Peak Viewing

The third and final musical of this miniseries gets covered this week with One Night of Love. Is this the most forgettable one from the bunch? Maybe. However, by this point we come to some genuine insights around how prolific musicals were at this time in Hollywood, as well as how much the gender dynamics of these films has to say about the 1930s. Also we have a revolutionary idea for pizza boxes and we hate opera music.

Cleopatra is the last of the “unstreamables” in our miniseries on the 7th Academy Awards, and despite its costume designs it was actually released after the Code was being enforced. This historical epic from Cecil B DeMille might be historically inaccurate and say more about 1930s society than it does the fall of the Roman Republic, but at least it features an opulent seduction sequence on a barge and perhaps the most maximalist battle montage of all-time!

(CW: There are brief discussions of sexual assault from about 48:00 to 54:00. There is also discussion throughout of a wolf being killed with someone’s bare hands, a real thing that really happens in this movie. Maybe skip this week if you don’t want to hear about either of those topics!)

This week’s film walks a very fine line between racist caricature of Inuit people, and empathetic portrayal of their average every day lives. It’s a film full of peaks and valleys, with some incredible nature photography interspersed with the worst rear projection you have ever seen. We talk about the film’s ultimately anti-colonialist message, how hard it is to see this one (unless maybe it’s on YouTube still?), and tangents about other unrelated films about bitter tea and hundreds of semiaquatic rodents.

Our second musical this miniseries is a raunchy adaptation of a raunchy operetta, it’s Ernst Lubitsch’s The Merry Widow. This one stands as a great example of a pre-Code film released post-Code, but even with the pre-Code changes restored it’s unfortunately not a very good film! Topics discussed include the lackluster soundtrack, a reoccurring poor son of a bitch, and our personal theories about how good Danilo must be in the sack. And what happened to the black dog?

Viva Villa! is a hard movie to find, any honestly, for good reason! This pretty racist biopic starring a white man as Pancho Villa is probably the most problematic movie we’ve covered, and as a result it’s not a very easy movie to appreciate. We walk through how this misguided Oscar-winning film came to be, discuss how it’s content is a good example of the pre-Code era, and read quotes from one of the greatest non-apologies in film history.

It’s time to go back! We’re starting the year off by going back 90 years and covering the winners at the 7th Academy Awards in 1935, beginning with The Gay Divorcee which won Best Song. This musical was the second of many collaborations between Ginger Rogers and Fred Astaire, but it also features a diverse cast of overbearing aunts, bumbling lawyers, and concertina-playing racist stereotypes! Listen along as we dance the Continental and try to recap a plot so bizarre it reduces us to befuddled single syllable noises on multiple occasions.

This week we’re carrying over an annual tradition from our previous podcast, and going over some of our favorite art that came out last year! Join us as we share our lists of favorite movies, books, TV shows, YouTube videos, poker games, 4X expansions, comedy shows, rap battles, board games, and much more.

The time has come to succumb to the darkness. Bunker down, because we are an appetite which will only be satiated by spending over two hours talking about the new Nosferatu film. In between discussing how this fits into both the Eggers filmography and the storied vampire canon, we also discuss the multitude of nightmarish sequences, the themes (or lack thereof), and the Count’s truly magnificent visual design. Plus: our personal choices for favorite Dracula characters in film, and the announcement of our next miniseries!

Who remembers Dracula 2000? Even having watched it this week, we struggle to recall this Weinstein-produced adaptation that features Dracula going where he’s never gone before: New Orleans! We also discuss the wonderful retail chain Virgin Megastores (#sponsored), the problems with modernizing this particular story, and the dubious science behind the cross-section of blood and DNA. Plus: what does our “dream Dracula” look like?

In many ways, Francis Ford Coppola’s Bram Stoker’s Dracula is the most faithful adaptation to the source novel. In many other ways, it is approximately ten times hornier. In between trying to make sense of those two contrasts, we also grapple with the American actors in this movie, the many physical transformations of Dracula himself, the barrage of unique stylistic visual effects, and our own personal feelings on a certain election that happened recently. (Look, we usually record a month in advance, sometimes we’re a bit late on breaking news.)