Avocado Uterus would be a great name for a noise rock band.
Gobbledygeek episode 415, “A Butter Tree Grows in Utero,” is available for listening or download right here and on Apple Podcasts here.
For all you kids at home with a copy of Webster’s New Universal Unabridged Dictionary Deluxe Second Edition taking pride of place on your bookshelf–boy, do we have a treat for you! Paul and Arlo are back on their bullshit, running at the mouth about anything they damn well please. This week’s subjects include: the extreme metal-ness of childbirth, Spider-Man: Miles Morales swinging onto the brand spankin’ new PS5, covert earbuds, Infinity Train heading to the station on HBO Max, a treatise on The Searchers and Apocalypse Now, and so much more.
NEXT: Zorro, the Gay Blade spends a day in The Double Life of Veronique for a doppelganger-centric Geek Challenge.
- “Doin’ It” by LL Cool J, Mr. Smith (1995)
- “Piece of Me” by Britney Spears, Blackout (2007)
Welcome to week 6 of 9 in our analysis of Garth Ennis and Steve Dillon’s Preacher. For more, read weeks 1, 2, 3, 4, and 5.
AJ: A lot happens in this volume, and there’s a lot to talk about, but I’m going to start off with perhaps the least important storyline because I don’t want to forget to bring it up…what the fuck happened to Arseface at the end?! His “furruh uhzmuhyuh,” the arsefaced paradise, his Dad appearing to him and apologizing–was that like the most surreal depiction of suicide ever, or…?
Paul: Unfortunately(?), you’re not gonna get any more on that. The Arseface story is…a little hard to put my finger on. To be honest, though it does have a conclusion, I’m not 100% sure I could tell you what it all ultimately means. Which is why I keep saying, for all intents and purposes you could really just ignore it and hope it goes away.
But to answer your question, I’m pretty sure Ennis wrote that bit while on peyote.
Article first published as DVD Review: Make Way for Tomorrow on Blogcritics.
Director: Leo McCarey
Writer: Viña Delmar, based on the novel The Years Are So Long by Josephine Lawrence and a play by Helen Leary and Noah Leary
For some reason, in our society, we are taught—if not by instruction, then by example—to discard the old. We are solely interested in the new, in the present, what is happening right now. Often, our obsessions or our problems have evaporated in a year or two, but no matter. Elderly people are relegated to nursing homes. The young are worshiped. Just try to get a bunch of kids to watch a movie from the 1940’s and see what happens (now that 80’s movies are being remade, it’s getting to the point where anything from before the mid-90’s is considered a relic). What we often neglect to remember is that one day we ourselves will be old, and then we’ll be on the outside looking in.
This is where Barkley and Lucy Cooper (Victor Moore and Beulah Bondi) find themselves. They are in their 70’s, and the bank has foreclosed on their house. Barkley hasn’t worked in four years, and “with everything goin’ out, and nothin’ coming in, I couldn’t keep up the payments.” They’ve gathered together their children to inform them that their home is no longer their home; they were given six months to move out, but the six months are up this Tuesday. The children, led by George (Thomas Mitchell), immediately start trying to devise a plan, but they aren’t wealthy and they don’t have much extra space in their own homes. Finally, a solution is hit upon: Lucy will stay with George, his wife Anita (Fay Bainter), and their teenage daughter Rhoda (Barbara Read); and Barkley will stay with Cora (Elisabeth Risdon) and her husband Bill (Ralph Remley) in New York City. They’ll be 300 miles apart, but it won’t be forever, right?