Everything is Gay (Even the Straight Stuff): Recent Episodes
John McDonald
John, an American playwright, and Magnus, an English author- talk about things from all across the pop culture spectrum, with a queer bent. Just two gay men chatting about: things that they hold dear, why they endure or flame and flicker out so briefly, those that at times frustrate/disappoint them, and relive some favorite pop culture shows and moments for all to enjoy. Pour yourself a mug of tea and join us!
Bonus: Currently, a month after premiere- episodes are being archived to youtube to help create community. Join us! https://www.youtube.com/channel/UCphrsy1sA1TN9SKmuAMO_hg
It might be the only Batman film that has its own apology tour. One of the most requested episodes John and Magnus have ever done, they break down what went right, what went wrong, and what went very gay for Batman and Robin.
As we told Lady Freeze before we pulled her plug - "This movie isn't nearly as bad as you remember and the critics kept saying it was. Though the toy making influence is heavier than it needs to be."
Is Batman 89 the perfect Batman film? Might it even be the perfect superhero film? Perfection is in the eye of the beholder, of course, and while beloved - this film is certainly not without controversy.
But what Batman 89 gives to the world is a tie from the past of Batman's noir lore that will give Batman and other heroes the permission to be more than the sum of their comics parts even into the current age.
And with Burton at the helm to work his magic, even Vicki Vale manages to survive in a world that hasn't always been kind to her. Batman 89. A Short for your pleasure.
Holy camp, Batman! Dare we say in this chaotic, ostentatious version of Gotham City - is this the straightest Batman yet? And what is this in response to? Why is this Batman so different from any other film version?
And is 35 minutes enough to truly understand how we got to this version of Gotham? Both John and Magnus say yes. Start the road trip, it's time for Summer Shorts.
When you think about teens and pre-teen shows in the 90s, what shows do you think about? Specifically, do you think about the diverse representation of girls in the shows? Do you think about the tropes? Do you think about what new norms they brought to the realms of sci-fi and fantasy?
And do you think about still known mainstays like Ocean Girl? This 1994 ecological epic sits squarely between the Land of the Lost remake and Stargate: SG-1 in terms of fantasy/sci-fi television. And with such a strong female lead makes one wonder - were female tv protagonists in the 90s just better in some ways than the ones we have now? Did they represent more? And what kind of legacy has Ocean Girl left on our watery world?
As we celebrate Magnus' birthday, it's time to talk about one of the most famous sitcoms of all time with one of the most well-known, self assured, and yet farcical characters of all time. Is Keeping Up Appearances the perfect sitcom? In many ways, yes. But between a premature departure of its main star and fighting between the director and the writer, it could've all gone wrong.
Hyacinth Bucket (pronounced Bouquet, if you please) has meticulously attempted to craft a world around her. And that meticulous crafting is always subject to going wrong. Especially when her family and friends get involved. But the thing is- with all her affectations and misdirections- Hyacinth who dreams of an upper class British life is a woman you can't help but love. Just a little.
Her son Sheridan feels the same way I'm sure.
The return of Summer Shorts may be imminent or may be as far away as summer itself. But all that is up to you. Which Batman live action film would you like to talk about the most?
Are you a Bale bat or does Burton's vision of Gotham city still hold your imagination? What about the awakenings you may have gotten from Clooney whose apology tour for his own Batman seems neverending?
The Batscussion is in your hands, listeners. And we are taking your requests.
Just a quick episode on probably the most iconic movie of the late 90s. It has everything. Homoromanticism, Jared Leto getting beat up, bunk beds in decaying basements, Edward Norton discovering self help groups, and people woefully misunderstanding the point of it all.
What are John and Magnus discussing? How about the sexy, gritty, and anti-capitalist Palahniuk/Fincher fever dream known as 99's Fight Club?
It truly is a film about love that dare not speak its name. With great intention. And it may not be about exactly what you believe it is (at least according to John).
In this episode, John and Magnus tackle two rather big questions. The first is why does Netflix keep cancelling so many shows? At what point have they had too much cake and tried to eat it too?
The other question is whether a style or genre can get in the way of a show becoming something great. Q Force (or Queer Force) is a great example of this. Is it a show about gay underdogs who happen to be spies or is it a show about spycraft where the main cast is mostly gay?
The ten episode season of Q Force doesn't seem to answer that question and leaves a lot of stones unturned. Though there were great moments, did the tone work? Did the sure fire producers and voice casting succeed? And what would've happened if Twink had truly been the main character we deserved?
All good questions and perhaps some answers right here at EiG.
What's one of the first movies that made you think about film and about your life? What's one of the first films that is intensely intimate for you?
For John, there was no greater film for his birthday month and for a conversation about star-crossed lovers quite like 94/95's Sum of Us. It's a seminal film with young Russell Crowe playing a gay rugby plumber at that age in life where libido is still enough but soon there's so much more.
It's a film that's still prescient and adds a lot to the conversation about both how things are adapted from stage to screen and also what happens when good representation happens. It's a movie about family dynamics and love. It's probably one of the best lgbt films ever made, at least in John's opinion.
And it's the sum of us.
It's a funny thing what streaming services give and take away. And this coming of age story from the 1993 wouldn't have been a success nor had its longevity without living in a pre-streaming world where syndication made it a household favorite. Do you think Sister Act 2 would've survived making less money than its predecessor with less accolades from the critics?
Truth be told, and you can't lie to nuns, Sister Act 2 is a movie about legacy (on and off the screen), about community, and about what happens when nuns stop being pious and start getting real. Or something like that.
Join in for a celebration about the movie that launched a thousand careers, a lot of choirs in Japan, and that is probably Whoopi Goldberg's most consistently asked about film.
La, la, la, la, la, la, la, la, lah.
But it might not be the 90s you expect. What show would you say focuses on two long lost lovers meeting again after years and lifetimes apart? What if John and Magnus told you it was on the BBC? What if John and Magnus told you it was in the top 30 of Britain's Best Sitcoms?
As Time Goes By is an exquisite sitcom. It has a vintage feel and its filled with loveliness and conversation. Even the misunderstandings are talked about. And truly as a platform to introduce Judi Dench to the nation did it succeed. If you haven't seen it, it'll be on Britbox. And you are welcome for nine series of fun and warmth (the tenth series isn't really a full final season).
And in thanks for you being a loyal listener, John and Magnus have something special planned for after the wrap-up in thanks for you being so patient in delivery of this episode. So please do stick around.
Music is "Fill the Beat Chilled Wave" from Pixabay, royalty free music.
It may seem improbable that one of the most influential ill-fated queer love stories of generations happened in Wyoming. But the vistas, the silence, the things unsaid - made it the perfect place for Brokeback Mountain.
Not just at the height of Ang Lee's directorial power (though John enjoys another of his movie's quite a bit more), with a cast of many actors still going strong - Brokeback Mountain is the sort of movie to redefine several genres while making sense in the compendium of American pop culture history (especially westerns).
We didn't know how to quit it, so we had to make an episode about it. Be warned though, the movie itself is harrowing and brutal in spots, so whatever trigger warning you need - the movie is real and honest and violent at points.
You've probably lived your whole life seeing It's A Wonderful Life during the winter holidays. It's a schmaltzy movie about a man who a town rallies around with some edges of a raw psyche where Jimmy Stewart really does explore the darker side of post-war America (this episode is explicit because of the darker themes).
But it's not about the movie. It's about how it wormed its way into pop culture and especially tv pop culture. In this season finale, John and Magnus examine three episodes heavily influenced by It's A Wonderful Life
Season 5 of Boy Meets World's "A Very Topanga Christmas"
Season 8 of Family Matters "Father Time"
and Season 2 of Growing Pains "The Kid"
to examine how sitcoms use both the holidays and familiar film tropes as shorthand to tell moral tales with no wiggle rooms that sometimes miss the mark of their own message.
So grab your favorite holiday beverage, tune in, and try not to cringe too hard when John means to say It's a Wonderful Life and starts to say It's A Small World instead. There was a lot of eggnog imbibed during the recording of this episode- so thank you for your patience.
For the longest time, it was the second highest grossing holiday film ever. An adaptation of an adaptation with a high list comedic powerhouse at its helm and Ron Howard in the directing chair, The Grinch 2000 could've fallen flat on its face.
But as John and Magnus discuss, it is a rather complex tale about power, othering, consumerism, and even the trauma that goes along with being insightful. From great casting (even outside of the Grinchian makeup chair) to thoughtful live action techniques to the joy of Christine Baranski's Martha May Whovier - the Grinch is a classic that could be on rotation year round.
And it's a fever dream John and Magnus wouldn't have any other way.
Hi! My name is American Ken and my job is podcast. This is my co-host, British Ken whose job is also podcast. We're here today to talk to you about the Barbie movie.
From its philosophical underpinning to both its hilarity and tragedy to just a couple of moments that bugged us slightly. We are Ken and Ken and we love pop culture! And horses.
This episode is marked explicit because American Ken goes on a bit of a rant about Earring Magic Ken and how screen accurate they should've been.
Looking towards Christmas and the bridge between a night of terror/holiness (depending on when you stop watching the Night on Bald Mountain Fantasia sequence) - John and Magnus decided to talk about films with a large cultural impact and thus a conversation about the world of Nightmare Before Christmas was born. From now annual Hollywood Bowl romps to a variety of dvd/bluray/4K options. From cosplay to Haunted Mansion overlays - Nightmare Before Christmas is possibly the most protected yet merchandised, most occult and yet most moralistic of its stop motion ventures, and its certainly one of the most celebrated on its sleeper hits.
But how far does the culture go? What questions about who we are and how we live and what we celebrate does it ask? And will the Long Live the Pumpkin Queen sequel book be at least as good as the Nightmare Kingdom Heart Levels? Are the adults in Nightmare an homage to the original Muppet Babies cartoon? All these questions and thoughts (and more!) on another episode to warm your heart. Long Live the Pumpkin King!
Since nothing is spookier than change, John and Magnus decided that the best way to spook the listeners is to switch up the format of Everything is Gay a bit (every now and then).
In this format change, Body of Work is all about one actor and the work we've both known them for while also learning a few new things about them.
Combing through the career of eccentric horror actor Matthew Lillard, John and Magnus get to look back on a career that includes Shakespeare, punks in SLC, mysteries on Scooby Doo islands (both live action and cartoon), iconic 90s slashers, as well as the impossible basement of the 13 Ghosts house.
It turns out, in one way or another, we're all fans of Matthew Lillard. Whether we want to be or not.
Are you in love with found footage horror films? Or were you once upon a time? Then join John and Magnus through a trip down memory lane. Or perhaps memory present.
John begins with a bit of history of the found footage film, starting with a very famous and mostly somewhat still banned film from Italy. And then skip to 1999's very popular and one of the first Internet led successes with The Blair Witch Project. And while there are many other found footages between then and now - Magnus interjects with found footage video games he really loves like the Backrooms.
Along with suggestions, John finishes the episode strong with one of his favorite new found footage recommendations - the slick and still ongoing Hell House series (with a shoutout to Gonjiam: Haunted Asylum from Korea and the V/H/S series). Which leaves John with his favorite finale question: Which found footage horror film is your fave?
15 years is an eternity in television. It is very rarely reached in dark American fantasy. And yet, that is what Supernatural did. A show about brothers criss-crossing the country and fighting monsters of the week. And then demons.
And then angels.
And then one very special angel.
It's time to talk about Destiel - the couple that almost were, never were, were definitely canon, couldn't possibly be, were the most aching slow burn subtext of the century - and it was all made/not made possible by acting, writing, production staff, fan service, bitterness against fans, and several remarkable episodes and outside relationships that changed the way some fantasy viewers saw masculinity and the search for self.
How did John and Magnus keep this discussion about Dean Winchester and Castiel to under two hours? No idea. But here are the results!
Every now and then, it's nice to refresh the voices you hear talking about what you love. In the case of our Halloween kick off, and since there's nothing spookier than change, John invited their friend Elizabeth on to talk about 1985's Clue.
A movie that took time to become an iconic classic. A movie you've seen on tv, on dvd, on streaming services. A movie you've quoted endlessly with your friends probably. So what is there left to say? What is there left to uncover? Can you spend a whole podcast episode just reminiscing about why you like a thing?
The answers may surprise you and to make a long podcast short (too late!) listen in and find out as Elizabeth and John discuss Clue! Let's Shake, Rattle, and Roll!
This franchise was a revolution but perhaps it was almost too much. It changed the way fans looked at indie horror and grabbed onto the imagination of thousands that dug through its codes and previews and games looking for clues. It was something fresh and new and frightening. It was jump scares and changing posters and a feeling of being trapped.
But as John and Magnus discuss, for all the good of the start of Five Nights at Freddys, it does have a few warts. From its title character being little more than a helper role as the series moved on to insight about the Afton family actually making Spring Trap much less frightening to if its movement from horror with a sci-fi twist to sci-fi with a horror twist was maybe not as interesting and beneficial as first thought-
It's Five Nights at Freddys. Nine games plus, countless books, more merch than you could shake a stick at. And somehow still compelling. Still something to talk about and dream (nightmare) about. For better or worst, it changed the landscape of neohorror and we're still very enthralled.
Along with John and Magnus, come and Lay All Your Love on this classic and fun jukebox musical. From 1974 when the band ABBA entered our hearts via the Eurovision song contest to a film musical that invited you to envision yourself drinking and loving on the beaches of a private Grecian island - Mamma Mia is all you want and more.
It's not even just about the story, it's about the culture and the time period and an unexpected celebration of joy and caring. It's a musical that knows exactly what it is and even its missteps aren't large enough to tank it's beautifully femme dream of free love, dancing, and Meryl Streep in thigh high platform boots performing as Donna and the Dynamos.
If you're looking to talk about another summer film where the cast and crew had a good time but still leave a heartfelt message and even leave a safer masculinity than before when done - Mamma Mia is gonna be your next beach hit. Especially if you like turquoise and white.
If you thought John and Magnus were done with Fran Drescher after a Summer Short about The Nanny, you were sorely mistaken. The Queen of Flushing and of self actualized but still incredibly femme queens everywhere also had a rom com film work called Beautician and the Beast. And though it sounds like Beauty and the Beast, its more a fun homage to moonlighting type romances ala The King and I.
Tune in as John and Magnus discuss why self actualized women make movie reviewers uncomfortable, how being true to yourself can inspire those around you, and why just because a film is a cotton candy genre piece - it can still be meaningful and have an audience that loves it dearly.
Also, Joy Miller is just a fun name to say with an Eastern European accent.
While you're on vacation (at least in your mind) and looking for some lighter summer fare - consider this new entry from John and Magnus. Shorter episodes for summer to be shared about the beautiful and often lighter side of pop culture.
They begin with an episode about love and growth and family. From 1993, the Nanny brought Fran Drescher into our homes and made everything just "Fine". From the theme song to the grand staircase to a show about love and family and everything inbetween with great callbacks to sitcoms of years gone by - it's no wonder that not only can you still find The Nanny in syndication and streaming but quite a few countries became inspired and made a The Nanny to call their own.
Truly, to go from a bridal shop to Broadway isn't just a thing to celebrate but it's a great way to bring hope and joy to the world. Go ahead and sing the theme song as you open the episode. We know you want to.
It is fitting that it takes a trilogy to talk about all the men of Marvel, both the villain and the hero. Leaving off on the rise of Holland Spiderman, there's tons more for Magnus and John to explore.
Ideas such as why Ragnarok succeeded and how bringing Loki back into the MCU fold was a win (but also a distraction), how the queerbaiting hit its highest arc in arguably the worst MCU films (both of the Avengers war movies), and how -when Marvel wants to-
They produce art like Black Panther and Venom and what both those properties mean individually for the MCU franchise. Not to mention the wasted potential of diverse and very X-men like New Mutants (which John is imploring you to see).
For all of it's good and bad, there's no way to argue that Marvel and its beefcakes haven't left an impression on us all. And where it goes from here? Well, more streaming than big budget movies it seems but those are still around for those who love such things.
John and Magnus hope you loved this trilogy and everything discussed therein because it was a lot of fun for them!
When people think of the Marvel Cinematic Universe, they often think of Phase One and beyond. And now with Tobey!Spiderman, the origin of Robert Downey Jr's Tony Stark, a successful Fantastic Four film, and several other indie hits in the past - Magnus and John discuss the leading men of the Marvel Movies Studio Golden Era, as the movies came fast and the phases weren't quite yet blink and you'll miss it.
Such like the way MGM in the 1940s produced their stars, John and Magnus discuss things like - missed opportunities with Garfield's Amazing Spiderman, Steve and Bucky, the continued descent into realism that handicaps what a superhero movie has the potential to be and move swiftly into the introduction of the heir to the new Marvel throne with Tom Holland.
There's also a bit of a Pratt diatribe that John has kept bottled up but that's taken care of relatively succinctly. The only thing that keeps this episode from being three hours long is the mutual agreement that the young X-men series and Deadpool will be talked about elsewhere. Because there's just too much content to get through it all otherwise.
And anyways, why talk about the hunks of the Marvel movies universe and not make it a trilogy? More on Holland!Spiderman, the leading hunk of Venom, and the introduction of some much needed diversity into the Marvel leading men universe as the trilogy comes to its probably none too startling conclusion.
We're wishing Magnus the happiest of birthday months in a way only we here at Everything is Gay (Even the Straight Stuff) can. With a quickfire retrospective of the hunks of the MCU (in at least two parts, we found out while recording episode 1).
In this episode, we start in 1986 with the first official MCU movie (Howard the Duck) and quickly discover the first hunk is Stephen Dorrf's Deacon Frost in Blade (at least by John's account - and maybe Randy Meeks' artwork). Magnus and John spend time reminiscing about Fantastic Four's Johnny Storm, that scene in X-2 with the beer bottle (though John always thinks that particular Bobby/Logan scene is in the first Xmen film) with the beer bottle and move through several films right up into Iron Man and Captain America: The First Avenger.
But these musings leave just as many questions as affirmations. Is Marvel being used to build a new MGM style studio system that Thor and Iron Man were the first major inroads of? What harm will backstage beefcakeness like Hugh Jackman went through in the Wolverine movie cause? What would've been different had The Amazing Spiderman not been released in the same year as a big Avengers film? And why do certain male pairings get sexualized and others don't- even with nearly similar content (we're looking at you Tobey!Spiderman and Franco!Goblin). All these and more as the quick run through the Marvel movie verse begins. In honor of Magnus.
Enjoy the beefcake and have a Marvel-ous time. Oh- and don't forget John's episode finale question: Who is your (up to 2012) Marvel hunk of choice?
Nothing really better encapsulates the idea of the horror musical better than Sweeney Todd: The Demon Barber of Fleet Street. Starting out as a sensationalist penny dreadful short story for the working class of 19th Century Britain to being the toast of 2023 Broadway, there's been very few years since it's new villainous life as a Sondheim black operetta in 1979 where it wasn't in some stage of being staged somewhere in the world in some capacity.
And it shouldn't work. There's no happy ending. There's no catharsis. It's barely a cautionary tale, more of a fable than anything. It is a world broken and dark and mechanical and unforgiving. Taking place alongside the morbid realities of doomed student uprisings ala Les Mis, it's a show that nobody survives intact. And in fact, the lucky ones really don't survive at all.
From star turns to unknown cameos to actors making their mark, the dark fever dream of Sweeney Todd threatens to make you complicit in the wit and black humor and oppressive revenge seeking that is its hallmark. And you'll love every minute of it. As they say in the stage version (though not the film musical) - Attend the Tale of Sweeney Todd.
2008 was as much a time of upheaval and change as anytime in American history. And usually these times of upheaval and change are accompanied by changes in prevalent art forms. So when Repo! the Genetic Opera followed in the footsteps of Hair (and Tommy) and the Rocky Horror Picture Show, it wasn't a big surprise - though with the creators' intent to not do traditional advertising, its own growth was much slower than perhaps it would've been beyond the traveling road shows.
But Repo! the Genetic Opera is not an opera for just anyone. It's an opera for those who want to see a former Spy Kid playing innocent, naive, but very strong in a babydoll harajuka style. It's for those that yearned to see Giles go dark as Ripper as Anthony Stewart Head turned into a Legal Assassin. And it was for those who love Sarah Brightman and Paul Sorvino and weren't afraid to risk seeing something unusual in order to follow their art.
Repo! the Genetic Opera is about dystopia. It's about the idea that we live on an island atop dead bodies we can't see and though there is death all around us- we want more. We want to Chase the Morning. It's a movie that hit for those in 2008 that were living in a cycle of endless calamity and war (a cycle ongoing) and needed something to turn to that spoke on such a subject in a stylized and somewhat graphic way. And it's a movie that they think about to this day, somewhere in the back of their brains.
Thought it is imperfect, even in its imperfection- there is a vision. And it's easy to see why actors follow the creators of Repo! the Genetic Opera into future works like Devil's Carnival. Because it's distinct, its satisfactory, and it's for sure a ride that you won't take from anyone else. So grab your glass vial and point where you want it to go against your anatomy and spark so you're ready for surgery (surgery).
Why Women Kill was tailor made for the start of the pandemic. A show about sensational idealism focused on sex and murder across three eras of Pasadena with three female leads? What's not to love while stuck in your house with a box of Cheezits? Add in powerhouse acting from Once Upon A Time's Ginnifer Goodwin, Lucy Liu (of Elementary fame since this show premiered on CBS), and Kirby Howell-Baptise fresh off a turn during the final seasons of The Good Place and there was definite magic in the storytelling era.
Even for a fantasy show with salacious bits, it certainly isn't perfect. And even with queer content, Why Women Kill is almost proof that there are certain things that heterosexuality gets away with that queerness still can't in modern pop culture. Ironically, things that it has done before to great and new acclaim.
But for good or for ill, Why Women Kill is a sensational anthology modern masterpiece. Dripping with color, intrigue, and just enough blood to satiate the thirsty, there was very little keeping it from future success. Well. Maybe changing streaming services for season two wasn't the best idea.
Since April is John's birthday month, there was little discussion about the theme for April and more discussion about what would be talked about. And for John, one of the most important and formative movies of the 90s for him was 1998's Pleasantville. From the brain of Gary Ross, Pleasantville was a casting dream with theming both on the surface and deep beneath. It's a narrative about repression and finding yourself. It's a story about rebellion and the teenage years but also a story about the truths (and lies) adults face.
Pleasantville is a story about a black and white world not nearly as black and white as it first appears. And as a feminist piece (or at least a late 90s feminist piece), a sneakily queer ode to self (any movie with a mirror scene it likely qualifies), and a sweet perfectionist blend of 90s pastiche and the absolute obsession with the mythic 1950s Americana 'Norman Rockwell' style life, it's a deeper movie than anyone could ever guess.
And featuring some of the most uplifting yet heartwrenching scenes in maybe any movie anywhere, come with John and Magnus on a tour of Pleasantville old and new in order to celebrate the old and look forward to the new. Of course, nothing is as black and white as it seems but at least there are jars of olives.
This episode asks - if nothing here is real and nothing here is right- then why is everything so right? Because this 2001 musical episode of Buffy the Vampire Slayer entitled "Once More With Feeling" is one of the most iconic and well produced episodes of television that has ever been and may never be eclipsed for its poignancy, heartbreak, musical score, character interaction, and one off villain.
After John and Magnus acknowledge that you can't talk about Buffy without talking about the long shadow of Joss, the episode dives into where Once More in centered within the Buffyverse and why such a cult classic with such a cult and genre focused ideology worked - both in its time and still in current times. And event when not everything ages well, Buffy episodes like Once More are high pinnacles of tv with a ton of rewatchability.
Listen in as John breaks down why even though Walk Through Fire and Bunnies are iconic, why Standing/Under Your Spell (repriese) is potentially the most important moment in Buffy canon and why the reveals in Once More are so integral not just to where Buffy has been but where Buffy would go all the way up until the finale. This episode is true Buffy bonanza! (Well, at least until John and Magnus talk about the whole show)
This tv telecast was no frail and fluffy beauty. This telecast was a thoughtful, whimsical reminder of where we've been and an aspirational hope for a multicultural future. Not just an event when it premiered to kick off the return of the Wonderful World of Disney, 1997's Cinderella was a passion project for all involved and it was clearly a moment of joy and affection and story that both influenced further iterations and left some past Cinderella tv telecasts in its shadows.
John and Magnus are here to dissect, inform about some wonderful behind the scenes moments, and give praise where praise is due to the masterwork of Whitney Houston, Brandy Norwood, Whoopi Goldberg, Jason Alexander, Bernadette Peters, Victor Garber, Veanne Cox, Natalie Desselle, and then newcomer Paolo Montalban.
What makes this movie so magical and special? Perhaps it was the music, some of which was brought into the Cinderella for the first time. Perhaps it was the chemistry of the leads or that it feels so much like a true ensemble cast where each gets their chance to shine. Or perhaps it was the scene and set design- blending the fantastic with the reality of the moment. Whatever it was- it will always truly be- Cinderella 1997. Impossible? Never.
2007's Hot Fuzz is many things. It is neo-western. It is folk horror. It is buddy cop. But it is not a parody (according to the creators). What it really seems to be is an affectionate love letter and deconstruction of tropes just as its 2004 predecessor Shaun of the Dead was for zombie fans. John and Magnus talking about these two films in succession shows you both how closely linked they are and yet how fresh Hot Fuzz is and how much it stands on its own.
So saddle up with your best deputy, head into the town square, dodge the crusty jugglers in the catacombs, and get ready for the high speed (swan) chase of your life. That or have a quiet evening at home with your Japanese Peace Lily. Either way works just fine!
What if a movie about zombies really isn't about the zombies at all? What if it is about coming of age, about Gen X and the idea of slackers? What if it is a treatise about loneliness and masculinity and learning how to communicate and put up barriers? That's what John and Magnus are proposing is the message of Shaun of the Dead (2004).
It is a movie about zombies but it more has a Night of the Living Dead Romero vibe wherein the zombies are the story but they are also not quite the point. Can a story about a slacker trying to save his relationship and sort out his life be more? Shaun of the Dead proves that it can be.
Part of the Blood and Ice Cream or Three Flavors Cornetto trilogy, a conversation about a lost generation begun in 1999's Spaced becomes a much beloved cult zombie movie and an iconic beginning of a cinematic trilogy. And John and Magnus are definitely here for the humor, the wit, the grotesqueness, and the foreshadowings.
Whether it's a 97 release or a 98 release (technically Boxing Day 1997 in the UK) Spice World is really not a film for everyone. Though initially it seems to just cater to those who love the pop and power ballad playfulness of Britain's seminal girl group (sorry Little Mix!), Spiceworld is a comment and critique on so many things. The music industry, feminism, the power of friendship, the power of film and media in general, and even the power of the flash back and flash forward.
Spiceworld is a movie that is both serious and silly. It's camp and drama. It's a mockumentary but it's also an advertisement tool for an album (or vice versa). It's all those things and more which is why often you find people really love it or there'll be those who find it to simply be Too Much.
In whichever camp you live in, it's undeniable that the themes of Girl Power, tongue in cheek play, and the unused script idea that would become Viva Forever! (a totally not Spice Girls jukebox musical) is not something you can ignore. And maybe that's all for the best.
It could've been a flop, but instead it was a transformative hit. Not your usual action movie from a franchise that's been running since 1979. It spent 11 years in pre-production, had to recast the iconic main star, and faced a world full of remakes, reboots, and reimaginings. So what made Mad Max: Fury Road an inspiring hit? What gave it the thoughtfulness and strength to make it stand out?
It was a million different choices - from casting to editing to sound to location to transformative themes - that brought a new standard to action films in the 2010s. Though perhaps its story goes beyond the action. Mad Max: Fury Road is a symposium on themes of home, feminism, and the future. Listen in as John and Magnus talk about it.
And hold on to your hats for a special mid-episode break where artist Britta K breaks in to talk about the feminist themes and more in the film. Are you ready for a Britta break? We hope you are!
So what is The Santa Clause about? Is it the story of a divorced dad becoming Santa who just happened to be played by 90s grunting funny man Tim Allen? Is it a divorced kid's power fantasy where Charlie Calvin gets to be the son of Santa as a reward for putting up with divorce? Or is it a much deeper, sadder, stranger movie than anyone really sees?
Yes, there's Bernard the elf who is superb. And a massively underutilized Judge Reinhold. And the fantastic world within a world hidden Christmas city. There are silver goblets for hot cocoa and puppet reindeer named Blitzen. But there's loneliness. There's Scott Calvin on an island by himself being willed into being Santa because of some legalistic mumbo jumbo hidden on some card stock that he is powerless against. From the outside, it's a breakdown. Even if the inside is magical.
Whatever the case, come in by the magical fire, spin your snowglobes, suspend your questions about the reality of Santa, and get into the Clause of it all (toy tank nor hot fudge on the side included).
Bob's Burgers is the kind of pure Americana (even in cartoon form) that some aspire to. Between the earnest weirdness of the kids, the day to day mundanity of adulthood punctuated with brief bouts of running, and the mixing of blood and found family to create something unique- Bob's Burgers is a rare show that calls to many and does what few others can do.
And nowhere is that more evident than in the winter holiday episodes. Specifically, John is highlighting his favorites - Last Gingerbread House on the Left and The Bleakening Parts 1 and 2. From Teddy's ability to move the plot along with a story to Linda's ability to great magic and zest from nowhere to Tina as back-up on a reprise of The Bleaken Is Gonna Wish He Was Never Born - Bob's Burgers just doesn't give us the holidays as usual. They give us the holidays as Bob's.
So bring your favorite albino polar bear for a cuddle, get those hazelnuts ready for a winter night's salad, and gather up your Bleaken kink gear because it's time to talk Bob's Burgers in the winter holidays.
You've seen the Kermit memes. You've probably watched the film. Now listen in as John and Magnus sip mugs of hot cocoa and bring the festive season to an open with a work of art that some deride as saccharine - which isn't as bad a word as people like to think it is - but others uplift as theatrical tradition, ghost story, and a movie with incredibly heart and intention.
1992's Muppet Christmas Carol is a fantastic piece of film musical history that was almost lost to time after a bad box office year versus Aladdin and Home Alone 2. But through it all, the message and the artistry kept bringing families back to it. From the music to the humor to the Muppets understanding the assignment (as they so often do), Muppets Christmas Carol is a movie that just gets better with each subsequent watch.
Don't believe that? Just try to pop it in and do something else. You'll be back on the couch before Kermit sees a brilliant evening star.
Turning Red is a movie about love. But remarkably, it's not a movie about choosing to love romantically. It's a movie about loving yourself, loving your friends, and even loving your imperfect family. Despite how little the trailer shows of the actual gem and conversation of the movie itself, Turning Red will be the underrated gem of the Pixar universe in 20 years.
If we're still doing internet videos at that time, that is.
From first blushes of desire to first blushes of truth, Turning Red is a movie with heart, humor, and warmth. It may not be made exactly for you, but even if K-pop like boys groups aren't really your thing and you don't have to sweep your family's temple daily- there's still so much here to relate to and talk about and enjoy. It's a pastel saturated dream world and it's wonderful. If you loved Inside Out, Turning Red won't be far behind.
For those of a certain age, it's hard to imagine life without the Treehouse of Horror episodes from The Simpsons. For those who lived before the second season of the Simpsons, perhaps your Halloweens were still awesome but the way that the Simpsons Halloween Special (not yet named Treehouse of Horror) parodied, revamped, and wound your favorites to pitch perfect harrowing silliness made you rethink what you thought you knew about anthologies.
Somehow both mainstream and something very unique and special, not every Treehouse of Horror segment or opener are created equal. In fact, of the 30 or so segments, openers, and one-offs (shout out to Thanksgiving of Horror!) mentioned in this episode, only 23 made into into a top spot list categorized by John.
You might be surprised to see where old classics like The Raven as read by James Earl Jones landed and where new favorites like BFF RIP ranked but no matter your favorite - if the Simpsons have done it with love, you probably love it to.
Tune in, get inspired, and bring along your favorite candy. It's Halloween week after all.
When Fairuza Bulk stepped into the role of Dorothy Gale, she was determined not to be Judy Garland but in a smaller package. And in a way, her charming, slightly alarming, and touched innocence make her the perfect Dorothy and later the perfect twisted Nancy for the Craft. And the world that Fairuza Dorothy constructs or visits in the way of Oz is just as off-putting yet alluring, mechanical and maniacal and vengeful and safe.
Return to Oz is the best kind of fairy tale- edging up to that line of creepy darkness with inexplicable wonder. This unofficial sequel to the 1939 sugar sweet MGM fare is really more a spiritual prequel to Wicked the book or the sci-fi Tin Man miniseries and especially John is in love with the vibes.
From the grotesque and frightening Wheelers to the eccentricities of Mombi to talking hens that weren't there a minute ago and are just part of life now- Return to Oz asks the question- can you meet a movie on its own terms or are you too cool for fantasy?
With Hocus Pocus 2 just barely on the horizon (with Daylight Savings Time accounted for), it's time for a retrospective of the camp classic Hocus Pocus. This 1993 witchy romp through Salem lives in its own bizarre bubble. Not a love letter to the genre like Shaun of the Dead nor a stoner comedy like Idle Hands, this hair raising tail is a pop infectious masterpiece of joy and darkness.
And John and Magnus wouldn't have it any other way.
Join them as they talk costume, location, the genius of Billy Butcherson, Sarah as Sarah, why a movie so focused on virginity can still have an unclear attitude on it, and how chewing the scenery isn't always a bad thing. And then round the discussion out with a hypothesis about Hocus Pocus 2 and also why fun at movies is a very good thing.
Listen in to the movie that Roger Ebert seemed to hate more than any other movie he ever reviewed - Hocus Pocus.
This episode is Rated B for 'Brave yet controversial'. John has a few things to say about the culture surrounding the 2011 ... reboot ... of the 1985 Michael J. Fox movie. It really is about how fandom approaches both the genre work and characters/actors of Teen Wolf. From treating Tyler Posey like a piece of meat to deconstructing the gaze of Teen Wolf- nothing about the urban horror/ghost story MTV show is off limits.
Follow along as John and Magnus give some context to Teen Wolf's place in history, examine how much of it was influenced by other neo-american horror (Harry Dresden and Buffy the Vampire Slayer come to mind) and how much of Teen Wolf's unique take on wolf culture created something striking on its own. Not to mention talk of Stiles.
Join in for a tale of a California town beset by an underground supernatural culture that is- kinda gay? Or at least a little bi.
In 2017, the Pandora's Box of nostalgia laid bare before the world in the form of Power Rangers 2017. It wasn't a reimagining or a reawakening. It was a reboot meant to kick start a new cinematic franchise. It teased a classic Green Ranger (now female), a Zeo crystal (beneath the Krispy Kreme), and five somewhat familiar but also modern teens with attitude.
What could've been just fine as a Breakfast Club by way of Transformers crashed and burned so hard on the side of the celluloid planet that even five years later- it's a struggle to remember why it was the way it was and what the creator hoped for.
Take a journey with John and Magnus through how other Ranger series and movies foreshadowed both the joys and mistakes that Power Rangers 2017 makes and examine how stunt casting, a lack of camp, and a forced training montage conspired to halt something in its tracks that has been shown to succeed in fan mediums and from the minds of Boom! comics.
It truly is a wonder. But maybe not so morphenominal as it could've been.
What do gay visual novel video games offer us that non queer games don't? What makes them so special that when they spark the imagination, we fall in deep love with them so quickly? How do they compare to each other? What does Dream Daddy offer that we long for in Coming Out On Top or Robin Morningwood or Morningdew Farms and etc?
Are Dead Dating and the new wave of genre twisting kink games like Mister Versatile from ypressgames in response to missing queer experiences or just the direction that the genre demands we go? And how do the works of Robert Yang's Tearoom fit into a much longer conversation about fantasy, power, and kink within the media we consume?
John and Magnus take a long trip (without gaining any inheritance or magical castles, darn it!) through a new and growing recent history of the gay visual novel. This is more explicitly queer and more explicit an episode than has been done before. And it's wonderfully thrilling altogether.
Please note that after this episode came out, John learned that Coming Out on Top actually came out before Dream Daddy and he definitely though it was the other way around.
Come and exercise your rites and listen in as John and special cohost Jack talk about the power of the 1996 Craft, where Nancy, Bonnie, Rochelle, and Sarah raise themselves up and find themselves mostly cast down. From Los Angeles as a powerhouse setting to a magical alt rock musical catalogue- is The Craft the perfect movie for a 90s teen girl? What about a teen of today?
The Craft is a special film- dark and a little gruesome but very intriguing. It leaves many questions such as: how did Neve Campbell and Skeet Ulrich get pigeonholed into horror roles in the same year? What makes Nancy's punishment so unique amongst villainous downfall? And- what was with that snake dude? Are snakes really gay danger?
Listen in. As the trailer says- the witching hour is about to begin.
There was no movie quite like Beetlejuice in 1988. No other humorous dark fantasy comedy like that and certainly nothing from the still then relatively unknown Tim Burton. From the hallmark twisted architecture to shots of whimsy and nostalgia to a tale of co-parenting that would've wilted with a less talented cast- is Beetlejuice the perfect film? Well, maybe not for everyone. But it is the perfect transition from the silly frights of childhood to the more heartbreaking woes of being an adult.
From love to intrigue to Deyo (The Banana Song), Beetlejuice is the type of movie that leaves you feeling satisfied and yearning just a bit for an after dinner treat of weird.
Just try not to say the name three times. Somebody might jump in the line and try to marry you to get out of his eternal punishment.
It took four episodes to get through the forest but Magnus and John have done it! Enchanted places, places without magic, Camelot, Neverland, and otherwheres have all led us to this. The final episode in the Once Upon A Time examination and discussion series. There's still plenty of highs to talk about (the concept of Emma's institutionalization in The Final Battle) and more than enough lows (why is Eloise?) from the End of Season Five to the end of the series but they manage it all.
Whether you're in it to learn about how Once personified melodrama or to help wax sentimental about one last look at Lana Parilla's fantastic cleavage- this finale but never quite done ode to Once Upon A Time will give you the magic, the angst, and the Henry of it all that you're looking for.
It's not about the plot holes, it's not about how many times the writers try to make Belle and Rumple happen. It's not about whether or not Zelena has any agency. It's about the possibility of hope and the hope for redemption. And maybe lusting after Captain Hook.
John and Magnus' deep dive into the Once Upon A Time series continue. Before diving into Season 4A - Frozen and Season 4B - The Queens of Evil (Rock on!), they discuss how medium and intimacy influences a brand (consider a comic series like Fables versus a tv scaled series like Once) and how influence and point of view create a very different story out of a similar sounding premise (again, Fables v. Once).
Then dive into the icy frozen lake of the hurried first half of season 4 with influences from the then uber popular Frozen and the much more well structured and intriguing (though not as fully satisfying as season 1) Queens of Evil back half. There are plenty of missed opportunities in season four but Maleficent and Lily aren't one of them.
Once also continues the grand tradition of fantasy casting from the well known fantasy actor pool for the dark author Isaac (who may have been influenced by Kingdom Hearts) and then Magnus and John venture into Camelot and discuss how season five fell apart.
They also discuss Belle and how her agency is both there and interrupted, Zelena and if she's actually as powerful as others say, and how some parts of the Hades season worked (Hercules! The choice in the Mayor's office!) and how some parts of seasons 4 and 5 didn't at all (why is Chernabog even here honestly?)
Seasons 4 and 5 of Once Upon A Time. Sometimes they're great, most of the time- they're alot. It's a wild tramp through another part of the Enchanted Forest but we're almost through together. Soon enough we'll be out of the woods! Wait. They did that show already, didn't they?
John and Magnus continue their traipse through Storybrooke, Maine and the Enchanted Forest. This time adding in the time frozen part featuring Captain Hook (amongst others) and also with a half season detour to Neverland.
Seasons Two and Three of Once Upon A Time are a great way to start a conversation about shipping, about the idea of nuance, and about how dual identities (and sometimes quadruple identities) can both be a hindrance and a help in creating a character. From the darkness in Mary Margaret's own heart to the fandom's infatuation with Captain Hook (over Prince Eric), Once Upon a Time seasons two & three offer a lot in the way of goodness and surprise. But for some in the fandom, offers even more frustration and heartache.
Explore the introduction of new characters both great and forgotten (Victor Frankenstein anyone?) as our intrepid hosts head down the whirlpool and continue to uncover more about the rebooted but not quite as gritty characters and heart driven plots of Once Upon A Time.
Mythic May continues strongly in its search for a savior. In this case, we find Emma Swan. Fabled daughter of Snow White and Prince Charming and missing savior to the frozen mythical town of Storybrooke, Maine. Plucked from the obscurity of a world without magic (otherwise known as New York), it is the savior alone who can stand up to the machinations of the evil queen turned fashionable mayor Regina and pawn shop owner Mr. Gold. Can an orphaned savior truly save the day?
Once Upon A Time was a high fantasy television show brought into the world by two of the writers of Lost meditating on the power of hope in a world both filled with dread and magic. Bringing surprises like the incomparable Lana Parilla as a vicious yet sweet Evil Queen and Snow White as a conflicted and not always so kind Mary Margaret (John keeps calling her Mary Martin but that's partially because of the Peter Pan haircut), Once Upon A Time is a different sort of fairy tale retelling.
Unabashedly kind, oddly whimsical and yet realistic, Magnus and John dive into the whys of how the series worked, why it failed and begin at the very beginning with Season One to deconstruct the good, the bad, and the Gold of it all. Join them for a journey through the fabled old Enchanted Forest.
Into the Woods was supposed to be a 2014 holiday darling. It had everything- the perfect cast, the perfect amount of whimsy. But Into the Woods isn't really a family friendly show, even if it is about fairy tale characters. Deep dive with Magnus and John about what went so right (like Chris Pine ripping his shirt on a waterfall) and what went so wrong (too many big stars for an ensemble show? Was it a movie too big to fail? Did adapting it to film force a chance in its 2 act structure?) for Disney with their Into the Woods.
Adaptation, much like art, isn't easy. From wolves with phallic tails to bittersweet definitely not Hollywood like endings to lessons learned from Little Shop of Horrors, Into the Woods is maybe both the best and worst choice for adaptation. Especially for the Disney brand. Kick off Mythic May with some upbeat, nearly frantic, ear worms that will leave you saying The Wood is just Trees- the Trees are just Wood! We promise you won't be left in Agony.
It snowed where John lives and as such, John went on an expedition and came across the missing premiere holiday pilot episodes. Cutting them down into one conversation featuring vignettes of all the movies discussed, Magnus teaches John about the Netflix Christmas Cinematic Universe surrounding Vanessa Hudgens while John regales Magnus with the tales of Single Santa Seeks Mrs. Claus (2005, featuring Steve Guttenberg!) and Christmas in Connecticut, which has possibly the most bananas premise for a holiday movie ever (and that includes Holidays in Handcuffs) but features a woman with gumption (much like The Holiday). Elf and The Philadelphia Story also enjoy honorable mentions.
This series of film discussions are a little choppier than present day episodes, if only because Magnus and John were still looking for their voice back in the pilot. But the heart is there. Just like in the holidays. And it's fairly easy to imagine decorated vignettes behind our hosts, because there's nothing they like more than a good gay theme.
We've only just begun to examine holiday films, so it's for sure not the last episode but it was the first (two).
- A movie the whole world wanted to work on. A message of empowerment that had rarely been seen before. And with one of the best white pump, white dress finales in all of filmdom- John and Magnus discuss the First Wives Club and the story of three friends haunted by both divorce and death. Though their struggles are sometimes very 90s, they're also eternal. Find out which quotes are John's favorites, what upcoming trends Magnus finds that First Wives Club forecast and grapple along with us about both the great things in this movie (the big lesbian Chris, Maggie Smith doing everything, Sarah Jessica Parker going ham) and the not so great (it's a very white movie, Brenda's weight struggles =/. It's a movie with a lot of legacy, a lot to live up to, and a trailer that doesn't quite mesh with the finished product.
But it's not a movie that John would change for the world.
It might be the greatest coming of age story. It's a story of second chances, what it means to showcase masculinity, and what it means to find your true self. It is a mystery, it is action, it is adventure. It is comedy. It is the sound of drums. Does 1995 Jumanji hold up to even modern day films? Yes it does. And it's not just because of the puppet work and the unforgettable aesthetic of the Parrish mansion but none of that certainly hurts. Magnus and John also discuss the author Chris Van Allburg and their legacy of work both with the follow up Jumanji cartoon, Zathura, and - interestingly enough- the Polar Express film. There's even a shoutout to the Animorphs. It's everything a 90s kid needs- also a 5 or 8 to get out of the jungle!
The summer of 1995 was a tidal wave for the Power Rangers franchise. Heading into season three, a long awaited feature film was released and the world would never be the same. From gay icon Ivan Ooze (and to a lesser extent Rita Repulsa) to the complexities of Ranger/Sentai canon to trying to stay on track and not just talk about a franchise with more than twenty years of camp iconography, John and Magnus focus on the Mighty Morphin Power Rangers movie. Whether you remember Xena Warrior Dulcea, a sad frog prince named Adam, the inexplicable Angel Grove Monorail, dynamic fossil fighting, or the battle over whether Tommy was an acceptable leader or not, there is more than enough pop culture in this deep dive to make you say- we were really doing all that in the 90s? And the answer is a resounding yes.
Welcome back to our ongoing discussion about the Sabrina the Teenage Witch sitcom starring Melissa Joan Hart as Sabrina, Nate Richert as the dreamy (and perfectly cast) Harvey Kinkel, and the talented and gorgeous aunts Hilda (Caroline Rhea) and Zelda (Beth Broderick). In this episode we discuss Hilda and Zelda's complicated lives outside of Sabrina herself (which is what made them very interesting and more compelling than Roxie and Morgan), Daniel Boone and where else you saw him on tv, Melissa Joan Hart's complicated interviews where she discusses going from witch to God's Not Dead 2 and Magnus does his Val rant. If you want to get involved in the magical discussion, we're starting to archive shows to a youtube channel and we're happy to have your thoughts! Boogie on over to youtube and search for the Everything is Gay podcast in the search bar. We're sure to come up!
Of all the ways we've seen Sabrina the Teenage Witch over the years, the 96 coming of age sitcom starring Melissa Joan Hart is probably the most beloved. In Part 1, we talk about Libby, Magnus says some choice words about Val (that's why we've got the explicit rating), and John forgets about the movie set in Rome halfway through the series (also was it better than Lizzie Mcguire in Rome?). Discussion topics also include Salem Saberhagen, the Bacchus of sitcom tv, and how Nate Richert's Harvey set the bar for great teen male representations of masculinity. Join us for Part 1 of a magical time!
The 1992 Xmen cartoon was iconic. Part of a vanguard of perfect kids programming in the early 90s, not only is Xmen 92 as an animated series a great adaptation of well loved comic plotlines (from the 80s!) but is also something that just sticks in the memory (and that doesn't just include the theme song). Whether you were there for the fashion, the amusing use of 90s technology, or were stunned by the almost too honest political messaging- Xmen 92 sticks out even amongst a stellar decade of cartoon programming. Listen to us opine about Gambit, Cypher, Jubilee, the Hellfire Club, and John especially wishing for a much better cinematic uses of Angel and Mister Sinister.
The holiday pilot episodes of Everything is Gay got lost at the North Pole, so this first episode about The Golden Girls is presented for all! John, an American playwright, and Magnus, an English illustrator- gather their thoughts for a chat about the cultural legacy of The Golden Girls. Why does the show persist so heavily in syndication and why does it speak to gay men so profoundly? Why does merch of it sell so well? And how does the town of Miami manage to have all the guest stars on Richmond Street?
Beyond that- help us answer these trivia questions! What was the name of the show before it became The Golden Girls? And which two famous comedic actresses were involved in helping to sell the show but were never cast?