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 40: What Would Ludwig Van Say?
The Whole Shebang Minute 39: Lady Tongue Controller
The Whole Shebang Minute 38: I Wish I Had Said That
The Whole Shebang Minute 37: Nature Is Their Chill-Out Room
The Whole Shebang Minute 36: The Elephant In The Room
The Whole Shebang Minute 35: Finger, American Style
The Whole Shebang Minute 34: Rows and Flounces
The Whole Shebang Minute 33: Leather Jackets and Sneers
The Whole Shebang Minute 32: A Freeform Jazz Exploration In Front of a Festival Crowd
The Whole Shebang Minute 31: Bona To Vada
The Whole Shebang Minute 30: The Peacock Revolution
The Whole Shebang Minute 29: Maiden, Mother, and Crone
The Whole Shebang Minute 28: The Theory That Dare Not Speak Its Name
The Whole Shebang Minute 27: Taking Her Up The Back Passage
The Whole Shebang Minute 26: Don't Break Your Waffle Cone
The Whole Shebang Minute 25: A Little Of What You Fancy Does You Good
The Whole Shebang Minute 24: Like The Pendulum Of A Grandfather Clock
The Whole Shebang Minute 23: Unspeakably Beautiful Mugshots
The Whole Shebang Minute 22: Such A Genius
The Whole Shebang Minute 21: Poor Arthur
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