Jerzy Bondov

Haven't listened to this podcast yet, but keep hearing adverts for it. Doesn't the book actual say she tosses a "pig's pizzle" at Jude? I'm frankly a little reluctant to listen, as I really enjoyed this book (as well as the early 2000s film with Kate Winslet and Christopher Eccleston). Are they respectful to the material, or is it just one big cut-up of the "they talk funny" variety?

Just listening to the Live and Let Die episode, and let me be the first listener to heartily endorse the idea of the off week show on Smokey and The Bandit. Frankly, while I like James Bond, what I keep tuning into the podcast for is the interaction between the Matts. I'd probably listen to these two discuss pretty much any topic (so long as it isn't Frasier)! Perhaps I am an outlier, but I would definitely prefer off week shows that stray a bit from "Bond," rather than week after week of speculation on what Danny Boyle might or might not do with the next Bond. For example, I would love off week shows on lesser espionage/assassin films of the 1970s -- in particular, I believe that the highly watchable, but disturbingly sexist, racist and homophobic film, The Eiger Sanction, would make a great episode. This episode might particularly benefit from including some younger comedians/podcasters who are seeing this film for the first time. Further, I'd love to see an episode on the film, Marathon Man, perhaps with a co-host like Amy Nicholson, who can bring some gravitas and historical perspective to the discussion. And while you've touched on John Le Carre in past episodes, I'd love to listen to some off week episodes that delve further into the Le Carre oeuvre; for example, perhaps an episode comparing and contrasting the 1970s era Tinker Tailor miniseries with the more recent Hollywood remake (although perhaps this is too wonky for the podcast). In any event, I just want to again heartily endorse the concept of off week shows that deviate from Bond, and that delve into "related" areas. Am I alone in this belief? Just updating this post to allay any concerns about traversing too far afield from Bond with a quote from Henry James: "Really, universally, relations stop nowhere, and the exquisite problem of the artist is eternally but to draw, by a geometry of his own, the circle within which they shall happily appear to do so."

On the topic of the Ravenwood family's significant land holdings around Gatlin, I like to believe that these include a hog farm. And, in this regard, I believe Uncle Macon would have a line of artisanal pork products, including the best seller -- Macon's Bacon. The tag lines here might be: "Macon's Bacon -- cast out ordinary bacon and have a supernatural experience with Macon's Bacon (always nitrite-free)." "Macon's Bacon -- claim it." or "Macon's Bacon - it will claim you."

Brilliant observation - love it! Although I really want to live in a universe where Uncle Macon had a forbidden affair with Ethan's mother, which begets Ethan. And then Macon lives as an alter-ego non-caster until the mother dies in a car crash (perhaps we can assume caused by Sarafine). At that point, Macon leaves the "shell" alter ego behind to wallow behind a closed door. In this scenario, since Macon appears to have a duality between the light and dark, his dark side has sufficiently crushed or obliterated any emotional connection he may have had to his son.

For anyone who read the book, is there a bigger part (or frankly any part) for Ethan’s father? My quick Wikipedia research reflects that the father actually had a name and that he was a novelist, like Ethan’s mother. However, given the father’s absence from the movie, I thought that there were a couple of points in the film where they were going to suggest that Uncle Macon was Ethan’s father. Of course, this would make Ethan and Lena first cousins.

Long time listener, first time poster. It is with a heavy-heart that I nominate the new Netflix film by Duncan Jones for the HDTGM treatment. On the one hand, here is a talented, young director, with an amazing film ("Moon") under his belt. Further, the noir-ish atmosphere that Jones creates with "Mute," reflects substantial effort here. That said, I (and apparently most other critics) found major problems with this film. In terms of HDTGM treatment, I think a few elements that the crew might be able to emphasize include the following: 1. Paul Rudd -- are we supposed to like him, or hate him (clearly "hate him" by the end, but I really don't think this was clear for most of the movie). In general, Rudd is super-smart, talented, and he's shown range from the "Wet Hot" films to the "Shape of Things," and (a personal favorite) "Our Idiot Brother." True, he wears that mustache well (reminded me of Lee Marvin in "Paint Your Wagon"), but I think the failure to establish a tone for his character is worthy of satire. 2. For the character that I'm calling, "Not Will Forte" -- Rudd's surgeon buddy -- a key ridiculous development occurs when Rudd aggressively confronts him about suspected improprieties and then, in the next scene, they're racing in a traffic tunnel and hanging out at the mall. WTF?! 3. Paul Rudd steals nuts, insults security guard. Frankly, on the one hand, if this vignette were simply an absurdist sketch in the middle of SNL -- it works great. However, in this film, it simply makes no sense. 4. Finally, the comment that "not Will Forte" makes to the mute at the end of the film ("I cut her . .. ") -- is so over-the-top, and frankly unnecessary, but also (in hindsight) completely and laughably ridiculous. Ultimately, I suspect it could give rise to a new type of HDTGM swag, although sadly, I suspect this product already exists (I refuse to "Google" the phrase to find out). So, HDTGM community -- what do you think? Is there enough "there, there" in this film? Is it time to honor a Netflix film with a review by the gang?