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Tony Hale stops by the studio to record some punch up The Boys wrote for Toy Story 4.

some real wiseguys

Please note: I will be voting for this as all top 10 episodes of 2019.

OoOoOo, the work of Pawel Pawlikowski (this and to amaaaaazing IDA) break even my cold, cold heart. I look forward to pretending not to cry as I type wet, sad words with you Fine Internet People!

very good ep.

Based on geography, I have a feeling it might take a little bit for Max to tell us his pick. So...settle in everybody.

I need more MC Sugarbutt in my life. "This is a hot entrance."

I think you mean Hellmouth

OMG guys..... Totally off topic but I'm in Toronto and only a 5 min walk from the main location of Little Italy!!!! Actual set location mock-up... Naturally I had to do this:

600 minutes! Wait...

Now no more lollygagging... My pick this week is the GOOD version of La La Land straight from Poland so we might as well call it "PoLaLa Land" or "PolaLand"

Holy crap. I don't know if I would have noticed the parallels if I hadn't been thinking about The Wicker Man thanks to this board, but I think I just watched, like... the inverse of The Wicker Man? The Wicker Man in reverse? Whatever it is, it's called Apostle, it stars Dan Stevens from Legion and Michael Sheen. And it is crazy. Not Mandy crazy, but crazy. It is now on Netflix here in Grecoville.

The thing about Film Noir is that studios and filmmakers in the 40s weren't aware that they were working within this genre, it was a term applied by French film critics and not embraced by American filmmakers of the 40s and 50s. As far as they were concerned, they were making dramas. Chinatown is a self-aware, revisionist noir, consciously using the conventions of the genre, so it really cannot be placed in the same category as 40s and 50s films. Also, the films considered to be the first noirs are "The Maltese Falcon" (1941) and "Stranger on the Third Floor" (1940) - which means that Chinatown, set in 1937, takes place in a pre-noir era. The height of noir happened in the aftermath of World War II, and those films expose the dark side of the post-war prosperity. Chinatown, by contrast, is made in the aftermath of the Vietnam war, and it looks back four decades to create a narrative of corrupt institutions, and about the futility of good intentions that is more of a response to Vietnam, in the way that the classic noirs are deeply tied to World War II. So, I think it's a different dish.

In the fifties, they hadn't invented "Stop, drop and roll" yet, so if someone was on fire, they were already as good as dead. It was all very sad.

Hi, sorry I missed my cue Charlie.

I couldn't believe that Scott wasn't familiar with the term "spon-con", but then I realized that he probably just calls it "sored-tent".