably haven’t heard of it. Good for you. I don’t want to imply that it’s well-made, because it’s not, but there are certainly worse-made movies out there. Little Man, Date Movie, Space Mutiny, etc. But The Ultimate Gift is a special brand of awful because it takes a little girl’s cancer and uses it as nothing more than a plot point with which to forward the main character’s journey of self-discovery. Once the main character has supposedly become a better person, the little girl dies and no one really cares. Not sure about you, but to me, that is offensive. Now imagine a movie which does the same, only instead of using a cancer-stricken child, it uses a national tragedy the scope of which is still too large for many Americans to comprehend. Thanks to director Stephen Daldry, screenwriter Eric Roth, and a passel of others, you don’t have to imagine it. They’ve made it. And it’s called Extremely Loud & Incredibly Close.