We’re recording Mortal Kombat this coming Friday, 7 May 2021. In the meantime here are two bullshit episodes. And if you already listened to the MayDay update, I apologize; it needed some audio reworking. Incidentally, I also just purchased an echo removal plugin I can’t wait to use on real episodes of the show.
MayDay Update (1 May 2021)
Early April Bonus Update feat. the Yelp Reviews of Mrs. KL M (3 April 2021)
Well, we’re officially in over our heads here. We didn’t even manage to touch the plot of The End of Evangelion, and somehow we managed to fill an over-stuffed episode anyway. We get pretty philosophical this time around.
This is easily the most editing I’ve ever done on an episode of the show. I was thrilled that the Discord bot Craig could get me the raw audio of all of my participants, but what I hadn’t considered was that with everyone using different mics, and sitting different distances from them, and speaking with different vocal dynamics, I was going to have to manually trim every moment of the podcast, track-by-track. Even just figuring out how all of the tracks aligned together was initially very confusing.
I’m proud that it got done, but I’m not looking forward to the next one. As you’ll hear mentioned in the episode, we recorded this six or seven days before Christmas. I put off even starting on it for like two weeks because I knew that one way or another, it was going to be an absolute chore.
In the episode we reference the following excellent think piece on the Rebuild movies, and assuming you’re already familiar with them, you should do yourself a favor and make time to watch this.
Stick around because there will be more to come, both about The End of Evangelion and about the subsequent Rebuild of Evangelion films, of which the fourth and final is not only out soon, but just got a new trailer (which I would avoid if you want to go in blind—it’s pretty crazy!):
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Jingle All the Way 2, a WWE Studios film starring Larry the Cable Guy, is a smaller, more modest, lower-energy and certainly lower-budget film than the original from which it takes its name. They share nothing in common except a superficially similar “child wants toy therefore Dad wants toy” plot. It is in every way a less impressive film, and if you handed me both and asked which one I’d rather watch at Christmas time, I’d take this every time.
I really, really, really thought I had reviewed Tokyo Godfathers for a previous Christmas Endeavor, but I can’t find any evidence of such a thing on the site. It’s better that way, though, because I’m sure I would have done a bad job of it.
At the bottom of everything, is love. And when love is present, forgiveness is usually nearby. In spite of some very dark happenings over the course of its runtime, Tokyo Godfathers earns its status as a Christmas classic by keeping these facts just beneath the surface of every event that happens on-screen. Love is what drives everything we do. Love is what keeps us together, and what brings us back together.
I hate that it has taken me so long to get around to writing about this movie. In fact, when I re-watched it about a week ago, I was full of ideas about just what I wanted to say, and how I wanted to say it. But as I was with my girlfriend and unable to write at the time, I found my brain beginning to empty out rapidly over the next 24 hours. It’s the curse of my poor, broken brain.
But the show must go on, and so must I say something good about this movie, because I really love it more and more every time I watch it.
I didn’t really like anything about this one. It felt completely joyless. The acting was fine, but I didn’t like or relate to any of the characters. I’m glad that Idris Elba’s character didn’t have some literal Come To Jesus moment, which I thought they were setting up.
This movie could have taken place at any time of the year. It’s a “but I’m a singer, mama!” movie. It’s a “you owe those bad men how much?” movie. It’s a “you’re AWOL!?” movie. It’s a “you brought who home for dinner? And she’s pregnant!? movie. It’s another one of those films that is draped in Christmas scenery, but doesn’t have that Christmas cheer I’m always looking for. I don’t know. It just didn’t do a thing for me.
I was thinking about the way in which we are funneled by The Algorithm into our own isolated realities when I went to look up the Rotten Tomatoes reviews for Happiest Season on Hulu. You see, I was under the impression that the proverbial ‘everybody’ had a problem with this movie because it failed to stick the landing when commenting on lesbian relationships.
The thing is, when I think back now, I only saw that in two or three places. And they were mostly just snarky memes, not detailed arguments. And even if they had been detailed arguments, that’s still all they are: arguments. Opinions. The Algorithm has this way of making us thing the tiny personalized micro-zeitgeists in which it keeps us encapsulated are, in fact, the zeitgeist we are all living in. And it’s a great big lie.