Metal Gear Solid

Justified may have been a victim of the golden age of television. Matt and Tony both had it on their radar - how could it not have been - but for whatever reason the critically-acclaimed FX series never grabbed them. This week, they take the opportunity to finally catch up with deputy US marshall Raylan Givens, and the cast of cops and ne'er-do-wells of the show's Harlan County, Kentucky. They also discuss the show's source material, the novella "Fire in the Hole," and the novel "Pronto," both written by Elmore Leonard and featuring the cowboy hat wearin' lawman portrayed by Timothy Olyphant. As always, they'll discuss why they had held off on the show and why now seemed like the time to ctach up. They'll also discuss how a show about a "plays by his own rules" lawman and a white supremacist militias plays differently in the wake of the last few years, the differences between Raylan on the screen and on the page, and whether or not season one has them excited about continuing with the show.

Mike Mignola debuted his most iconic character, Hellboy, in 1993. Since then, Hellboy has punched his way through battles with Nazis, vampires, ghosts, floating heads, Lovecraftian cosmic horrors, and even Santa, all in the name of a days work and keeping the world safe. Matt and Tony have long been fans, but as with following anything that lasts for decades they've been in and out of Hellboy's regular adventures. Now that Hellboy's story has come to a definitive end, Matt and Tony caught up on the stories they had missed in preparation for the big red guy's final adventure: Hellboy in Hell. They discuss the mythology and circumstances that brought a reluctant devil to the underworld, Hellboy's "just a regular guy" attitude about scrapping with monsters and shunning his destiny, and why Mike Mignola's singular aesthetic makes Hellboy such a joy to read and revisit. Big time spoiler alert: This is a discussion about the "final" Hellboy miniseries. Plenty of warning is given before diving into details, but if you've ever been curious about Hellboy, maybe bookmark this one.

It's not all about the podcast, folks, which is why this week Matt and Tony are taking some time to talk about the stuff they watch, read, and what-have-you when they aren't cramming for a new episode. Since their end of 2020 roundup ran a bit long, they open things with a discussion about the comics and novels they've been reading in 2021, then dive into the films and TV that have been streaming for the first half of 2021.

It's easy to take a cursory look at the NBC sitcom Superstore and unfavorably compare it to The Office or Parks and Recreation. That's exactly what Matt and Tony did when the show premiered in late 2015. And altough the ratings for the show remained consistent throughout its six season run it never gained the sort of cult status and internet fame that its predecessor's enjoyed. Now that critics are finally catching up to the show it felt like the right time to give the show a second chance. They discuss the history of NBC's "must-see-TV" thursday lineup, the show's excellent and diverse cast, why it hasn't found the kind of audience that show's of its kind have enjoyed in the past, and its surpringly sharp political acumen.

Second albums are notoriously difficult to make. Expectations from critics and audiences alike can force an artist into a corner: not enough change and you risk repeating yourself; too much change and you risk alienating your fan base. Fiona Apple followed up her multi-platinum selling debut album, Tidal, by directly addressing her critics and confidently refining her songwriting. Released in 1999 and produced by multi-instrumentalist Jon Brion, When the Pawn... stood out from the burgeoning radio landscape of disposable pop, boy bands, and nu metal. Seeing as how Fiona Apple has been mentioned in previous episodes of WDWM, Tony felt it was time to see if her music lived up to its reputation, and Matt, a long time Fiona Apple fan, was only happy to oblige. They discuss the negative reaction to her interview in Spin Magazine and how that inspired When the Pawn..., Fiona's lyrical wit and complex rhyming schemes, her infamous MTV Video Awards acceptance speech, that incredible voice, and what makes this album a classic to this very day.

Welcome to our second annual Oscar episode! In honor of this weekend's Oscar ceremony, Matt and Tony picked a random year to see if any of that year's Best Picture nominees were blindspots. The result? 1949. The nominess: Hamlet, The Red Shoes, The Treasure of the Sierra Madre, Johnny Belinda, and The Snake Pit. They briefly touch upon Johnny Belinda and The Snake Pit before focusing on the three influential films that are still loved and discussed to this day: Hamlet, The Red Shoes, and The Treasure of the Sierra Madre. Before getting to the 1949 Oscar nominees, they talk about the 2021 Oscars and how the pandemic affected the nominees releases and viewing expierence. Then they touch on what they did and didn't like about the movies from 1949, trends and themes that tend to pop up every year in the Best Picture nominees, expectations and biases of older movies, and how good it feels to still be able to find art that moves and surprises you.

It's time to play the music, it's time to light the lights, it's time to convince Tony of The Muppet Show's greatness on WDWM tonight! With the news that Disney+ had added The Muppet Show to its catalog, Tony admitted to a deep, dark secret: he doesn't really get the Muppets. Life long Muppet fan, Matt, jumps in to save the day and guide Tony through all of the ins and outs of the weird world of Kermit, Miss Piggy, Gonzo, and company. They talk about the pressure and expectations of being a first time viewer of a beloved show, the non-controversy surrounding the disclaimer attached to a handful of episodes, the show's terrific balance of allowing the guests to be themselves while still maintaining a space for plenty of Muppet hijinks, and its influences that range from vaudeville to old Hollywood musicals and yet still rooted in character based humor.

Every week or so another film critic Matt and Tony follows on Twitter mentions how Devil in a Blue Dress - written and directed by Carl Franklin from the novel written by Walter Mosley - is an overlooked gem of mid-90s cinema. Starring the always great Denzel Washington and featuring a stand-out cast including Jennifer Beals, Tom Sizemore, and a scene-stealing Don Cheadle, Devil in a Blue Dress is the story of how WWII vet and recently laid off Ezikiel "Easy" Rollins winds up butting heads against corrupt politicians and a shady private eye, all while exploring the underbelly of postwar LA while on the case to track down a missing woman. Matt and Tony discuss the differences between Mosley's novel and the film, how Easy fits into the tradition of hard boiled detectives, and how Easy's LA stand's in contrast to that tradition's predominantly white point of view. They also touch on the first of the novel's many sequels, how the racial politics of the post-war period still resonate with contemporary issues, and how Don Cheadle's wild performance as Mouse on-screen lives up to the character's frightening intensity on the page.

He's known by many names: Zev Love X, Viktor Vaughn, King Geedorah, and more, but most people know him as MF Doom. Amidst the calamity of 2020, MF Doom, whose real name is Daniel Dumile, passed away in October. The world learned of his passing several months later when his wife informed his fans via a Facebook post. Stunned by the rapper's death and the strange way in which the news was revealed, Matt reacquainted himself with the mysterious MF Doom and his music while also introducing Tony to the apotheosis of Doom's career: the album Madvillainy. Released in 2004 to critical acclaim and instant cult classic status, Madvillainy was a collaborative album with producer Mad Lib. Matt and Tony talk about the slightly morbid prospects of catching up an artist after they have passed away, the complex history and self mythologized backstory to Doom and his many aliases, and the rapper's comedic delivery and endless well of complex rhymes.

Who'd have thought that a comic about a samurai rabbit would have much staying power, but after 35 plus years, over 300 issues, a new show coming to Netflix, and a few appearances alongside the Tennage Mutant Ninja Turtles, Usagi Yojimbo is still going strong. Creator Stan Sakai has been the sole creative force since issue one, not only writing and drawing every issue but also inking and lettering. Sakai masterfully pulls from elements of Japanese folk tales and fedual Japan to create a story that trandsends genre and becomes a sort of alternate history lesson featuring anthropomorphized rabbits, bats, cats, rhinos, and more. Tony and Matt learned about Usagi via a guest spot on the orginal Teenage Mutant Ninja Turtles cartoon, but due to its long history and scarce accessibility to back issues they never gave it a chance. They discuss that long journey to taking the plunge into the gigantic world of Usagi Yojimbo, the comic's heavily researched connections to Japanease history, Stan Sakai's art style and the impressive scope of his sotrytelling, and the lasting influence samurai stories have had on western culture.