Last night, Paul and I reached the conclusion of our countdown of the Top 100 Characters in Modern Pop Culture. Here are choice excerpts from our top 10’s, but be sure to listen to the whole show to hear everything we said:
PAUL: Calvin & Hobbes (Calvin & Hobbes)
The series was not only the funniest comic strip of all time (and on this point I will brook no dispute), but it was almost the most philosophical, satirical, and thought-provoking.
AJ: Death (The Sandman)
With the usual concepts and presentations of Death’s visage from Western culture so ingrained in my mind, just the idea that Death didn’t have to be gloomy or terrifying, and instead could be a radiant beacon of hope, felt stunningly fresh and bold to me.
Last night, Paul and I continued our countdown of the Top 100 Characters in Modern Pop Culture with our penultimate installment, detailing our picks for #20-11. Be sure to listen to the show to hear everything we said, but here are some choice excerpts:
PAUL: Westley/The Man in Black (The Princess Bride)
He bested the greatest swordsman, overpowered a giant, and outwitted a brilliant strategist. And then he got to be the one true love, thought lost at sea, now returned to his princess.
AJ: SS Colonel Hans Landa (Inglourious Basterds)
What makes Landa so terrifying is that he seems entirely bereft of a sense of morality; he manipulates himself into a position of power with whatever group seems to be on the winning side, caring little for past alliances or relationships.
Last week, Paul and I reached the halfway mark of our countdown of the Top 100 Characters in Modern Pop Culture. Here are excerpts of our thoughts on our picks for #s 60-51, but be sure to listen to the show for our full rundowns.
PAUL: Vincent (Beauty and the Beast)
Speaking with a gruff but gentle whisper and all but hidden beneath an impressive leonine Rick Baker prosthesis (which didn’t, but absolutely should have, won awards), Perlman was the very definition of Romantic-with-a-capital-R misunderstood emo monster heroes for a generation.
AJ: John Locke (Lost)
His regained ability to walk gave him a new lease on life, and he looked at the island as a beautiful, supernatural force. He refused to leave, and tried to get the rest of the group to stay as well, believing them to be there for a greater purpose. The constant push-and-pull between Jack, the man of science, and Locke, the man of faith, became the series’ core thematic conflict.