We’re back again with Joe Preti, and chatting about the emerging streaming epoch and its tremendous downsides as corporate studio overlords start making things you love disappear, making it impossible for these shows and movies to find new fans — and for their creators to get paid for their work.
The streaming services are getting worse and more expensive and several beloved shows that have never gotten a Blu-Ray release are fading into the ether. So is it time to bring back… physical media? And now that pirating is the only way to get certain movies and TV shows… does anybody still remember how to use bit torrent?
We continue our chat with Michael Warbington, as we look at the trajectory of big-budget franchises and the knee-jerk fan anger that Martin Scorsese’s criticisms of “theme park” movies vs. “cinema”….and maybe he has a good point?
And maybe we should really stop complaining about the apparent theatrical monopoly of blockbusters and start championing smaller independent films, like The Paper Tigers instead.
[As we continue our show hiatus, it has been decided by the fine people who support us on Patreon that we are going to make public — or ‘declassify’ — one of our Patreon-exclusive Black Ops episodes every month. This month, our patrons have personally selected this episode to help fill the gap! Consider it a look back at the ‘Before Times’]
Original Patreon release date: August 17, 2016
We finally check in with our young friend, Sean Duncan — who had managed to go through life without ever having the ending of the 1973 dystopian science fiction movie, Soylent Green spoiled for him. Truly a remarkable feat.
He’s now seen it and lets us know what he thinks of it. Plus, we talk about the social politics of spoilers.
We sit down some more with Patrick Johnson to share our mixed feelings about Todd Phillips’ bleak and controversial Joker film.
We dig a bit into the film’s strong lead performance by Joaquin Phoenix and its very on-its-sleeve cinematic inspirations from films like Taxi Driver, Death Wish and the King of Comedy, and try to figure out whether it actually works or not. Does it transcend both its pastiche elements and its comic book origins, or is it a well-made and ambitious mess?