Gutterballs

full on dude, the beauty of the free pass to say fuck, parsing the meaning of 0th birthdays, revisiting a la Doc Brown and Marty McFly, repetitive Sorkinisms, the aesthetics of the shimmy, the origins of giant dust motes, alternate William H Macy dudes, the dude solving his own problems, the filmically true way to walk 18 feet to a door, how to pronounce boo-shem-ee, a brief history of the medieval-esque Korean conflict, JW (he who cannot not be named) directing The Big Lebowski, more flimsy PTA-Coen Bros connections, how long you can wear the california cargo shorts, and Adam's best dudely saunters.

Brad and Adam are joined by psychologist and linguist Victoria Saxby to talk about the the doppelgangistic connection between the titular Lebowski and Walter, the efficacy of the New Dudely Lama, the real Maude Lebowskis and her Mid-Atlantic dialect, other pot-smoking private dicks in the mythical landscape of Los Angeles, we go deep inside Llewyn Davis, the evolution of The Dude's demeanor as the harsh reality of the Titular Lebowski sets in, delicious tension of Tarantino, and a fallacious sound effect. BONUS: "The Master" as a film but not a movie and Brad Pitt don't do shit.

The uncomfortableness of asking for things from bombastic self-aggrandizing individuals. Why would the rich Lebowski take the meeting in the first place? The more you crow the less you know. The spanish verb parlar. Fractals of African villages. FDR's dog, Fala, and his relevance to Nazi Germany. The schedules of the rich lebowski's housekeeping service. Major revelation, new shit has come to light, regarding the contents of the Rich Lebowski's desk. Lamp as breast stand-in. Adam hearing I am the walrus. The visceral Matrix versus the george lucas's sterile self-immolating fan fiction. Also, homunculus.

Our first ever mailbag segment! A listener question about suspension of disbelief, the importance of the human elements on the screen, the grandest of all moffs, the places Sam Neill doesn't belong, how a pair of eyes can salvage a movie in theory, and the limits of muppets and whimsical sci-fi fantasy.

P-Hoff vs PS-Hoff and the USS Sea Dog, solving the mystery of the tilted Urban Achievers plaque, definitive fin whale identification, empathy for Brandt, subtle birdly heavenly choruses, HFR dioramas, mumbled Chucks, the resolution of paint, remote controlled electronic doors, the chair's long approach, the evolution of the Time magazine font throughout the ages, John Milius, and Walt-rotica.

Brant's tells, the singing Guy Fawkes variety clubs mascot, why Orson Welles sucks, the banalities of plaques as evidenced by mirrored tchotchkes, how to buy a Big Gulp after civilization crumbles, T-bar versus fisherman style sandals, college trying, touching the hole in the shoe, and Brad and Adam get creeped out by photos of men's jellied legs.

The ludicrosity of Bluray extra features, Brad's desire to eliminate the Van Nuys, a little bit of patter, Lynch on Louie, how to properly introduce yourself to Styx, why all roads lead to Lebowski, revisiting the herky jerky blades of grass, a composite job, Walter as father figure, the fashion implications of Brad losing his grip on reality, supersonic background waitresses, doubles and triples caught in time loops, mystery sodas, the search for the inciting incident, 80s movies lockstep with the act structure, "Will Pee Wee get his bike back?", the viscosity of blk water, the mind tweak of software technology, halting all nuclear reaction within a star, and the pitfalls of Deep Space 9 drinking games.

We count down to predictions, fear of the unknown, the length and subtlety of diegetic Dylan songs, sad little mini-chapters of Donnie's journey, the Walters in our lives, the one shared pixel of a social Venn diagram, the Dude's mysterious approach, the utter failing of our inner manlinesses, blueblockers, the beautiful clarity of HD television without a television, wooden Eskimo goggles, the limits of unchecked aggression, more sparrotting and recycled dialogue, the difficulty of separating "preferred" from "nomenclature," the risk of a completely new story and why they don't exist, the origins of the Dude's hair clip, the nontimelessness of early 90s Miller Lite commercials, Adam's lack of understanding of the differences between Rocky Balboa/Apollo Creed/President Camacho, beer logo dissection, how to freeze a bayou, the least known Baldwin and the haggardness of Stevie B.

The hope that you are the guy that gets jettisoned back to earth,  the excellence of lists, Scarlett Johannsen's defining example of young hotness, ball swapping, sparrots, mullets, fancy waistlines, the search for the clip, continuity of peripheral bowlers, the Saddaminator and his well-honed finger position for effective vaporized sanitation delivery, ickiness of real-life Dude inspiration, and Walter as imminent discussion topic.

How you pronounce Googie, french fry and buffalo wing greased balls, supportive pants, continuity errors, T-Bone Burnett's hunger game, Jeff Golblum's Adam in 1998, Mary Zophres doesn't do shit (She only does the finest quality work), sputnik shapes, Chandler's big sleep, the physics of ball spin and the logistics of filming it, the little man in Adam, celebratory strike dances, and the present as imagined by 1950s futurists.