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Derrick Sanders III, Michael Kevin Darnall, Bjorn DuPaty, Brian Marable, and Blake Morris. (Jati Lindsay)
Wherein I beat my farm-to-table breast and yell at artisanal clouds about foodie folderol having summited the arts-and-culture food chain, and then eventually find my way into talking about how terrific Studio Theatre’s production of Katori Hall’s Pulitzer Prize-winning The Hot Wing King is. For The Washington City Paper.
We’ve got good news and bad news for you, Villagers: After a long sojourn examining Patty McG’s eclectic-not-checkered filmography, we’ve returned to Prisoner content… in the form of the 2009 Jim Caviezel-and-Ian McKellen-starring update. At Glen’s suggestion, we are devoting a mere two episodes to this six-episode series, because inflation. Who’s hungry for a wrap?
Arrival, Harmony, and Anvil
Written by Bill Gallagher
Directed by Nick Hurran
Initial airdate: November 15 & 16, 2009
Leave us a five-star review with your hottest Prisoner take on Apple Podcasts!
Write or send a voicemail to the Citizens Advice Bureau at adegreeabsolute dot gmail!
Follow @NotaNumberPod!
Our song: "A Degree Absolute!"
Music and Lyrics by Chris Klimek
Arranged by Casey Erin Clark and Jonathan Clark
Vocals and Keyboards by Casey Erin Clark
Guitar, Percussion, Mixing by Jonathan Clark
Bass by Marcus Newstead
I don’t always Star Trek, but when I do, I prefer Strange New Worlds! No Starfleet Captain should spend this much time on their hair.
Matty McC meets Patty McG, in the battle you didn’t know you wanted to McSee!
A Time to Kill, the fourth big-studio adaptation of a John Grisham legal thriller to hit theaters in a 37-month period during the first Clinton Administration, is not a great showcase for our man Patty McG. There are just too many high-caliber, high-profile, and high-maintenance players in its stacked cast, and probably too much studio pressure for him to get away with anything weird. (Braveheart, released 14 months earlier, was a long time ago.) Company-man director Joel Schumacher seems to have saved all his creative chits for putting nipples on Batsuits in this era, turning in a serviceable but unshowy piece of work the summer in between Batman Forever and Batman and Robin. He sure does like to spray his actors with baby oil, though.
The good news is that our friend Linda Holmes is back this episode, lending her quadruple-threat expertise as (in increasing order of significance) a Sandra Bullock expert, and Grisham expert, an actual-albeit-no-longer-practicing lawyer, and of course as a world-class critic to our examination of the picture. Join us, won’t you, on this jurisprudent journey back to nineteen-niner-six.
A Time to Kill
Screenplay by Akiva Goldsman, adapted from John Grisham’s novel
Directed by Joel Schumacher
Released July 24, 1996
Write to the Citizens Advice Bureau at adegreeabsolute dot gmail!
Leave us a five-star review with your hottest Prisoner take on Apple Podcasts!
Follow @NotaNumberPod!
Our song: "A Degree Absolute!"
Music and Lyrics by Chris Klimek
Arranged by Casey Erin Clark and Jonathan Clark
Vocals and Keyboards by Casey Erin Clark
Guitar, Percussion, Mixing by Jonathan Clark
Bass by Marcus Newstead
Terrible fonts! Racist tropes! Puppetty brontos! A doomed marriage! A movie that was made for no one! Plus Paddy McG phoning it in with hardly a single trilled R! Listen, and catch the opposite of a fever!
Prolific podmedian & Eisner Award nominee Jordan Morris joins us to carbon-date a seminal document of his dino-loving youth, Baby, Secret of the Lost Legend! Starring Rachel the Replicant, The Greatest American Hero, For He’s a Julian Fellowes, & Patty McG as the heel.
Baby, Secret of the Lost Legend
Screenplay by Clifford and Ellen Green
Directed by B. W. L. Norton
Released March 22, 1985
MOOR COWBELL! Slip into your cardigan, roll yourself a jazz cigarette, and prepare to savor one of Patty McG's most sinister heel turns as our lovely theme-song singer Casey Erin Clark joins us to deconstruct All Night Long, director Basil Dearden's 1962 adaptation of Othello set in the London jazz scene. PLUS! Casey draws upon her expertise as a voice coach and musician to examine several of McGoohan's most distinctive vocal performances, and presents her findings to the court.
All Night Long
Screenplay by Neil King and Paul Jarraco
Directed by Basil Dearden
Released February 6, 1962
The great Aisha Harris hosted this conversation wherein I had the good fortune once again to join my old pal Linda Holmes and my new pal Roxana Hadadi. I had a whole digression when we recorded about The Abyss, James Cameron’s first seafaring disaster romance, released only eight years before Titanic, and from which Titanic derives a lot of its technique and one or two of its sinking-ship set pieces.
Titanic was not a film anyone other than Cameron was pushing to make when he pitched it to Fox Chairman Bill Mechanic in early 1995. (He wanted a movie studio to pay for his dives to the wreckage, which constitute the first footage he shot for this movie.) It’s not a film where Fox would have simply hired another director to make it had Cameron acceded to the prevailing wisdom and decided to focus his energies on anything else. Cameron is also the person who cast Leonardo DiCaprio and Kate Winslet, so the movie is a Cameron project from whatever the shipbuilding equivalent of “soup to nuts” would be. I think it makes sense to foreground Cameron in any discussion of it. Try to imagine Christopher Nolan making a movie now that adolescent girls embraced and returned to again and again. That’s what happened in in the last two weeks of 1997 and the first quarter of ‘98, when the gearhead writer/director of the first two Terminator films, and Aliens, and True Lies, and yes, The Abyss, turned in a romantic tragedy where in the big boat doesn’t hit the iceberg until an hour a forty minutes into the movie.
Alexander Skarsgård wears all-natural fibers in Robert Eggers divisive new VIking epic.
I was glad to join my old pal Glen Weldon and my new pal Kristen Meinzer for a lively debate vis-a-vis the mertis and demerits of Robert Eggers’s new VIking movie The Northman, but my key takeaway listening back to this is that 30 years ago Conan O’Brien was trying to get us to say Cone-ehhn, not Cone-anne. Today the ghost of Robert E. Howard would like for us all to remember that his barbarian is called Cone-anne.
None of us remembered this.
