Fun Size Episode 33 – Give Rob Kelly Some Money!

In the afterglow of WrestleMania, we rejoin Morgan Lambert to talk about the mixed results of professional wrestlers becoming Hollywood actors, and wonder why it’s so hard for Dwayne Johnson to get a movie project worthy of his charisma.

Plus, we talk about the latest in wrestling scandals, including Hulk Hogan’s bigotry, and the WWE’s continued business relationship with an authoritarian regime that hacked up a dissident journalist.

We talk about the charming culture shock of consuming Japanese media. Their pro wrestling customs, katakana sound effects in manga, quite possibly the greatest soap opera of all time, in the form of a series of Sakeru Gummy commercials.

We chat about the recent expansion of the American public domain and lament our draconian copyright laws.

Oh, and the Wizards of the Harry Potter world are fucking disgusting monsters.

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PATREON EXCLUSIVE: Black Ops Episode 8 – This Is Not Funny, You’re Not Funny, and I Don’t like You

In our newest episode, exclusive to our Patreon supporters, we talk more with Patrick Johnson about video game violence and how it does — and mostly doesn’t — apply to real life.

We take a long hard look at the trainwreck that is the filmography of Adam Sandler, why his movies are so ugly and stupid, and struggle to say something nice about him. We explore the wide pendulum swing of the quality of Netflix’s original programming. And finally we dig into their poorly realized original film, Bright and wonder what could have been.

To hear this episode — and many more! — just support us on Patreon with at least one measly dollar a month!

Join us!

Fun Size Episode 20 – You Don’t Deserve My Hat, Shia LaBeouf!

We sit down to continue our chat with Joe Preti and Bryon DiGianfilippo, and are joined by View from the GuttersTobiah Panshin to talk about Keanu Reeves’ Constantine movie and debate what makes a good adaptation.

We also dig into the admirable and visually stunning mess that was Valerian and the City of a Thousand Planets. How can a movie have such high peaks and such tragic, debilitating valleys?

Plus, we talk about how ham-fisted ways that movie executives force blatant business decisions onto the screen. And is there really that much demand for multiple “shared cinematic universes” in the wake of Marvel’s success?

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