In Minute 115 of The Whole Shebang, Jenny and Mike say goodbye to the actual action of the film with a thought about a Victorian and English Gothic aesthetic as captured by Americans like Todd Haynes and Terry Gilliam, Jenny talks about being a “third culture kid” and Mike talks about British creators who aren’t able to go the other way, how this film is ultimately just a snapshot of a very rarefied pantheon and how an entire story is happening outside the narrow frame of the film, and as we look at a montage of schoolkids looking up, a bunch of umbrellas in motion on the London pavement, and a candlelit pub during the miners’ strikes in 1974, we take a moment to do a last-minute Marxist analysis of the film as a whole and a look at the social, political, and cultural impact of the transistor radio.
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The Whole Shebang Minute 120: Byeee
The Whole Shebang Minute 119: Any Similarity to Persons Living or Dead is Highly Intentional
The Whole Shebang Minute 118: Microfiche vs. Swordfights
The Whole Shebang Minute 117: I Shouldn’t Have Laughed At The Clapper Loader
The Whole Shebang Minute 116: Grips and Gaffers and Boys, Oh My!
The Whole Shebang Minute 114: The Curtain Call
The Whole Shebang Minute 113: JENNY’S THEORY!!!! OMG.
The Whole Shebang Minute 112: All Kinds of Shenanigans
The Whole Shebang Minute 111: Plosive and Penultimate
The Whole Shebang Minute 110: Changing Worlds, Changing Selves
The Whole Shebang Minute 109: The Curt Wild Zoom
The Whole Shebang Minute 108: Don’t Be A Dick At The Wrap Party
The Whole Shebang Minute 107: Indie Bands Don’t Revolve
The Whole Shebang Minute 106: A Tartan Rug and a Thermos of Bovril
The Whole Shebang Minute 105: Phantom of the Opera vs. Close Encounters
The Whole Shebang Minute 104: Romantic Folderol
The Whole Shebang Minute 103: The Easy Mode of Undressing
The Whole Shebang Minute 102: Fan-tasy
The Whole Shebang Minute 101: Is It Carthur or Arurt?
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