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 100: Mike’s Only-Child Karaoke
The Whole Shebang Minute 99: The Brian Slade Survivors’ Club
The Whole Shebang Minute 98: The Widow in Leopard Print
The Whole Shebang Minute 97: The Words For The Day Are Primal and Diagetic
The Whole Shebang Minute 96: Tipper Sounds Like A Plucky Dog
The Whole Shebang Minute 95: This Ain’t My First Podcast
The Whole Shebang Minute 94: The Big Book of Brian Slade
The Whole Shebang Minute 93: Let Me Tell You About My Starchildren Game
The Whole Shebang Minute 92: The Six Makeups
The Whole Shebang Minute 91: Alien Glamstones and Ominous Organs
The Whole Shebang Minute 90: A Tenured Fancyperson
The Whole Shebang Minute 89: A Divorce Quote-Off
The Whole Shebang Minute 88: A Three-Dimensional Downfall
The Whole Shebang Minute 87: A Skirmish of Jens
The Whole Shebang Minute 86: I’m Just Looking For A Room At The Moment
The Whole Shebang Minute 85: Sinister As ****
The Whole Shebang Minute 84: The Biggest Pile of Coke Ever
The Whole Shebang Minute 83: No Robot Voices
The Whole Shebang Minute 82: A Complete Metaphor Flush
The Whole Shebang Minute 81: Glittery Leopards Are Real
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