It’s finally happening. Year 12 begins here. The perfect introduction for a new Double Feature listener: Blade Runner and Fargo, the most-requested listener films from a decade ago. Eric tries to embrace the fresh start. Michael embraces the show’s deep cuts. The many versions of Blade Runner and which one best captures Ridley Scott’s vision. Double Feature gets some more Dick. What makes something a Fargo story? The Coen Brothers’ Fargo and recent Fargo television series. Coen characters, relatability, Peter Stormare, and something about wood chippers.
A spoiler-free look back at all of Double Feature Year 11. Are you new to Double Feature? This is a great place to start.
Ending the year on the most transgressive films. Those fucking kids Double Feature. The most dangerous film in recent history, Bo Burnham’s Eighth Grade. Also, A Serbian Film. If there’s a new year of Double Feature, Eric promises that Michael will stop making ten-year-old self-references. The challenges of subversive art. Pastel subversion. Presenting both parent and child as human beings. Should I be seeing this? Adult discomfort at normal childhood sexuality. School shooting practice is not normal to adults. Dangerous times in cars. A Serbian Film is a doctorate level fucked up film and smarter than its reputation would have you believe. Oh Fuck, this is a real film. The mystery. The discomfort of everyone at the most infamous scene. A Serbian Film: Really Watchable.
This are not really sequels. The craziest episode of the show. Until next week. Depression is exacerbated by the Patreon. The third, first, and only entry in a franchise. The use of deceptive film titles. Video nasties and lost film. Self-awareness in film. Why would anyone who hates dude bro films watch Dude Bro Party Massacre? The overlap of late horror film hours and early straight world hours. Using the joke title to show a gag reel. Hamlet 2 spent over a decade in the secret, mythical Double Feature graveyard. A film about the nonexistent film sequel to the play, Hamlet. Not showing you the meta film or relating to the play. Realizing you’re not good at creating art. The origins of Michael’s Soundcloud rapper career. Starting a film during the fall from grace. Eric’s imaginary friends show up in support of his art.
The Hammer and Disney journey ends with The Woman in Black and The Princess and the Frog. The new face of Hammer and Disney making A modern animated film. A pairing not based on racism. A scary ghost film. Legitimizing scares in horror. Period horror, not to be confused with Carrie. The bizarre genre of early 1900s property litigation paperwork films. The more recent history of Hammer. The Krimsey’s menu. What if Disney made a cartoon about Louisiana? If you make a cartoon character, you’re going to end up with caricatures, and it’s not necessarily racist. Probably. Maybe. A formulaic, classic Disney princess film with a black princess who gets her hands dirty and spends most of the film as a frog. A frog. The strategy of Disney characters, music, and plot. Eric’s sensitivity TED talk. Racism somehow survived two POTUS terms. Attacking individuals when voting doesn’t make a difference. The dangers of propaganda and distinction between hateful caricatures and innocuous ones. Acknowledging the time a film was made, not as an excuse, but to understand them.
A sexy Double Feature, courtesy of Kevin Smith and Darren Aronofsky, so strap in and strap on. What’s the opposite of a reward? Hatefucking? The stages and trajectory of Kevin Smith’s film career and audiences. The end of Phase 1 Kevin Smith via Zack and Miri Make a Porno. The impact of a film bombing. One man, one woman, and a porno. Does sex + a camera = porn? Coming down on the wrong side of questions. Snipping and tossing title phrases. Film title punctuation! Mother! Metaphorical actors, metaphorically fucking. Darren Aronofsky has sex with the Earth. Films that cannot work on a literal level. There is no sky pig. Beating Catholics. And beating the audience over the head to differing effects. Aronofsky’s film career trajectory.
Road movies with non-white casts. Spike Lee’s Get On the Bus and Wayne Wang’s Chan is Missing. Get on the Patreon. Spike Lee’s contemporaneous Million Man March film is a bottle film and road film. But it’s not a Circle. Spike Lee does not care for subtlety because he’s too busy being right about shit. Resolving your infighting so you can unite to fight the bigger, shared problem. Go watch Chan is Missing. Racism against Asian Americans is probably not getting fixed until we fuck it out of each other. The film that laid the groundwork for terrible, big, dumb Asian American films like Crazy Rich Asians. It was all about the journey. Surpassing Citizen Kane without getting any of the recognition for it. Chan is Missing is a perfect film with imperfect marketing. Forcing yourself to watch incredible films instead of thinking they aren’t relatable for you.
Horror, old and new. Gothic and The Changeling. Not the 2008 film. Or any of the other Changeling films. The spooky chair one and a definite article. Empty chairs that get lots of attention. Person vs House. Michael learns how to pronounce succession. The solid plots of old horror films. Choosing not to address the spooky stuff. Not giving the audience a release until the climax. Old school and modern risers. Production takes time. There are no answers to Gothic. Michael’s introduction to Gothic and terrible cuts of horror films. Eyeball nipples. Music that’s excited to be in the film. You cannot simply be told what Gothic is.
Films about characters driven by the absence of agency. Tokyo Drifter returns as Jee-woon Kim’s A Bittersweet Life. A loyal enforcer who fails to do his job by doing the moral thing. Flexing on ’80s street thugs. Dudes be fighting and toxic masculinity. Having the choice to escape and have a better life. Eastern versus Western mob movies. Passing up the chance for redemption. The Coen Brothers’ noir flick, The Man Who Wasn’t There. You know, for kids. A barber who cuts hair well, but does everything else wrong. Thinly-veiled stories about the film industry. Financing films and Eric’s life as a filmmaker. Grifters as inciting incidents. Good old dark grey-blooded Americans. The masculinity of the ’50s. Fate happens regardless of your actions.
Visitors from afar come to John Carpenter’s Starman and Takashi Miike’s Visitor Q. Observing humanity from a non-human perspective. John Carpenter’s Starman fits right in with his other early films. The original Jeff Bridges uncanny valley. Movies where aliens just try to get back to their spaceships and leave mankind alone. Everyone still remembers Run Fatboy Run. The significance and impact of Carpenter’s career and films. Takashi Miike is the best, even after over 100 films. Visitor Q forces the audience to accept everything it presents to them. Making as many films as Miike forces him to be an experimental filmmaker. Shooting film on early digital cameras to look like a home movie. Has necrophilia been on the show before? Making something as fucked up as possible to get people talking about it.