Podcast appearances and mentions of clint worthington

Clint Worthington returns as we discuss the profound moral dilemmas Josh Oppenheimer's The Act of Killing and Look of Silence! Together we unpack the suppression of Indonesian history from the genocide, the difference in form from the first documentary to the follow up and the striking ending in Act of Killing  --- Send in a voice message: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/message Support this podcast: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/support

Look out for UFOs and stay away from Froot Loops because we're discussing Gregg Araki's tender-yet-traumatizing adaptation Mysterious Skin (2004). Tagging in for the conversation is RogerEbert.com Assistant Editor and The Spool founder & EIC Clint Worthington. Join us as we have many difficult conversations about a film filled to the brim with controversial subject matter. From Joseph Gordon Levitt and Brady Corbet's heartbreaking performances to the accurate depiction of the long-term effects of child sex abuse, there's no shortage of things to talk about. Plus: a defense of the single working mother, praise for Michelle Trachtenberg, MPAA woes (again) and the journey of Scott Heim's source novel from page to screen. References: > "Gregg Araki's Mysterious Skin". Ion Magazine > Damon Young and Gilbert Caluya. “A Vessel of Imagery: An Interview with Gregg Araki”. Sense of Cinema > 'Mysterious Skin'. Hazel & Katniss & Harry & Starr Podcast > Peter Bowen. "THE WONDER YEARS: An Interview with Gregg Araki". FilmMaker Magazine > Jeff Otto. "Interview: Joseph Gordon-Levitt, Brady Corbet and Michelle Trachtenberg". IGN Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Ariel: @justaskabaska (Insta) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

JUST BROING OUT. A key episode in the development of Chief O'Brien and Dr. Bashir's friendship sees them trapped on an alien world trying to survive until Commander Sisko can rescue them. Joining Bryan to discuss this pivotal story is Clint Worthington, Editor-in-Chief of The Spool (https://thespool.net), a pop culture website focused on Film & TV. Back in 2021, Clint wrote "Queering the Bromance Between O'Brien and Bashir" for StarTrek.com which examines how their close bond, created in part by missions like this one, eventually creates a safe space for both men to express their feelings. This episode also features some Emmy-nominated hairstyles, a shell game, and a very questionable plot by the episode's antagonist. Is it a Trek, Marry, or Kill? The grades begin at (21:14). If you're enjoying the show, considering rating and reviewing us wherever you listen to the show.

by Bilal Dardai A Roadmap How the story will be told Goodnight, Mt. Absalom. Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Clarisa Cherie Rios as Lily, Marsha Harman as Dot, Amelia Bethel as Marisol, Kat Hoil as Abbie, Pat King as Chester, Corrbette Pasko as Maureen, Clint Worthington as Russel, and Michael Turrentine as Wes. Written by Bilal Dardai, sound design by Jeffrey Nils Gardner, directed by Jeffrey Nils Gardner, assistant director Lauren Grace Thompson, recording engineer Mel Ruder, associate producer Ani Enghdahl, “Goodnight Mt. Absalom” written and sung by Jessica Best, with piano by Eli Hamada McIlveen, Unwell theme written by Stephen Poon, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

by Jessica Wright Buha What do you remember? Practicalities. Love remains. Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Clarisa Cherie Rios as Lily, Kat Hoil as Abbie, Patrick King as Chester, Corrbette Pasko as Maureen, Kim Fukawa as Joanne, Amelia Bethel as Marisol, Marsha Harman as Dot, Kristen DiMercurio as Lulu, Miles Buha as Jamie, Clint Worthington as Russell, Emma Sherr-Ziarko as Mrs. Lonergan, Tara Schile as Sophia, José Angel Donado as Mayor Lopez, Ben Aldred as Mr. Flannery, and Bob Raymonda, Shayne Steliga, Damian Szydlo, Aquta, Ryan Bond, Adam Qutaishat, and Jackey Boelkow as the townsfolk of Mt. Absalom. Written by Jessica Wright Buha, sound design by Alexander Danner, directed by Jeffrey Nils Gardner, assistant director Lauren Grace Thompson, theme music composed by Stephen Poon, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

EXPLICIT CONTENT! We don't want any angry letters after this, so there you go. Kerry and Collin are joined by Chicago film critic Clint Worthington (The Spool) to break down Sean Baker's Christmas Eve comedy about a day in the life of two L.A. trans sex workers trying to find a cheating ex-boyfriend. And it's all about the hustle! Why is the use of the song "Toyland" so important here? How does Christmas tie in with these seemingly dark themes? What are the advantages to making a movie on an iPhone 5? All this, plus a Book segment that covers some familiar ground as well as a film from the Chicago Critics Film Festival.  Book films covered: "Tangerine" "The Right Stuff" "All About Eve"

Special guest Clint Worthington joins us this week to review Renfield, which stars Nicolas Cage as Dracula and Nicholas Hoult as his familiar titular familiar Renfield. Directed by Chris McKay (The Lego Batman Movie, The Tomorrow War), Renfield is a horror action comedy with tons of horror, action, and comedy, but does it work as a movie? The Cinemaholics are split on this one, and it won't be a toothless fight. The film also stars Awkwafina, Ben Schwartz, Shohreh Aghdashloo, and Brandon Scott Jones. Our intro music this week is “Journey” by Sam Cross, Monocloud, and Bertram Kvist. Links: Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Email your feedback to cinemaholicspodcast [at] gmail.com. Connect with Cinemaholics on Facebook and Twitter. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

by Jessica Best A little footwork (for two) Things get shaken up 47,000 Aspen trees. Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Clarisa Cherie Rios as Lily, Marsha Harman as Dot, Clint Worthington as Russel, and Ella Watts as the Documentary Narrator. Written by Jessica Best, sound design by Ryan Schile, directed by Jeffrey Nils Gardner, theme music composed by Stephen Poon, assistant director Lauren Grace Thompson, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Stargate's Chief Master Sergeant Walter Harriman to learn the ins and outs of the hotseat of the control room in this immersive roleplay and cosplay experience!Tickets and info are available now at www.thecompanion.app/events. Sign up as a member (paid or free) for a discount code!It sounds like a Zen koan: what does Everything Everywhere All at Once sound like? Son Lux's composer Rafiq Bhatia explores the glorious anarchy.Find the original article on The Companion here.With the Oscars coming up this weekend, we wanted to share this interview that Clint Worthington had with Rafiq Bhatia on the scoring of Oscar-nominated Everything Everywhere All at Once. The film has received the most nominations at the 95th Academy Awards with 11 Oscar nominations including Best Picture, Best Original Score, and Best Original Song, which Bhatia played a big part in. Clint Worthington adapted his interview into an article found on our website. The full interview originally aired via his own podcast, Right on Cue, back in April of 2022 and we thought it was so good, we're sharing it with you here. Check out Right on Cue for more interesting interviews and perspectives about film, tv, and video game music: https://thespool.net/podcasts/right-on-cue/

This week Mia and Mitchell discuss their growing watchlists including Banshees of Inisherin, Aftersun and Black Adam. They also debate the importance of having a movie posters in your Zoom backdrop. After a quick look back at recent releases and community reviews, they shuffle their watchlists and discuss banning space trucking and nerdy record store dweebs. Also Mia name-drops talking with Barry Koeghan like a boss. Weekend Watchlist – Updated Weekly list > movies mentioned in this episode. Letterboxd reviews and links mentioned: Transcripts of podcast episodes available Soph's list of Blu-Rays Mitchell owns but has never watched Clint Worthington, Katie Walsh, and Modern Lights' Banshees of Inisherin reviews Brian Tallerico, Paul Oyama, Rafa Sales Ross, Josie Marie, and Ella Kemp's Aftersun reviews Matt Goldberg and Chris Aguilar's Black Adam reviews Justmiaslife's Ticket to Paradise review Josh Larsen and Darren Carver-Balsiger's Decision to Leave reviews Slim's Halloween Ends review Hope's TÁR review Tripp Burton's A Heart in Winter review Angel's Friday the 13th review Jack's Top 50 of 2022 list Credits: This episode was recorded in Delaware and LA, and edited by Slim. Facts by Jack. Transcript by Sophie Shin Theme: ‘IZON' by Trent Walton.

by Jim McDoniel In Memoriam Where are you going? Consequences Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Clarisa Cherie Rios as Lily, Marsha Harman as Dot, Amelia Bethel as Marisol, Mark Soloff as Silas, Clint Worthington as Russell, Kat Hoil as Abbie, Anuja Vaidya as Norah, and Michael Turrentine as Wes. Written by Jim McDoniel, sound design by Alexander Danner, directed by Jeffrey Nils Gardner, theme music composed by Stephen Poon, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

Clint Worthington (The Spool, Roger Ebert, Consequence) is here with us for Michael Bay's testosterone-fueled black comedy Pain and Gain, in honor of the release of Ambulance. We talk about the career of Dwayne "The Rock" Johnson, Bay's admiration for the Coen Brothers, and the depiction of American capitalism in 2013 movies Consider donating to an abortion fund: https://www.thecut.com/article/donate-abortion-fund-roe-v-wade-how-to-help.html --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/exitingthroughthe2010s/message Support this podcast: https://anchor.fm/exitingthroughthe2010s/support

Special guest Clint Worthington—Founder/EIC of The Spool and host of the Travolta/Cage podcast—joins us for the first time, and trust us, we need a Nick Cage expert for this episode. That's right, we're reviewing The Unbearable Weight of Massive Talent, which surprisingly isn't the Will Ashton biopic stuck in development hell. No, this is a high-concept meta comedy action movie starring Nicolas Cage as a fictionalized version of himself(?), as he gets roped into a crime caper alongside Pedro Pascal. Later in the show we also review The Bad Guys, the first original DreamWorks Animation movie to hit theaters since (checks notes) Abominable! Show Notes: 00:00:00 – Intro 00:06:15 – The Unbearable Weight of Massive Talent review 00:37:10 –The Bad Guys review Intro Music: “Thinking” by DESH, delaney. & Hippo Dreams Links: Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Leave us a voicemail using The “Swell” App. We post new prompts every week or so. Check out our Patreon to support Cinemaholics! Email your feedback to cinemaholicspodcast [at] gmail.com. Connect with Cinemaholics on Facebook and Twitter. Support our show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

Outside isn't safe We're not gonna talk about it We're not gonna talk about her === Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Clarisa Cherie Rios as Lily, Michael Turrentine as Wes, Kathleen Hoil as Abbie, Amelia Bethel as Marisol, Clint Worthington as Russel Epstein, Mark Soloff as Silas Lodge, Phoebe Judge as the Julian Animal Control Recording, Avery Trufelman as Julian Animal Control Officer, Jeffrey Nils Gardner as the Mail carrier. Written by Jessica Best, sound design by Eli Hamada McIlveen, directed by Jeffrey Nils Gardner, theme music composed by Stephen Poon, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

As promised Megan and Beau are back with special guest Clint Worthington of The Spool to talk Hans Zimmer's wonderfully unhinged score, the film's hits and misses, and potential candidates for Feyd! Music this episode from Daniel Fridell and Sven Lindvall

Starship Iris is still on hiatus, but in the meantime, we're dropping the first episode of friend of the show, award-winning Midwestern Gothic audio drama Unwell.You can read a transcript for this episode here: https://www.unwellpodcast.com/s1e1-homecoming-transcriptThis episode features: Clarisa Cherie Rios as Lily, Marsha Harman as Dot, Clint Worthington as Russel Epstien, Bethany Hart as Cynthia Harper, LaQuin Groves as Dale, Mark Soloff as an old man on the edge of town, Michael Turrentine as Wes, Pat King as Chester, Sebastian Orr as [REDACTED], Ele Matelan as [REDACTED]. Voices by Alex Brown, Jeff Van Dreason, Eric Silver, Julia Schifini, Amanda McSweene-Geehan, Michelle Nickolaisen, Jack Pevyhouse, Paul Miscagave and Bridge Greene. Written by Jim McDoniel, sound design by Ryan Schile, directed by Jeffrey Nils Gardner, music composed by Stephen Poon, recording engineer Mel Ruder, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Ryan Schile, Executives Producers Eleanor Hyde and Jeffrey Gardner, by HartLife NFP.Content Advisories. This Episode contains:Jump scaresAggressive DogsAnimals in peril (but not hurt)Creepy noisesUncomfortable social situationsThreatening whispersBroken limbsAutomobile scares

On this week's episode, the gang welcomes film critic Clint Worthington onto the show to chat about the family-friendly wrassler classic, Mr. Nanny! How hilarious is that opening Hulk Hogan nightmare scene? What dialogue was said in his infamous sex tape? And was that dog getting murdered? PLUS: The return of the VHS Trailer Game!Mr. Nanny stars Terry 'Hulk' Hogan, Sherman Hemsley, David Johansen, Robert Hy Gorman, Madeline Zima, Mother Love, and Austin Pendleton; directed by Michael Gottlieb.Advertise on We Hate Movies via Gumball.fm

Video Games: Can they work as films? Many have tried, but have any succeeded? Will any ever? Party Chat welcomes Clint Worthington and Sarah Gorr from The Spool (TheSpool.net) to discuss games and cinema.CREW INFO:Follow Aaron on Twitter at @TurboHoodieFollow  Glenn on Twitter at @GlennCarrereJoin the conversation on the Party Chat Discord! Head to https://bit.ly/PartyChatDiscord to join!TIMESTAMPS:0:00: Intro + Monologue4:00: Prince Of Persia is delayed indefinitely + Sonic puns12:20: THE SPOOL joins the chat!15:30: Gundam Wing Fans34:00: Are there any games that really lend themselves to film?46:10: It is POSSIBLE to make a good video game movie!57:10: Accessibility makes for a better story experience.1:18:00: Plugs + Outro Thank you to Sam Begich for the use of our theme song and tunes along the way.

Are you ready for the palate cleanser? This week on Dish By Dish we talk about the organ snatching antics of Hannibal Episode 7 - and we’re rejoined at the table by EIC of The Spool, cohost of Travolta/Cage and Returning Champion Clint Worthington! On the menu for tonight: we debate what makes Hannibal TV’s best villain, how our friendships are united by cheese, we explore Lecter’s burn book, and wonder why every character’s name sounds like someone from a Charles Dickens novel. All that and a very location-based edition of Choose Your Own Death-venture await you! Hannibal is SERVED!! Never fear - new episodes of Kill By Kill are made available every other Friday! Dish By Dish on off weeks. Have something to say? Reach out on Twitter @killbykillpod or email us: killbykillpod@gmail.com. Follow on IG @killbykillpodcast Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

The time has come to have an old friend for dinner! That’s right, EIC of The Spool, cohost of Travolta/Cage and Returning Champion Clint Worthington joins Dish By Dish to help us dig into Hannibal episode 7, Entrée! Along the way we talk Tattlecrimes web design issues, what it takes to get the cover of Psychiatrists Weekly, what are grapes hiding and how will it harm us, and we wonder why we don’t judge more serial killers by their looks. Plus, we have a location-based Choose Your Own Death-venture to debate and Patrick decides to change the focus of the podcast at the very end of the episode to snake movies. Also, he’s bad at it… my mis-snake. Never fear - new episodes of Kill By Kill are made available every other Friday! Dish By Dish on off weeks. Have something to say? Reach out on Twitter @killbykillpod or email us: killbykillpod@gmail.com. Follow on IG @killbykillpodcast Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

Welcome, one and all, to the latest episode of The Film Stage Show! Today, Brian Roan, Michael Snydel, and Bill Graham are joined by Clint Worthington to discuss Tesla, starring Ethan Hawke, which is now available digitally. Be sure to read our interview with director Michael Almereyda on thefilmstage.com. Enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. For a limited time, all new Patreon supporters will receive a free Blu-ray/DVD. After becoming a contributor, e-mail podcast@thefilmstage.com for an up-to-date list of available films. The Film Stage Show is supported by MUBI, a curated streaming service showcasing exceptional films from around the globe. Every day, MUBI premieres a new film. Whether it's a timeless classic, a cult favorite, or an acclaimed masterpiece — it's guaranteed to be either a movie you've been dying to see or one you've never heard of before and there will always be something new to discover. Try it for free for 30 days at mubi.com/filmstage.

by Bilal Dardai Find entertainment where you can Public revelations We always knew it would come to this. === Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Shariba Rivers as Lily, Marsha Harman as Dot, Kathleen Hoil as Abbie, José Angel Donado as Mayor Lopez, Pat King as Chester, Clint Worthington as Russel Epstien, Corbette Pasko as Maureen De Souza, and Catherine Dvorak as Bonnie Buckley. Written by Bilal Dardai, sound design by Sarah D. Espinioza, directed by Jeffrey Nils Gardner, music composed by Stephen Poon, recording engineer Mel Ruder, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Ryan Schile, Executives Producers Eleanor Hyde and Jeffrey Gardner, by HartLife NFP.

Reviewed: Extraction Top 5: Movie Rescues CinemaWAR: Which is the most iconic Steve Carell role - Gru or 40 y/o Virgin? Trivia: "E" Movie Trivia Sponsored by: Overcast

Thanks for more than 40,000 downloads! As a thank you for your support and a celebration of wrapping the scripted part of the podcast, our wonderful editor Bex Carlos put together this fun bloopers reel. Enjoy! Unlike most of our episodes, this blooper reel has ADULT LANGUAGE, so our younger listeners should skip this one.Featuring...Shannon Campe, Kiely Fong, Phil Gonzales, Camille Michelotti, Kwame Phillips, Zach Powers, Julia Rohed-Worthington, Allyce Torres, Amanda Winston, and Clint Worthington.

Critic and podcast host Clint Worthington says, Upload, the new series debuting May 1st on Amazon Prime has potential, but it has a way to go to get to be the show it appears it wants to be. Clint talked with our critic, Sean Kernan, about the new series from the creators of The Office and Parks and Recreation. Upload is a satirical look at a technological afterlife controlled by greedy corporations and a hapless man in a loveless relationship caught up in that corporate afterlife. The show has a tricky tone that combines corporate satire, will-they-won't-they romance, and dark and irreverent humor regarding death. The show debuts today. Clint Worthington and I each offer our take on the quality of Upload in this IllinoisNewsNow.com Entertainment Podcast.

Welcome, one and all, to the latest installment of The Film Stage Show! Today, Michael Snydel, Bill Graham and I are joined by Clint Worthington, Editor of The Spool, to discuss David Leitch's spin-off Fast & Furious Presents: Hobbs & Shaw.  You're invited to our first-ever The Film Stage meet-up in New York City at the Cinephile: A Card Game Release Party, taking place August 13 at 7pm at Alamo Drafthouse Brooklyn. See more details and RSVP at the post at thefilmstage.com Subscribe on iTunes, Spotify, Stitcher, Overcast, Pocket Casts, or stream below. Enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. The Film Stage is supported by MUBI, a curated online cinema streaming a selection of exceptional independent, classic, and award-winning films from around the world. Each day, MUBI hand-picks a new gem and you have one month to watch it. Try it for free at mubi.com/filmstage.

Game of Thrones aired its climactic, penultimate episode this week and well, Kate had thoughts. As Noel gave up on the series back in season one, Kate invited on Clint Worthington of The Spool and friend of the show Allison Shoemaker for a special bonus episode of The Televerse. Allison, Clint, and Kate break down the good, the bad, and the ugly of Game of Thrones’ most divisive episode in years, diving right in, and still somehow barely scratching the surface 40 minutes later.Note: Usually we keep things PG here at The Televerse, but given the subject matter, we didn’t bother bleeping the F-bombs this time. If you’re mature enough to watch Game of Thrones, we figure you likely won’t mind some mild profanity. Music Featured: “Game of Goats”

Game of Thrones aired its climactic, penultimate episode this week and well, Kate had thoughts. As Noel gave up on the series back in season one, Kate invited on Clint Worthington of The Spool and friend of the show Allison Shoemaker for a special bonus episode of The Televerse. Allison, Clint, and Kate break down the good, the bad, and the ugly of Game of Thrones’ most divisive episode in years, diving right in, and still somehow barely scratching the surface 40 minutes later. Note: Usually we keep things PG here at The Televerse, but given the subject matter, we didn’t bother bleeping the F-bombs this time. If you’re mature enough to watch Game of Thrones, we figure you likely won’t mind some mild profanity. Music Featured:  “Game of Goats”

This week Megan and Beau are joined by writer and film critic Clint Worthington! Clint is the co-founder and editor of The Spool, Co-Host of Hall of Faces and Nathan Rabin's Happy Cast and he drops by this week to talk giant buttholes, Irulan's Business Management side hustle, and why this is the horniest chapter yet! Stay tuned for the NEW THEME SONG by the talented WhiteJoshMan! 

Lily Harper comes “home.” Content Advisories for this episode can be found here. You can read a transcript for this episode here. This episode features: Shariba Rivers as Lily, Marsha Harman as Dot, Clint Worthington as Russel, Bethany Hart as Cynthia, LaQuin Groves as Dale, Mark Soloff as an old man on the edge of town, Michael Turrentine as Wes, Pat King as Chester, Sebastian Orr as &$^#&$#(, Ele Matelan as ))@&*@^$&. Voices by Alex Brown, Jeff Van Dreason, Eric Silver, Julia Schifini, Amanda McSweene-Geehan, Michelle Nickolaisen, Jack Pevyhouse, Paul Miscagave and Bridge Greene. Written by Jim McDoniel, sound design by Ryan Schile, directed by Jeffrey Nils Gardner, music composed by Stephen Poon, recording engineer Mel Ruder, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Ryan Schile, Executives Producers Eleanor Hyde and Jeffrey Gardner, by HartLife NFP.

Loyal Policies- we're here with the first episode of HartLife NFP's new podcast- Unwell, a Midwestern Gothic Mystery.  If you want to hear more, go subscribe on your favorite podcasting app, or listen at http://www.unwellpodcast.com. Content Advisories for this episode can be found here. You can read a transcript for this episode here. This episode features: Shariba Rivers as Lily, Marsha Harman as Dot, Clint Worthington as Russel, Bethany Hart as Cynthia, LaQuin Groves as Dale, Mark Soloff as an old man on the edge of town, Michael Turrentine as Wes, Pat King as Chester, Sebastian Orr as &$^#&$#(, Ele Matelan as ))@&*@^$&. Voices by Alex Brown, Jeff Van Dreason, Eric Silver, Julia Schifini, Amanda McSweene-Geehan, Michelle Nickolaisen, Jack Pevyhouse, Paul Miscagave and Bridge Greene. Written by Jim McDoniel, sound design by Ryan Schile, directed by Jeffrey Nils Gardner, music composed by Stephen Poon, recording engineer Mel Ruder, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, Unwell lead sound designer Ryan Schile, Executives Producers Eleanor Hyde and Jeffrey Gardner, by HartLife NFP.

Welcome to the Hall of Faces, The Spool's monthly TV podcast! A spinoff of the short-lived Consequence of Sound podcast TV Party, Hall of Faces sees hosts and TV critics Allison Shoemaker and Clint Worthington build up a pantheon of television's greatest characters, one show at a time. For our very first episode, Allison and Clint are joined by guests Kate Kulzick of The Televerse and Kris Vire, formerly of Time Out Chicago, to talk about Tina Fey's incredible NBC sitcom 30 Rock! Running from 2006 to 2013, 30 Rock offered up a witty, satirical spin on Fey's tenure as head writer of Saturday Night Live, quickly turning into one of TV comedy's most consistent and uproarious joke delivery systems. Warping the ins and outs of a sketch comedy show set in 30 Rockefeller Plaza into high-concept farce of the highest order, Fey and co. also managed to craft a cast of TV's most wonderful characters, from Fey's high-strung Liz Lemon, to Tracy Morgan's gut-bustingly bizarre star Tracy Jordan, to Alec Baldwin's hard-edged ultracapitalist Jack Donaghy. Which character makes the cut? Liz? Jack? Jenna Maroney? Kenneth Parcell? Tangiers, the super-gay lion? Take a listen and find out! Hall of Faces is a proud member of the Chicago Podcast Coop. Thanks to Lagunitas for sponsoring this episode!)

For this special Oscars edition of the podcast, host and Film Editor Dominick Suzanne-Mayer is joined by Editor-in-Chief Michael Roffman and senior writer Clint Worthington to discuss the Best Picture nominees, the wave of controversy following this year's ceremony well before it takes place, the question marks surrounding which categories will even make this year's broadcast, and much more. For information regarding your data privacy, visit acast.com/privacy

With the impending launch of The Spool (formerly Alcohollywood), Spool editor-in-chief Clint Worthington and TV critic Allison Shoemaker offer a brief sendoff for listeners of their previous podcast TV Party, and a preview of the fun to come in their reboot/spinoff/continuation, Hall of Faces!  

HartLife NFP is thrilled to bring you the very first trailer for our new flagship show- Unwell, a Midwestern Gothic Mystery, coming in February 2019.  A transcript for this trailer is available here. Content warnings for this trailer can be found here. Find out more by following us on twitter at www.twitter.com/unwellpodcast, on tumblr at http://unwellpodcast.tumblr.com, or on our website at www.unwellpodcast.com. This trailer features Shariba Rivers as Lily Harper, Clint Worthington as Charlie, Krista D'Agostino as Melody, and Sebastian Orr as Jamie, with additional contributions by Ryan Schile. Michael Turrentine and Kathleen Hoil. This trailer was written by Jeffrey Gardner and Jim McDoniel, with music and recording engineering by DJ Catnip, and sound design by Jeffrey Gardner.

Welcome to the first episode of More of a Comment, Really...!, a weekly interview show hosted by Clint Worthington! Every episode will feature one or more interviews with actors, filmmakers, producers, and more, giving you the skinny on the latest films and TV. For this first episode, Clint speaks to Daniel Goldhaber, director of the Netflix original psychological horror film CAM, about a camgirl (Madeline Brewer) who finds herself contending with a mysterious doppelganger who has stolen her account and threatens her sanity. Listen as Goldhaber talks about his collaboration with friend and screenwriter Isa Mazzei, their perspective on online sex work, and placing those perspectives within the framework of a genre film. Check out the full podcast, as well as an edited and abridged version of the interview with Goldhaber, below. - CAM had its world premiere at Fantasia, right? Yeah. having the festival run that we had was so cool. But ultimately, I think that being able to be on Netflix and have people have the time to catch up with the movie was cool because we're able to reach such a large audience on that platform. Especially considering its subject matter too, about cultivating online audiences. I think it's a really interesting home for it. Well, it's also it's also a little ironic because the movie is about a demon algorithm, right? And it's being distributed by algorithm of Netflix. How were you turned on to the project? How did you meet Isa? Isa and I have known each other for quite a long time. We dated in high school actually, and worked on a bunch of stuff. Then we had a theater company, working on a bunch of plays together, and we went to different colleges. Not long after that, she became a cam girl, and when she started camming she reached out to me to make a bunch of promotional pornography for her - I thought that would be a really cool, fun, creative challenge. It was really my introduction to her world of sex work, into the attitude she was bringing to it. This idea of sex work as work, that she was really just a working creative professional, but also seeing the craft that she was bringing to what she was doing. And that was one of the things that was eye-opening about this process of doing pornography with her - it certainly changed my relationship to porn. Because, I'm a filmmaker, and when you're a filmmaker, your relationships with movies changes. When making porn, you start thinking of porn differently - you start looking at the editing in pornography and then mise-en-scene and things that we don't really think to ask of porn but they're there. How does cutting change the nature of a sexual performance in a porn film? That was really interesting to me and with all those things combined, we were like, “there’s a really exciting movie to be made here. It took some time but we eventually settled on making a genre movie – Isa’s always been a reader and a movie maker, and so naturally we wanted to do it together. It felt like the best way to do that was to have her write and me direct. What was the process behind deciding to make it a genre film? Arriving at something like a thriller, as opposed to a straight documentary or a character drama. Originally the conversation was about doing a doc, but I think that the issue with doing a doc about pornography is that the lens of documentary is so frequently exotifying. The lens of a doc - saying “hey, I'm giving you this authentic experience” - is also the lens of porn. You're saying, “hey, the thing I'm showing you is authentic,” even though it's obviously very carefully curated. I think a movie that broke all of that down on both the dock and the porn side would be an amazing documentary; I don't think that I was the person to do it. We really wanted to make a movie that had wide commercial appeal and could take this story and blow it up in a significant way. The best way to do that is through genre film. It uses those recognizable rhythms and ideas to familiarize the unfamiliar for a wide commercial audience. Beyond all of that, we love genre movies. We love fun movies. I think that we in the critical community often look down on movies that are just really fun, but I think that you can have it all - not to say that we necessarily achieve everything we can. I just think that you can have movies that are really entertaining and fun and silly and scary and can't be and it also have a rich well of ideas behind it. So when it came time to writing the script, then, I presume Isa was pulling a lot from her own experience. Were there particular things that she wanted to express about life as a cam girl that are either expressed either in Alice's everyday life as a cam girl, like the entrepreneurship of it, or in these broader genre things. It’s tough to fully walk back through the process. You build a list of everything that you think is interesting and exciting about camming and then gradually you whittle it down. What can you combine? What is distracting? For instance, I was making porn for Isa that she was selling on her show; we don't get a huge part of the camming revenue stream for people. A lot of camgirls make their own amateur pornography and sell it on their shows or through other platforms as part of their branding and it was something that really seemed to confuse the audience. That's an ethnographic detail that is better explored somewhere else. There's a lot of conversations like that, where we’re constantly trying to whittle it down and make sacrifices and compromises and drive at the overarching theme - at the end of the day, this is a movie about digital identity set in the world of webcam pornography. So, we have an ethnographic responsibility in talking about the world of webcam porn, but at the end of the day that thing that is moderating what's in the movie, and what’s out of the movie, is the theme of digital identity that we wanted to talk about. That part really resonated with me too because that was something I was feeling about I'm getting this look into the world of camgirl stuff, but in terms of what Alice is going through, it feels a lot more broadly that it also touches on the general experience of this one-sided parasocial relationship that we have, especially as either filmmakers or film critics, we have with our audiences, and the emotional labor that tends to go into that and all the relationships you have to manage. When I was spending a lot of time with Isa while she was camming, one of the things that was the most startling and surprising to me was that this huge part of her job was what she was doing in front of the camera, but just an even bigger part of the job was what she was doing behind the camera - not just in shows but in all the relationships that she had to curate and service. And the way that she would have to build these relationships and maintain them to make sure that she would have a good show, because so much of the show is the way the guys are participating in it. What you see in that first two scenes, when she's talking to Tinker and you realize he was the one playing the anonymous visitor, I think you start to recognize, “oh wait, this is a show she puts on.” That was one of the ways that you do find a way to work an ethnographic detail into the overall film. You need to show that Alice's actively collaborating with her guys for her shows and we found a way to do that right. The other major group of people that she interacts with throughout the film are not just her fellow camgirls, but there's also the family dynamic which I was really impressed with. The way you guys were able to include that element in terms of having to keep her livelihood a secret, but without presenting it in this sort of reductive, judgmental way. I mean a lot of that was just talking about the ways just people in Isa’s life responded. There were a lot of people in her life who were very supportive of what she was doing or offered a spectrum of support. I think it was also important that we subvert the stereotypes that Karen can't or won't support you if you’re a sex worker. That's not always the case. A huge part of the development there was an active collaboration with Melora, who plays Alice’s mom. Melora is an actor whose fundamental philosophy is that it has to be real. As a result, she was really going to ask the question, “how would I respond to this if my daughter said, ‘I am a cam girl?’”. She brought a lot of these depths to the character because she agreed, “I would be supportive.” The way in which that support manifested, she really came in and rewrote a significant chunk of dialogue to do a better job than we were able to do ourselves at balancing the “I'm afraid, and also I feel confused about the parts of myself that I see in you, but at the same time you're my daughter and I love you and I want to support you. And I do recognize that what you're doing has this power behind it.” I think that she really responded to that as a person first and as an actor second. Well speaking of performances, CAM is an absolute knockout for Madeline Brewer. She's fantastic in the film. What was the casting process like in terms of finding Alice and working with her with you and Isa to sort of acclimate her to the challenges of the role? In all honesty we didn't have to do anything to acclimate her. From the first meeting that I had with her, Maddie was extraordinarily excited about the prospect of the movie. She was really excited to find the cam girl inside of herself, so she obsessively watched cams in preparation for the role, At the end of the day the process of making the movie for her was like any actor: how do I relate to this? For Maddie, part of it was learning the camgirl craft for herself in the short window we had to prep and make the movie. The casting process was really hard, because we couldn’t get the script out in Hollywood. Not a lot of people wanted their clients in it, and it was a time where Blumhouse wasn’t producing the movie. Ultimately, my dad saw Maddie in a Black Mirror episode, and somebody on our team happened to know her manager. Isa and I became really obsessed with her, because she had this thing we really needed – this ability to act with incredible physical ability and character work, but it feels naturalistic on camera. There aren’t many people like that – where they build this whole character but really disappear into it. Because we need someone who could play the whole spectrum of performance beyond performance, and have her be believable the whole time. And then there’s Alice’s own levels of performances, regardless of who she’s interacting with in the film. When Alice isn’t performing at all, it has to feel like Maddie isn’t acting, and I think she does an amazing job of that in the film. Maybe my favorite moment of performances of her is when Alice is going to meet Barney - she’s hunched over on this couch, she sees him coming, and you see her unfurl herself into posing for him. In that moment, you see her going from Alice to Lola, to realizing she has to be Lola in real life. You can see Alice calculate how that’s going to work in real time, because she’s never done it before, and settle on it. Playing that many different notes so seamlessly is really impressive. I wanted to talk about the look of the film, which is gorgeous – I had to play the white dude film critic game of, “Is this a masterpiece, or is it just really neon?” and I think the answer is both. [laughs] There’s a lot of Letterboxd reviews that say, “shit film, but I loved the pink room! Three stars.” Which I’ll take. We always wanted the look of the film to be heightened and specific; we wanted the cam world to be a fantasy world that is Alice’s, and the pink room to be a living, breathing organism that is a mood ring for Alice. I wish I had a better handle on my own aesthetic development process, because I look at it now and say, “I have no idea where any of those ideas came from.” One of my favorite moments of making the film was filming the hallway shot at Cam Girl Clubhouse; it’s a moment where there’s no narrative demand, it’s just all aesthetic. You can do whatever you want there. [Cinematographer] Kate [Arizmendi] and I just had so much fun saying, “can we put a light strip over there? Let’s get some neon there!” Just doing it live and feeling your way through it, and then thinking, “Wait a minute, we’ve built a universe.” It came through a lot of conversations with Kate and [production designer] Emma [Mead] and Isa. We had a few references that were specific and unique, one of the most important ones being Pink Narcissus, a queer film that was originally financed as a porn film, but instead became this piece of avant-garde expression. That’s where a lot of the Pink Room comes from – it’s both performance art and pornography, because that’s what it is for Alice. This is a stage that Alice has built for herself, her place where she expresses herself. Going back to approach then, you mentioned you shot porn before for Isa. Was there a translation in techniques or styles? Did you draw from anything you did there into CAM? Not really, but there were ideas that we were working through in the porn that absolutely carried through. Ideas like, what is an authentic pornographic image? That is one of the fundamental questions of the movie: if the purpose of porn is for me to get off, does it matter if the person behind the porn isn’t actually there? Is that no longer authentic? That also has to do what I personally get off to when I consume porn; something that feels like a real moment of sex. That’s not necessarily the case for everybody, but it’s something I was into exploring in my work with Isa. How do we make something that feels authentic, while still looking very beautiful and designed? That push and pull was fundamental to the ideas explored in CAM. There’s a lot of really interesting discussion hat happens through the craft of the film and the script, all these questions of personhood and authenticity through these different layers of performance, especially as she battles with this persona getting away from her. Especially in the climax, the camera set up with the reflecting mirrors on the screen and the infinite Alices stretching out into the abyss. I’m glad you think that; the climax was a real struggle to film and figure out.

She-Ra's back on Netflix, and our show's back for season 3! In the first part of our two-part premiere, we talk with a couple adults -- one television critic, and one longtime Noelle Stevenson fan -- who've never watched She-Ra before! Do you think we all liked it? Recorded live at the Cards Against Humanity Theatre! Make sure to check out Clint over at Consequence of Sound and Alcohollywood, and Shelby will be taking over the Nerdologues' Your Stories podcast in December!

... in which no spiders were harmed in the recording of this podcast. JB is joined by television/film critic and fellow "Timey Wimey" alum Clint Worthington from the "Alcohollywood" podcast for a review of "Arachnids in the UK".

This week, we're playing the fantastic Station Blue from Chad Ellis as we take Horror Octorbor (trademark Clint Worthington and Alcohollywood) to its spoopiest extent yet: to ANTARCTICA!Matthew Leads is a driftless young man—and the Flower Company has taken a chance on him. They've sent him to a private research base in Antarctica, to prep the facility for the arrival of the scientists later in the season. For now, though. he's alone with his thoughts—or IS HE?Content warnings for the first two episodes: Episode 1: Something not unlike an evisceration befalls a minor character. It is brief, but gruesome.Episode 2: Suspense, flickery lights, a jump scare that resolves into a pleasurable jokehttps://www.patreon.com/StationBlue

Our third season of Filmography on the Master of Horror John Carpenter continues, as Film Editor Dominick Suzanne-Mayer is joined for this week's episode, John Carpenter vs. The Monster Mash, by Halloweenies and The Losers Club contributor Mackenzie Gerber and CoS senior writer/Alcohollywood podcast co-host and editor Clint Worthington. Together, they examine Carpenter's understanding of monstrousness, the ways in which his filmmaking informs the scares of some of his creatures, the wildly differing returns he's found on monster movies throughout his career, and much more. This week's discussion is focused around the following features: Prince of Darkness (1987) In the Mouth of Madness (1994) Vampires (1998) The Ward (2010) Chapters: Introduction (0:09), The Monster Mash: A Discussion (1:56), Prince of Darkness (5:25), In the Mouth of Madness (18:20), Vampires (31:23), The Ward (45:01), Intermission (56:20), Sight [Cinematography/Editing] (56:24), The Lasting Image (1:12:48), Music & Score (1:16:31), Gin the Vermouth of Madness: A Cocktail Recipe by Clint Worthington (1:25:49), Closing Remarks (1:27:27) For information regarding your data privacy, visit acast.com/privacy

HartLife NFP is thrilled to bring you the very first trailer for our new flagship show- Unwell, a Midwestern Gothic Mystery, coming in February 2019.  A transcript for this trailer is available here. Content warnings for this trailer can be found here. Find out more by following us on twitter at www.twitter.com/unwellpodcast, on tumblr at http://unwellpodcast.tumblr.com, or on our website at www.unwellpodcast.com. This trailer features Shariba Rivers as Lily Harper, Clint Worthington as Charlie, Krista D'Agostino as Melody, and Sebastian Orr as Jamie, with additional contributions by Ryan Schile. Michael Turrentine and Kathleen Hoil. This trailer was written by Jeffrey Gardner and Jim McDoniel, with music and recording engineering by DJ Catnip, and sound design by Jeffrey Gardner.

High as Hope is a marvel when Florence Welch pushes past the boundaries both within herself and in the familiar structure of songs, but falters when stagnating inside those constraints. On songs like “No Choir”, “Big God”, and “June”, she subverts expectations and displays range so that it’s more meaningful when she hits the high note. High as Hope is a bold move for an artist at Welch’s stage, one where the risks pay off, proving that she shouldn’t be afraid of taking more.An album review by David Sackllah, read by Clint Worthington.Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

Liberation really is a welcome return to form for one of this era's greatest vocalists. Christina Aguilera's voice is arguably at its very apex — stronger, deeper, and fuller than we remember -- and Liberation is a showcase of exactly what she can do with those pipes. All of it makes for her most interesting, diverse, unusual, and conceptually cohesive set since 2006's Back to Basics or even 2002's Stripped. She has our attention once again. Now, what will she really do with it?An album review by Taylor Dougherty, read by Clint Worthington.Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Liberation really is a welcome return to form for one of this era’s greatest vocalists. Christina Aguilera’s voice is arguably at its very apex — stronger, deeper, and fuller than we remember -- and Liberation is a showcase of exactly what she can do with those pipes. All of it makes for her most interesting, diverse, unusual, and conceptually cohesive set since 2006’s Back to Basics or even 2002’s Stripped. She has our attention once again. Now, what will she really do with it?An album review by Taylor Dougherty, read by Clint Worthington.Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

On "Human Warfare", the second episode of our Stanley Kubrick season of Filmography, Film Editor Dominick Suzanne-Mayer is joined by CoS senior writers and TV Party co-hosts Allison Shoemaker and Clint Worthington to examine the filmmaker's wartime films, specifically what they conveyed about Kubrick's ideals, the eras in which they were produced, and the experiences of mankind at war in general.This week's discussion is focused around the following features:Paths of Glory (1957)Spartacus (1960)Dr. Strangelove (1964)Full Metal Jacket (1987)Chapters: Introduction (0:09), Human Warfare: A Discussion (2:17), Paths of Glory (9:28), Spartacus (27:01),Dr. Strangelove (42:12), Full Metal Jacket (55:45), Intermission (1:09:05), Cinematography and Editing (1:09:31), The Lasting Image (1:39:00), Music & Score (1:42:35), and Outro (1:15:14)Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

Though likely unintended, Kid Cudi is the savior of Kids See Ghosts. Not just for his impact on the aesthetic of the final product, but his ability to entice Kanye to show up. The beats and rhymes on Kids See Ghosts are signs of life from a man whose increasingly polarizing statements had all but left him for dead in the eyes of those once taken by his ability to flip a soul sample or execute a cheeky rap track. The controlled chaos of the record is proof that somewhere beneath all of the public outbursts and musical misfires, Kanye West – not the old Kanye – but the actual man and his heart are still somewhere in the mix planning to raise the bar and occasionally executing to near flawless result.An album review by Karas Lamb, read by Clint Worthington.Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

In crafting the ephemeral summer of Call Me by Your Name,  Luca Guadignino assembled an eclectic soundtrack including everything from obscure European pop hits of the 80s, to modern classical compositions by composers such as John Adams and Ryuichi Sakamoto as well as original songs by Sufjan Stevens. An album review by Clint Worthington. Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In crafting the ephemeral summer of Call Me by Your Name,  Luca Guadignino assembled an eclectic soundtrack including everything from obscure European pop hits of the 80s, to modern classical compositions by composers such as John Adams and Ryuichi Sakamoto as well as original songs by Sufjan Stevens. An album review by Clint Worthington. Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

Travel through this week in TV with Consequence's televisual savants: Allison Shoemaker and Clint Worthington; along with a rotating cast of writers, critics, and exciting people. Don't touch that dial! We also do deeper dives into the boob tube with special segments and highlighted discussions.Learn more about your ad choices. Visit megaphone.fm/adchoices For information regarding your data privacy, visit acast.com/privacy

Alcohollywood's Jared Latore and Clint Worthington return to "retire" some robot baddies in this comic conclusion of Ridley Scott's Blade Runner!  This is part two of a two-part episode. Visit our Patreon site! Join us! Get bonus content! Muffed Movies & Blastropodcast clothing and other stuffs are now available! Visit our Threadless store. This episode is brought to you in part by the farm-to-table freshness of Cards Against Humanity. Ne? Blastropodcast is a member of the Chicago Podcast Cooperative. This episode features "Quirky Dog" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/. Muffed Movies is a fan production which celebrates film through parody. Blade Runner (1982) was produced by The Ladd Company, Shaw Brothers, & Blade Runner Partnership. It was distributed by Warner Bros.

Clint Worthington developed a love for film as an Illinois farm boy who was admittedly more of an inside, MST3K boy than anything else. Since those days of pirated satellite, he's spent years watching film with a critical eye producing reviews for his own podcasting network at Alcohollywood.com and for Consequence of Sound as well as becoming a member of the Chicago Independent Film Critics Circle. He cites Ebert and Roeper as big influences of course, but there's also a lot of love for some smaller reviewers and YouTube channels (and a lack of love for some bigger sources like Rotten Tomatoes and CinemaSins). Clint talks movies as empathy machines, reviewing film through the lens of an audience and not just as one critic, and being a Michael Bay apologist. Notes: Thanks to Cards Against Humanity for sponsoring and the Chicago Podcast Cooperative for bringing Clint and MBS together as coop-mates.

Need a distraction? Well Thank Jason It’s Friday, the Kill By Kill Podcast is here to help. Gena & Patrick are sadly closing the book on Friday the 13th The Final Chapter, but we have the support of Clint Worthington from the Alcohollywood podcast to help them! Along the way, we discuss new craft selections for Jason’s Crystal Lake Swap Meet stand, the disturbing connection between The Final Chapter and every other Tennessee Williams play, Tommy’s Uncle Fester cosplay and celebrate the elevation of Trish to supreme Final Girl badass! Plus we talk about the Voorhees Family’s hatred of windows and there’ an all-new edition of Choose Your Own Death-venture! It’s a real slice of fun for the whole family!! (Warning: Do Not Listen With Your Whole Family. Please download separately.) Never fear - new episodes of Kill By Kill are made available every other Friday! Have something to say? Reach out on Twitter @killbykillpod or email us: killbykillpod@gmail.com Artwork by Josh Hollis: joshhollis.com

Thank Jason It’s Friday - Gena and Patrick are joined by Clint Worthington of the Alcohollywood podcast as the days of “coming’ at ya” are coming to an end. We bid adieu to Friday the 13th Part 3D by wondering what it takes to make someone “burn down a barn” mad at Jeff Ross, discover which character has been described as “the Main Deuteragonist,” explore the career of Jason Voorhees: Exterior Decorator and learn the secret behind the all-new #SadSandwich! All that - plus a new Choose Your Own Death-venture - when you listen to Kill By Kill today!! Never fear - new episodes of Kill By Kill are made available every other Friday! Have something to say? Reach out on Twitter @killbykillpod or email us: killbykillpod@gmail.com Artwork by Josh Hollis: joshhollis.com

We are joined this week by Clint Worthington of the Alcohollywood Podcast ().  We watched Cyber Seduction.  We don't know how we feel about this movie.  We just know its not great.  Or even good.  Also, we take a nostalgic trip back to what internet porn was like when Geocities was all the rage.  Also, teen sex is scary. Fact  

Clint Worthington of Alcohollywood and Consequence of Sound joins me to defrag 2001's would-be game-changer Final Fantasy: The Spirits Within.