MoP is on a bit of a break, and will be back in December with a new episode! In the meantime, and just in time for Halloween, we're re-releasing our infamous "Heuristics of Horror" episode from last year. Enjoy!

In this episode of MoP, we look beyond the horror canon and unearth obscure, international and arty horror films that make us pee our pants (Although Jay pees his pants on every episode. I have urged him to see a urologist but he's stuck in his ways). Some of the horror gems discussed in this episode: two Larry Cohen films, It's Alive and God Told Me To, Brian DePalma's Sisters, Cure directed by Kiyoshi Kurosawa, House byNobuhiko Ôbayashi and more. Then, we delve deep into our chosen films Michael Hanke's Funny Games and Michele Soavi's Dellamorte Dellamore.

In a creepy occurrence of synchronicity Jay and Azed choose a couple of noir films that compliment each other a little too well. To the point where doctors have mandated a period of separation for the mental health of both to avoid a potentially catastrophic merging of their identities. But before the state got involved and surgically separated the two hosts and lucky for you listeners the pair managed to record this podcast on Otto Preminger's Angel Face and John M. Stahl's Leave Her to Heaven first. Two noirs that took the iconic femme fatale character to new and disturbing depths, brilliantly played by Jean Simmons and Gene Tierney. See, even the actresses names are the same!

Before they get into the noir discussion special guest and filmmaker Kieran Dick joins Azed and Jay to tell them just how terribly wrong they've been this whole time. In particular Kieran (a Philip K. Dick expert) digs back into the Blade Runner episode and gives some insight and alternate reads on some of the topics that were discussed. And yes they all somehow managed to bring up Twin Peaks again (multiple times!).

Blade Runner is an undeniable sci-fi classic, but is it also a white nationalist dog whistle cloaked in super cool, neo-noir set design? Azed & Jay dive deep into the whole Blade Runner phenomenon and both find a lot they hadn't seen in previous viewings. From Kierkegaard's concept of ressentiment to why Hitler would have been the best Pokeman Go player, we cover it all. Also, Azed's son, Ishmael, gives us his take on our Twin Peaks episode and geeks out with a Twin Peaks/Lord of the Rings breakdown.

David Lynch and Mark Frost's Twin Peaks marks a high point in television history. The merging of Lynch's experimental film background with the more conventional TV landscape created a mesmerizing series that continues to defy any attempt at a simple interpretation. Azed & Jay and returning guest Omar Majeed welcome special guest philosopher/author Tamler Sommers from the popular podcast Very Bad Wizards to take a deep dive into the world of Twin Peaks. Note: no mention of poop or vomit in this episode. Apologies.

On episode 28 Azed and Jay discuss Harmony Korine's latest film The Beach Bum and in a rare show of discord have somewhat divergent takes. Is Korine using the character of Moondog to tell his own story as an artist living a charmed life or is he more of a perceptive imposter, using the lives of the freaks and outsiders in his films as a way to give his films a credibility he otherwise lacks?

They also have another edition of Films You Are Ashamed You Haven't Seen. Jay reveals that he has only just watched what is probably one of the most influential documentaries ever made. His shame is so great that for years he deceived Azed into thinking that he had seen this film even though he hadn't.

Tune in to witness Jay's very public humiliation and Azed's righteous indignation on this episode of Mutiny of Preverts.

Another in our continuing series of "criminally forgotten" films, Little Murders (1970) directed by actor Alan Arkin and starring Elliot Gould contains a deep political statement buried in a somewhat surrealist, trenchantly black comedy. Written by political cartoonist  and screenwriter Jules Feiffer, Little Murders is remarkably prescient about the correlation of the rise of violence in society and the loss of faith in institutions, but is paradoxically very critical of those institutions at the same time. Azed and Jay use this obscure gem to get into a larger discussion around Trump, Richard Rorty and Dwight D. Eisenhower. Also, we revive a favourite segment, "movies we are ashamed we haven't seen yet", Azed admits guiltily that he just recently saw Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. As a punishment Azed has been instructed to burn all his (unread) Derrida books and rip up his Che Guevara poster.

In an unprecedented episode for Mutiny of Preverts Azed and Jay invite not one, but two guests to join us on this episode about the most underappreciated comedies of the 2000s. We each make a list of five films that we think has been overlooked and deserves just a little more love.

Our guests, Mongrel Media director of theatrical releasing Tom Alexander and MoP favourite Omar Majeed, are pitted against each other in a film podcast duel to the death. Tune in to find out which of them wins the honour of having made the definitive list and which one is deemed the loser and subsequently disemboweled on air. We think you'll be surprised.

We also discuss the beloved careers of Doris Day and Tim Conway and some of the exciting films playing at this year's Cannes Film Festival.

You'll also have to excuse some of the sound on Jay's mic. This is our first time recording four people at once and we simply lacked the equipment to do it properly. We hope it's not too much of a distraction. And if it is, well you can just skip his parts like usual.

MoP co-creator Azed Majeed is part of a collective in Toronto called TALKIES. What is TALKIES?  In a casual atmosphere, we screen a film, listen to an informal talk about it by an engaging and informed speaker, and then have an open Q&A and discussion. Originally started back in 2009, TALKIES ran for a couple of years and then took a long hiatus while lives, families, careers forged on. And now we are back. 

For our relaunch, we screened Nicholas Ray’s 1954 classic, Johnny Guitar, and Professor and author Nikolas Kompridis discussed the film in relationship to toxic masculinity. We offer it here with an intro from your usual hosts, Jay and Azed, who are neither professors nor authors but who are toxic- not toxic males-just toxic.

Nikolas Kompridis is an affiliate of the Centre for Ethics at the University of Toronto and was the former director of the Centre for Social Justice at ACU. He is the author of The Aesthetic Turn in Political Thought (Bloomsbury), Critique and Disclosure: Critical Theory Between Past and Future (MIT), and Philosophical Romanticism (Routledge).

The world of cinema has lost some true giants with the deaths of Stanley Donen, Agnes Varda and actor Seymour Cassel in the past few months. But Larry Cohen, one of the most overlooked filmmakers of his generation, also passed away recently. Aside from a few outlier critical voices like Robin Wood, Cohen's work has had a great deal less critical analysis than it deserves.

Jay, Azed and guest host Omar Majeed try to do their own small part to rectify this oversight giving particular attention to the films Bone, God Told Me To and It's Alive. A trio of films that make indelible criticisms of race, religion and the nuclear family and expose cracks in the dominant social order with an acuity rarely seen before or since.

The hosts also briefly discuss Agnes Varda's death, Julian Assange's arrest and, most importantly, how Omar's recent CSA award really classes up the show. A tastefulness we suspect Cohen would have found oddly inappropriate considering his own stubborn commitment to his status as the ultimate schlockmeister.

Charlie Chaplin was, perhaps, the most beloved comic artist of all time. His Little Tramp character in the silent era was known from the US to the Far East. That's why it was so courageous of him to star in and direct this film about a "Bluebeard" killer. Set in the aftermath of the depression and just before the rise of Fascism, Chaplin's Verdoux preys on woman for their money in a coldly calculating manner stating that it's "just business". Cerebral and nihilistic, Monsieur Verdoux was a flop when it was released in 1947, partially because of its anti-hero narrative but also because of Chaplin's reputation at the time of being a communist sympathizer.  Azed and Jay discuss the finer points of Chaplin's deconstruction of the logical endpoint of Capitalism and also get into an extended discussion of the Mueller report, the current state of journalism and as always some poo and pee.