1. (Source: sheriffmac, via itsalwayssunny)


  2. kubrickcast:

    Dr. Strangelove (Part 2)

    We’re back today with the second half of our discussion about Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). In this installment, we move on from the characters and actors to explore the film’s themes, including whether mankind can control itself, let alone the machines it creates. Plus, who was more accurate about the U.S. Cold War military stance in the 1960s, Stanley Kubrick or the White House?; true stories of bad behavior from the U.S. missile command; the critical and box office response upon release; Kubrick’s cutthroat competition with Sidney Lumet’s similar film, Fail-Safe; Dr. Strangelove’s wry take on masculine sexual insecurity; Bill’s recap of reading Peter George’s Red Alert, and the tragic tale of its author; and the film’s enduring legacy in comedy, in popular culture, and as a commentary on U.S. national security in a post-Edward Snowden world. (1:07:41)

    Links for Dr. Strangelove (Part 2)

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  3. "If you need a job and someone offers you a job, take the job. Working is better than not-working. Then, four years later, start your own media empire with someone you met on the Internet."

  4. "One of the funny parts about spending way too much time on the Internet is that sometimes you initially agree with a criticism, but then everybody starts talking about it and tweeting about it, one-upping each other with hotter takes, and eventually the opinions get taken so far that you can’t help but double back and start defending what you were initially criticizing."
  5. this is fantastic

    (Source: cyanotter)


  7. kubrickcast:


    We’re not Spartacus (1960)! In our fifth episode we contemplate a big, ambitious and flawed Stanley Kubrick film which in most respects was not a Stanley Kubrick film. Hired by star and producer Kirk Douglas, buffeted by studio execs and cranky actors, subordinate to the expectations of a four-quadrant Hollywood epic, Kubrick made one last “one for them” in Spartacus. After a grueling summer-long shoot, he delivered a three-hour picture considered a classic by most but not one he was happy with—and not one of our Kubrick favorites, either. That said: this is a big movie with a fascinating background and plenty to talk about, including: the relationship between Spartacus and the Red Scare; how this film stacks up against later Hollywood epics like Braveheart and Avatar; Peter Ustinov: The World’s Most Interesting Man; plus, why Spartacus couldn’t have happened in the smartphone era. Starring Kirk Douglas, Laurence Olivier, Peter Ustinov, Jean Simmons, Tony Curtis and Charles Laughton. (1:07:55)

    Links for Spartacus:

    Please consider reviewing KubrickCast on iTunes and following us on Twitter (@KubrickCast)!


  8. "They don’t hire a lot of guys who run around saying oligarchy. Many times a boss will call me and say “I’ll have to let you go” and I’ll say “Why” and they’ll say “Well you sell more than everybody else at the plant, but you’ve been saying Oligarchy in the break room too much at lunch. In fact the suggestion box is filled with pieces of paper that complain about that.” And I’ll say “well sir, Oligarchy, holy fuck” and then I know it’s time to pack up my duffle bag and hit the lonely road."

  9. boom! this was one of my favorites.


    Paths of Glory

    The fourth edition of KubrickCast centers on Kubrick’s breakthrough picture, Paths of Glory (1957), a sharply effective anti-war morality play starring Kirk Douglas as a French military officer defending the lives of three of his men against the vindictive generals playing God to make a point. One of the least likely films you’ll see about the perils of middle management, Paths of Glory was a linchpin in Kubrick’s developing career and is still considered a classic today. Plus: where Adolph Menjou is really from, lots and lots of snare drums, and a new KubrickCast record for references to The Wire in one episode.

    Please consider reviewing KubrickCast on iTunes and following us on Twitter (@KubrickCast)!


  10. Look what we did!


    Killer’s Kiss

    In the second installment of KubrickCast, Bill and Renan consider Stanley Kubrick’s Killer’s Kiss (1955). Set in mid-century New York City, it’s the tale of a down-on-his-luck boxer, the fetching dancer who lives across the way, her tough guy boss, and a mannequin factory whose owner is about to file a big insurance claim. Plus: how it compares to Kubrick’s early documentary short, Day of the Fight; how New York has changed (and stayed the same); the fundamental enigma of Frank Silvera; and the now-forgotten feature film about the making of this film.

    Afternotes: So, we were right about the film being shot in old Penn Station, or at least partly right, since we weren’t entirely sure. And apparently wrong about Grand Central. Or, Bill was.

    Links for Killer’s Kiss: