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Cheer is the Mind-killer (Side B) Cometh

Chris Klimek

In this second half of my XVIth senses-shattering installment in the apparently unkillable Yuletunes Eclectic & Inexplicable series, I attempts penance for appropriating the podfeed of A Degree Absolute! to give listeners an album they never asked for, U2-style, by roping in my co-host Glen & our theme song singer-arranger Casey in for some festive preamble before we get to the damn tape. I beg your forbearance.

Cheer is the Mind-killer (Side A) Cometh

Chris Klimek

My 2021 holiday mixtape, Cheer Is the Mind-Killer, has arrived. It’s the sixteenth installment in what has become a venerable holiday tradition that invariably makes me feel unhinged in the final couple of months of each year. Sixteen! They grow up so fast. The Yuletunes Eclectic & Inexplicable compilation series, most installments of which remain available to stream via the Christmas Mixtapes drop-down menu at the top of the page, is now as licensed to drive as any Cory. In the chronology of the EON Productions James Bond film series, it is Licence-d (sic) to Kill.

Side B TK!

"A Strange Loop" at Woolly Mammoth, reviewed.

Chris Klimek

Jaquel Spivey (in red) is the member of the Strange Loop cast new to Woolly’s production. (Marc J. Franklin)

“A Strange Loop” would be a pretty good way to describe the sensation of rather suddenly attending and writing about theatre again. My Washington City Paper review of Woolly Mammoth’s terrific production of Michael R. Jackson’s self-aware and semiautobiographical musical A Strange Loop—which won a Pulitzer in 2019—is here.

A DEGREE ABSOLUTE! episode thirty — BRAVEHEART with Alexandra Petri

Chris Klimek

Edward the Longshanks as embodied by the inimitable Patrick the McGoohan.

It's primae noctis for your ears because we can put it off no longer: The quintuple-Academy Award-winning a-historical epic Braveheart is the most widely seen and, your hosts agree, best latter-day expression of undiluted Patrick McGooted. The Washington Post's Alexandra Petri returns to discuss her journalist doppelganger, the New York Times' Alexandra Petri, and to share with Glen the virgin Braveheart experience. Freeeeeeeeeeeedommmmmmm!

Given the volume of Star Wars talk that seems to follow (the Post's) Petri around, it's a wonder we forgot to mention that Braveheart was produced by Alan "Laddie" Ladd, Jr., who 20 years earlier had been the guy preventing the board of 20th Century Fox from firing George Lucas off of the weird, expensive kiddie movie he was making and/or shutting the production down. 

Braveheart

Written by Randall Wallace

Directed by Mel Gibson

Released May 24, 1995

 

Pop Culture Happy Hour: "Red Notice" and What's Making Us Happy

Chris Klimek

Ryan Reynolds, Gal Gadot, and Dwayne Johnson pose their way through a greenscreened globetrotting caper. (Frank Masi/Netflix)

Red Notice! Linda Holmes, Margaret H. Willison, Ronald Young, Jr. and I watched it! Others will likely insist upon doing the same.

A DEGREE ABSOLUTE! episode twenty-eight — MARY, QUEEN OF SCOTS

Chris Klimek

It’s the Notorious V.R.G. v. the founder of the Jackson Fivehead in this 16th century showdown among two dope queens—and we don’t mean Timothy Dalton & Ian Holm! PLUS: Jimmy Stewart! Current Release Corner! Dispatches from the French of Liberty, Kansas! This episode is a royal rumble.

The Seven Ages of 007: How Daniel Craig Became the Bookend Bond

Chris Klimek

No Time to Die is a Bond flick like no other for several reasons, one of them being that it’s the only one I’ve ever gone to see immediately after interviewing Barbara Broccoli and Michael G. Wilson, who’ve been producing these films since 1995’s Goldeneye. The Bond movies are their family business, having been started by their father, Albert “Cubby” Broccoli, with his partner Harry Saltzman six decades ago. Ms. Broccoli and Mr. Wilson were very generous with their time, which gave me the platinum-level problem of having lots more good material than I could Tetris into my four-minute radio piece for Friday’s All Things Considered, which you can listen to below.

Here’s the prose version, which became a related-but-separate piece that wouldn’t have worked on the radio for several reasons, including the fact I wrote it before I landed the interviews.

I have all the thanks in the world for the wonderful and ultra-capable NPR Books editor Petra Mayer, who edited both the prose piece and the radio piece, which meant adding two labor-intensive tasks to what was already a packed week for her. (She hosted a panel at New York Comic Con this week, along with all her usual duties.) Nobody does it better.