Greetings and salutations! This week we sat down to talk about Jack Black’s The Polka King, now streaming on Netflix. Is it better to judge a film based on its merit or how well it serves the history it is adapting? Should Jake have just given up on credibility and done morning radio instead of whatever nonsense this is? Why did ska go away?
Listen to find out!
“These Boots Were Made For Walkin’ (and shootin’ and complementing the rest of my all-black wardrobe…)
Its Friday and that means the archived version of last night’s live show is now available courtesy of the fine folks over at KPFT. This week we sat down to talk about the film Proud Mary and why diversity in media is such an important concept. We also discuss the merits of workmanship in delivering upon expectations when walking into a film, and Jake manages to turn everything into a discussion about The Last Jedi. (Not really, but sorta.)
For the closing moments of the show, they made into the opening of the next hour’s programming:
Hola amigos! This is the very first episode of Pop and Schlock LIVE on KPFT. Their website can be a little hard to navigate and find new shows so I wanted to ensure that our fans have a chance to listen to the broadcast.
We want to again thank Don Freeman and everyone at KPFT for giving us this platform. We hope to continue to grow and improve as time goes on.
- Please note the beginning of the broadcast includes the final moments of our lead-in show “Sembrando Voces Asamblea Popular Houston.” Our show kicks in at right around the 4:00 minute mark.
Back in 2013 I had this wild idea to start a podcast. I thought it might be fun to get together with a friend and discuss and dissect terrible movies and pop culture. Over the next three years it evolved and shifted into something much more intricate than that. We had guests from all over the country coming in to talk about different aspects of pop culture and media and while I loved doing it, circumstances in each of the hosts’ lives meant that production had to shut down around the tail end of 2016.
Today I am proud to officially announce the return of the show. But things have evolved further still, and now what started as a discussion taped through an iPhone speaker will be a full-fledged live radio show on KPFT 90.1 Houston Public Radio. We are part of a digital streaming initiative that they are trying to put together and we are humbled and honored to be a part of the great tradition that station has championed for decades.
We will be airing every Thursday night at 8PM central time. I’ll be sure to give out ways to listen and support the show in the coming weeks. I am hugely excited to see what this year has in store.
Just about everyone can agree that 2017 was something of a raging garbage fire. Aside from a new Star Wars film, the Astros World Series win and my wedding I don’t think I’ll be looking back on the year with much fondness. This new year, more than any year in recent memory, is a perfect opportunity to forge a new path onward.
What does that mean for me?
Well, first and foremost I’m starting the year off by releasing Too Close to Kill, a sequel to 2016’s One Fate for Failure. I spent most of 2017 working on this project. It went through a number of rewrites and modifications to end up as the finished final product that it is today.
One Fate for Failure, is one of my favorite pieces of writing. I didn’t want the sequel to be anything less than perfect in my eyes. This is the story I wanted to tell with these characters and I am immensely proud of what I’ve put out with this novel.
Every author wants their work to be seen and appreciated, and independent artists sometimes don’t get the exposure they would like. I know that getting people to read this book might be a bit of a hard sell if they haven’t read the first installment. As such, I’ve discounted copies of One Fate For Failure as low as I possibly can. If you have an Amazon Unlimited account, it’s free to borrow and read. If you want to buy it on Kindle, you can do so here for $2.99 or if you prefer a physical copy, it’s available through Lulu for $7.00.
If you’ve read it, or you just want to jump in blind, Too Close To Kill is a Kindle Exclusive for the first month of January. After that, a physical edition will be available. I’ll make sure to give updates when an official release date is set. You can get your copy of the e-book here.
What the rest of the year holds, I’m really not certain. My old podcast, Pop and Schlock, is gearing up for a reboot, although what platform it will be on is still unclear. There will be more writing, of course, but what will it be like? That I don’t know. You’ll know when I do.
Either way, I’m looking forward to whatever comes next.
I love a good listicle. Don’t you? If you don’t, you’re probably lying and trying to hastily close that tab containing Buzzfeed’s “Top 25 Pictures of Mashed Potatoes that Look Like Taylor Swift.”
So I’m gonna do that thing I do where I tell you stuff I liked from this year, and you’re probably going to disagree with me. Feel free to slag off on me in the comments.
TOP FILMS of 2017:
I won’t order these, but these are my faves from 2017. They shift up and down depending on my mood and the rising of the tide.
John Wick Chapter 2
WORLD. BUILDING. I don’t think I have ever been so thoroughly impressed by the escalation of storytelling and mythos in a film franchise as I was with Chapter Two of JOHN WICK. Yeah, I’m thinkin’ he’s back…with a meticulously developed exercise in world-building and narrative invention the likes of which action cinema rarely seeks to attain.
I legitimately believe this might be the only X-Men branded film I will be able to watch in ten years time and still be able to enjoy. There is something about the central films; a baggage that I can’t get over. James Mangold’s LOGAN is the only entry in the franchise so far that aspires to anything beyond surface level drudgery. While there are elements of the main series that work well, I feel like they play things just a little too safe. LOGAN relies on tropes, yes, but in service of subverting them in interesting ways. I admit that that same subversion relies on lesser films in order to provide the necessary context, but the finished product stands on its own enough to outshine its origins. Heh. Origins. Now that was a terrible film.
Gal Gadot could stab me in the leg with a rusty pair of pliers and she’s so goddamn enchanting that I would probably thank her for it. WONDER WOMAN could have been a massive misfire. But instead it was the first solid entry for a DC character since 2012. Not to mention it essentially became a beacon of hope for young girls the world over who have been clamoring for female representation in superheros beyond Scarlett Johansson’s barren “monster” uterus and Harley Quinn’s hotpants.
Can Edgar Wright go back in and digitally replace Kevin Spacey with Christopher Plummer? Because I loved this movie beyond reason and I hate that further viewings are going to be marred by that flubby bag of human garbage. Putting aside the problematic element of a serial predator in a prominent role, the film is excellent in every respect. If it doesn’t snag multiple awards for editing, there is no justice in the world and that is God’s gospel truth.
Interstellar left me cold. I’m sorry but TARS and Anne Hathaway’s ugly crying did nothing for me. I appreciated the attempt at thematic weight but Nolan forgot that everything in space is weightless, just like the film ultimately wound up being. But its okay! DUNKIRK understands actual human emotion in a way that some of Nolan’s other films truly do not. The structure of the film is ingenious and the violent ramping of tension makes it one that stands apart from the glut of WWII films that have tried to engage the viewer on a visceral level and failed miserably.
I know what you’re thinking; “but it didn’t have NEAR enough child orgies!” Well, I’m sorry that it didn’t clear your bar but this is, for me, the definitive Stephen King horror adaptation. Sure, Shawshank and Green Mile are all-time masterpieces but when has King’s HORROR ever been so adequately portrayed on film? Pet Semetary? Are you kidding me? This is the real deal. What I’ve been waiting for since I was fifteen. This is the good stuff. This is the opposite of whatever the hell THE DARK TOWER was. This is dope.
Star Wars: The Last Jedi