Content warning: Explicit discussions of sexual content, drug use, and some crude but good-natured goofing. Fuck James Franco.

The opening scenes of SPRING BREAKERS showcase two intentional worlds: One is a sardonic sensory overload, full of “bikinis and big booties”’ the other is a wry examination of cultural assumption through racial aesthetics, fraught with the implications of finding your own identity at the expense of another.

When four college girls break bad to fund their spring break good time, they find themselves on a crash course with a wannabe Scarface who’s on his own destructive path. The whole thing careens toward an incredibly violent end, but ultimately, director Harmony Korine is hoping you’ll see enough of that second movie (an incisive moral play about the roots of modern race relations in the American south) to justify the first (the aforementioned bikinis and big booties).

Also check out:

- “What About ‘The Breakfast Club’?” by Molly Ringwald for The New Yorker: https://www.newyorker.com/culture/personal-history/what-about-the-breakfast-club-molly-ringwald-metoo-john-hughes-pretty-in-pink

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Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Music: “Scary Monsters and Nice Sprites” by Skrillex from the SPRING BREAKERS soundtrack.

0:00 - Episode 134: SPRING BREAKERS (2012)

3:39 - The episode actually starts

5:02 - The Patented Aaron Grossman Summary

7:02 - Jason’s thoughts

8:51 - Cody’s thoughts

12:37 - Harry’s thoughts

19:10 - Aaron’s thoughts

26:23 - Is SPRING BREAKERS a transgressive movie yes or no

33:09 - What are Brit and Candy’s motivations?

40:43 - Does its obviousness make it less effective?

43:18 - Where Faith and Cotty ditch the plot

1:01:48 - The ending

1:04:24 - Spare thoughts

1:06:07 - Cody’s Noteys (Trylibs: Spring Break)