King Arthur in Film: Our Most Enduring Popular Entertainment Franchise? Pretty Much Pop: A Culture Podcast #104

With the recent the­atri­cal release of The Green Knight, your Pret­ty Much Pop host Mark Lin­sen­may­er, return­ing host Bri­an Hirt, plus Den of Geek’s David Crow and the very British Al Bak­er con­sid­er the range of cin­e­mat­ic Arthuri­ana, includ­ing Excal­ibur (1981), Camelot (1967), King Arthur (2004), King Arthur: Leg­end of the Sword (2017), First Knight (1995), Sword of the Valiant (1983), Sir Gawain and the Green Knight (1973), and Mon­ty Python and the Holy Grail (1975).

Arthuri­ana encom­pass­es numer­ous (some­times con­tra­dict­ing) sto­ries that accrued and evolved for near­ly 1000 years after the prob­a­ble exis­tence of the unknown per­son who was the his­tor­i­cal source for the char­ac­ter before the 14th cen­tu­ry poem (author unknown) Sir Gawain and the Green Knight, and then in the 15th cen­tu­ry Sir Thomas Mal­o­ry wrote Le Morte d’Arthur, which pro­vid­ed the tem­plate for well-known mod­ern retellings like T.H. White’s The Once and Future King (1958).

The length and com­plex­i­ty of this mythol­o­gy makes a sin­gle film prob­lem­at­ic, with most set­tling on the love tri­an­gle between Arthur, Lancelot, and Guin­e­vere lead­ing to Camelot’s down­fall. Mul­ti­ple TV treat­ments have tried to do it jus­tice, and if Guy Ritchie’s King Arthur: Leg­end of the Sword had been a box office suc­cess, then we’d cur­rent­ly be see­ing mul­ti­ple films in an Arthuri­an cin­e­mat­ic uni­verse. By pick­ing a small­er sto­ry and not try­ing too hard to tie it to King Arthur (who appears but is not named), The Green Knight is able to be more cre­ative in paint­ing and updat­ing the strange sto­ry of Sir Gawain, who in pre­vi­ous cin­e­mat­ic out­ings (includ­ing Sword of the Valiant where Sean Con­nery played The Green Knight) involved Gawain involved in a series of non­sen­si­cal adven­tures far removed from the events told in the orig­i­nal poem.

We talk through char­ac­ter­i­za­tion in a myth­ic sto­ry, styl­iz­ing the epic (how much vio­lence? how weird?), its sta­tus as pub­lic domain mate­r­i­al (like Robin Hood and Sher­lock Holmes), and the moral les­son of the orig­i­nal Gawain poem and what direc­tor David Low­ery did with that for the new film. Is the new film actu­al­ly enjoy­able, or just care­ful­ly thought through and art­ful­ly shot? Note that we don’t spoil any­thing sig­nif­i­cant about The Green Knight until the last ten min­utes, so it’s fine if you haven’t seen it (Al had­n’t either).

Here are song arti­cles by David Crow on our top­ic:

Oth­er arti­cles we used to prep for this includ­ed:

The YouTube ver­sions of the source mate­r­i­al that Mark lis­tened to are here and here, and the rel­e­vant Great Cours­es offer­ing is here.

This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

What Is “Queering” in Video Game Design? Naomi Clark on Pretty Much Pop: A Culture Podcast #103

While LGBTQ+ rep­re­sen­ta­tion in video games has been improv­ing (as with oth­er media), Nao­mi Clark (who designed games for LEGO, Game­lab, Fresh Plan­et, Rebel Mon­key, et al) has some­thing more dis­rup­tive in mind when argu­ing for game “queer­i­fi­ca­tion.” The pro­to­typ­i­cal video game includes a more-or-less lin­ear pro­gres­sion through a pre-defined sto­ry to a defined win con­di­tion, and any­thing that chal­lenges that tra­di­tion to allow more self-expres­sion is a step in the direc­tion of queer­ing. Many pop­u­lar games now include a sand­box aspect that allows play­ers to make their own deci­sions, and this ges­tures at a con­tin­u­um of free­dom in play­er-game rela­tions, with the extreme being a game that just pro­vides a plat­form for play­ers to cre­ate their own games.

Your host Mark Lin­sen­may­er and guest co-host Tyler His­lop engage Nao­mi about top­ics like how games train us, char­ac­ter cre­ation, glitch­es, speed runs, gam­i­fy­ing  tasks, and eco­nom­ic and indus­try pres­sures in game design. Some games we touch on include The Sims, The Last of Us, Cyber­punk, and Mass Effect.

Read Naomi’s pre­sen­ta­tion on “Queer­ing Human-Game Rela­tions.” Get involved with the NYU Game­cen­ter where Nao­mi works. You can also play her ear­ly game Sis­sy­fight 2000 free online. A cou­ple of her oth­er cre­ations that come up in our dis­cus­sion include Won­der City and the card game Con­sen­ta­cle. Read her wis­dom on Quo­ra and fol­low her on Twit­ter @metasynthie.

Some sources reviewed to pre­pare for this episode include:

This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Philosophy vs. Improv: A New Podcast from The Partially Examined Life and Chicago Improv Studio

The Par­tial­ly Exam­ined Life Phi­los­o­phy Pod­cast has been shar­ing read­ing-group dis­cus­sions on clas­sic phi­los­o­phy texts for well over a decade, with over 40 mil­lion down­loads to date.

How­ev­er, inter­ac­tive con­ver­sa­tions about texts you prob­a­bly haven’t read can be dif­fi­cult to fol­low no mat­ter how much we try to make them acces­si­ble, and a decade of his­to­ry means that many names that might be dropped that those new­ly check­ing in may or may not be famil­iar with.

I’m one of the hosts of that pod­cast, and while I’m very hap­py with the for­mat and thrilled to have reached so many peo­ple with it, I also appre­ci­ate the dynam­ic of a one-on-one tutor­ing inter­change, and I stand firm­ly behind one of the orig­i­nal rules of The Par­tial­ly Exam­ined Life: No name-drop­ping.

As we read more com­pli­cat­ed texts, our inter­est becomes fig­ur­ing out what the philoso­pher meant, and only sec­on­dar­i­ly whether that mean­ing actu­al­ly relates to some­thing in peo­ple’s actu­al lives. Yes, we are crit­i­cal (some say too crit­i­cal) of the sub­ject-mat­ter, but we’re also big fans; we could bask in the lit­er­ary glow of Hegel or Pla­to or Simone de Beau­voir or Han­nah Arendt all day, and have often done so.

My newest pod­cast, Phi­los­o­phy vs. Improv, is rec­i­p­ro­cal tutor­ing real­ized as com­e­dy (or at least per­for­mance art?). As some­one who stud­ied phi­los­o­phy for many years in school and has then been host­ing The Par­tial­ly Exam­ined Life for so long, I’m in a good posi­tion to come up with par­tic­u­lar philo­soph­i­cal points worth teach­ing to a new learn­er.

My Phi­los­o­phy vs. Improv co-host is Bill Arnett, founder of the Chica­go Improv Stu­dio, author of The Com­plete Impro­vis­er, and the for­mer train­ing direc­tor at Chicago’s famed iO The­ater. He has appeared repeat­ed­ly on the Hel­lo From the Mag­ic Tav­ern improv com­e­dy pod­cast as a char­ac­ter named Meta­more who leads the show’s hosts (who are all fan­ta­sy char­ac­ters a la Tolkein or Nar­nia) in a table-top role-play­ing game called Offices and Boss­es. This and oth­er shows ignit­ed in me an urge to learn the fun­da­men­tals of improv com­e­dy, and so each Phi­los­o­phy vs. Improv episode, Bill comes up with some trick of the trade to try to teach me.

There are two rules of engage­ment: First, we can’t just state up front what the les­son is. We can ask each oth­er ques­tions, go through exer­cis­es, and oth­er­wise dis­cuss the mate­r­i­al, but the les­son should emerge nat­u­ral­ly. Sec­ond, we don’t take turns in try­ing to teach each oth­er. As he’s mak­ing me act out scenes, I’m try­ing to set up those scenes or have my char­ac­ter react in such a way to exem­pli­fy my philo­soph­i­cal point. As we’re dis­cussing phi­los­o­phy, Bill is relat­ing it to com­pa­ra­ble points about improv. Of course, we’re both inter­est­ed in learn­ing as well as teach­ing, so the “vs.” in the show’s title is not so much com­pe­ti­tion between us as between which les­son ends up more near­ly pro­duc­ing its intend­ed effect in the oth­er per­son.

It is sur­pris­ing how smooth­ly these duel­ing lessons often fit togeth­er, as lessens about ethics in par­tic­u­lar, about the art of liv­ing, are very much rel­e­vant to the impro­vi­sa­tion­al skills of being present, pre­sent­ing your­self, dis­cov­er­ing the real­i­ty of a sit­u­a­tion, and explor­ing truths of char­ac­ter. Fic­tion is often a very effec­tive vehi­cle for address­ing phi­los­o­phy, whether the char­ac­ters them­selves are talk­ing philo­soph­i­cal­ly (even if they’re ani­mals, cave men, or oth­er­wise in a non-typ­i­cal sit­u­a­tion for dis­cus­sion), or per­haps we’re embody­ing some polit­i­cal sit­u­a­tion or thought exper­i­ment that we’re sub­ject­ing to philo­soph­i­cal analy­sis.

Like­wise, back to the days of Pla­to, a dose of irony in dis­cussing phi­los­o­phy can be use­ful, and this for­mat allows us to not just be our­selves on a pod­cast dis­cussing phi­los­o­phy, but at any point to launch into some com­e­dy bit, and in this way show the absur­di­ty of views we’re argu­ing against or just play with the ideas in a man­ner that I think enhances men­tal flex­i­bil­i­ty, which is essen­tial both for impro­vi­sa­tion and for philo­soph­i­cal cre­ativ­i­ty.

Lis­ten to the lat­est episode (#7), enti­tled “Mer­i­toc­ra­cy Now!”

Start lis­ten­ing with Phi­los­o­phy vs. Improv episode 1.

For more infor­ma­tion, see philosophyimprov.com.

Mark Lin­sen­may­er is the host of four pod­casts: Pret­ty Much Pop: A Cul­ture Pod­cast, Naked­ly Exam­ined Music, The Par­tial­ly Exam­ined Life, and Phi­los­o­phy vs. Improv.

Pretty Much Pop: A Culture Podcast — Season One Wrap: What Have We Learned? (#102)

After 101 episodes and a bit over two years, Open­Cul­ture’s first pod­cast offer­ing is mov­ing into a new phase. Here your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an hirt reflect on what we’ve learned and set a course for the future.

Our over­ar­ch­ing con­cern with this pod­cast has been how and why we con­sume. We may not have learned a great deal about this issue in a gen­er­al sense, but we’ve cer­tain­ly been shown the appeal of many forms that we might not have con­sid­ered before, and we’ve the­o­rized about why peo­ple like dra­ma or hor­ror, or what makes for com­pelling sci-fi or gam­ing, etc.

We’ve stretched over these episodes into some unex­pect­ed areas for a pop cul­ture pod­cast, like the phi­los­o­phy of pho­tog­ra­phy and why peo­ple obsess over con­spir­a­cy the­o­ries. The cur­rent dis­cus­sion takes this on through a re-con­sid­er­a­tion of what pop cul­ture is. Of course, the title of the pod­cast has “pret­ty much” in it, which allows a cer­tain amount of lee­way, but the source of that ambi­gu­i­ty is not just that I want the free­dom to bring in any top­ic that inter­ests me, but because of two points cov­ered in this episode:

  • Func­tion­al­ly, indi­vid­u­als enter­tain them­selves with a vari­ety of things; they are our cul­tur­al food, and can include many obses­sions that have noth­ing to do with man­u­fac­tured media at all. If such fas­ci­na­tions are also used by mul­ti­ple peo­ple to bond over, then that’s cul­ture, and inso­far as bond­ing over that object is com­mon, then it’s pop cul­ture.
  • There’s a con­tin­u­um between cre­ation and spec­tat­ing. Cre­ators are first of all con­sumers and cre­ate large­ly through imi­tat­ing and tweak­ing past works. Though this pod­cast focus­es large­ly on the con­sumer side of the equa­tion, some of audi­ence appre­ci­a­tion is a mat­ter of respect for the craft, which increas­es through under­stand­ing and (at least vic­ar­i­ous) par­tic­i­pa­tion in the activ­i­ty. Though it’s not always the case that we get enjoy­ment through sym­pa­thy with the artis­tic choic­es a cre­ator makes (some­times we just mar­vel uncom­pre­hend­ing­ly), this is a sig­nif­i­cant dynam­ic in fan­dom. View­ers who liked Game of Thrones had many ideas about how it should have end­ed even if they had no oppor­tu­ni­ty or even tal­ent to real­ly pro­vide an alter­na­tive.

It all comes down to the dimen­sions of mime­sis, which means reflec­tion. We enjoy sto­ry­telling large­ly because it reflects us, either how we are, how we might like to be, or how we fear we could be. We get some of our ideas about who we are from these media reflec­tions. Mar­keters guess at who they think we are (again, in part based on media) and cre­ate prod­ucts to mar­ket at us. Artists cre­ate works reflect­ed from oth­er works which attempt to reflect us (or dis­tort us based on knowl­edge of a reflec­tion). Who we are as a cul­ture may be very much sto­ry­telling all the way down. So polit­i­cal myths are an essen­tial part of this, as are sex­u­al mores, ideas about what leisure activ­i­ties (and jobs, for that mat­ter) are respectable, man­ners tak­en more gen­er­al­ly, how we deal with our lega­cies of racism and sex­ism, what we find fun­ny and how that changes over time, and much much more.

Thanks, all, for lis­ten­ing. We’ll be back in a few weeks.

This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop.

This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

The “Conjuring” Film Universe Digested — Pretty Much Pop: A Culture Podcast #101

With the release of The Con­jur­ing: The Dev­il Made Me Do It, your Pret­ty Much Pop hosts Mark, Eri­ca Spyres and Bri­an Hirt explore the larg­er “Con­jur­ing uni­verse” that start­ed with the crit­i­cal­ly acclaimed 2013 James Wan film depict­ing the fic­tion­al­ized super­nat­ur­al inves­ti­ga­tions of Ed and Lor­raine War­ren (played by Patrick Wil­son and Vera Farmi­ga). Large­ly using the plot-gen­er­at­ing device of the couple’s store­house of haunt­ed objects, this series has extend­ed into eight films to date with more planned.

Are these films actu­al­ly scary? Inso­far as these demons and ghosts do fright­en us, can we (emo­tion­al­ly) buy into the pow­er of Catholic sym­bols to keep them at bay? Is it OK to val­orize these real-life peo­ple who were very like­ly huck­sters?

Is group­ing these films togeth­er mere­ly a mar­ket­ing gim­mick, or is there real nar­ra­tive jus­ti­fi­ca­tion for the con­ti­nu­ity? Even with­out a com­mon film­mak­er, stars, or plot through-line, there is some val­ue in a brand or fran­chise, just so you know more or less what you’re get­ting, but does that actu­al­ly hold in this case, or have War­ren-free stinkers like The Nun (2018) and The Curse of La Llorona (2019) already failed to meet the franchise’s stan­dards?

Some of the arti­cles we reflect­ed on for this episode includ­ed:

This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop.

This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

What’s the Role of a Director in Constructing Comedy? Pretty Much Pop: A Culture Podcast #100

What makes for a good com­e­dy film or show? Fun­ny peo­ple read­ing (or impro­vis­ing) fun­ny lines is not enough; an good direc­tor needs to cap­ture (or recre­ate in the edit­ing room) com­ic tim­ing, con­struct shots so that the humor comes through and coach the actors to make sure that the tone of the work is con­sis­tent.

Your Pret­ty Much Pop hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt are joined by Heather Fink to dis­cuss the role of the direc­tor in mak­ing a com­e­dy (or any­thing else) actu­al­ly good. Heather has direct­ed for TV, film, and com­mer­cials and spent a lot of time doing sound (a boom oper­a­tor or sound util­i­ty) for pro­duc­tions like Sat­ur­day Night Live, Get Out, The Morn­ing Show, and Mar­vel’s Dare­dev­il.

We talk about main­tain­ing com­e­dy through the tedious process of film­ing, putting actors through sex scenes and oth­er hard­ships, not telling them how to say their lines, come­di­ans in dra­mas, direct­ing improv/prank shows, and more. We touch on include Bad Trip, Bar­ry, and Ted Las­so, and more.

Watch some of Heather’s work:

  • Alleged, a short about dra­ma­tiz­ing accu­sa­tions against Steven Segal
  • Inside You, a film she wrote, direct­ed, and (reluc­tant­ly) starred in
  • The Focus Group, a short Heather direct­ed writ­ten by and star­ring Sara Ben­in­casa

We used some arti­cles to bring var­i­ous direc­tors and tech­niques to mind:

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Do We Outgrow the Music of Our Youth? Pretty Much Pop: A Culture Podcast #99

What long-term effects do songs that we’re exposed to ear­ly have on our adult tastes? As chil­dren we (hope­ful­ly) learn to love music, but then our crit­i­cal fac­ul­ties and peer pres­sure kick in, and many ear­ly influ­ences become unac­knowl­edged or trans­formed into guilty plea­sures. Is the gen­er­a­tion gap in musi­cal taste real­ly just due to how styles change over time (and we old folks just don’t get the new sound), or are there more fun­da­men­tal rea­sons why it’s eas­i­er for younger peo­ple to absorb new music?

Today’s pan­el includes your host Mark Lin­sen­may­er plus Eri­ca Spyres, Bri­an Hirt, and The Hus­tle pod­cast host Jon Lam­ore­aux. They share their own expe­ri­ences, songs from yes­ter­year that they have com­pli­cat­ed feel­ings about now, and get into relat­ed top­ics like the activ­i­ties of for­mer pop stars and nos­tal­gia in film sound­tracks.

A few par­tic­u­lar tracks that we men­tion are Go West­’s “King of Wish­ful Think­ing,” Jo Box­ers’  “Just Got Lucky,” Jethro Tul­l’s “Songs from the Wood,” and The Cars’ “Mag­ic.” Can a pret­ty Steve Howe intro redeem this Asia cheese­fest?

A few arti­cles we con­sult­ed includ­ed:

Fol­low Jon’s pod­cast @thehustlepod. To get an idea of the for­mats of The Hus­tle as com­pared to Mark’s Naked­ly Exam­ined Music, why not take a deep dive on Grand Funk Rail­road­’s amaz­ing Mark Farn­er who appeared on both? …NEM, Hus­tle.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Storytelling and Race in Captain America — Pretty Much Pop: A Culture Podcast #98

What is it for a super-hero to rep­re­sent Amer­i­ca? Though the char­ac­ter cre­at­ed by Joe Simon and Jack Kir­by in 1941 may have been a way to cap­i­tal­ize on WWII patri­o­tism, it has since been used to ask ques­tions about what it real­ly means to be patri­ot­ic and how Amer­i­ca’s ideals and its real­i­ty may con­flict. We’re of course talk­ing about race, a theme explored by Sam Wil­son, for­mer­ly Cap’s side-kick, pick­ing up the shield in the comics and now on TV (and in the forth­com­ing film).

Your Pret­ty Much Pop hosts Mark Lin­sen­may­er, Eri­ca, and Bri­an are joined by com­ic super-fan Antho­ny LeBlanc (return­ing from our ep.  56 on black nerds) to dis­cuss the recent com­ic runs by Ta-Nehishi Coates and Nick Spencer and espe­cial­ly Truth: Red, White and Black, Mar­vel’s 2003 comics mini-series by Robert Morales and Kyle Bak­er that tells the sto­ry of Amer­i­can super-sol­dier exper­i­ments on unknow­ing black men (rem­i­nis­cent of the real-life Tuskegee Syphilis Study). This was the source of the “first black Cap­tain Amer­i­ca” char­ac­ter Isa­iah Bradley fea­tured in The Fal­con and the Win­ter Sol­dier Dis­ney+ show, which we also dis­cuss.

Here are a few arti­cles that fed into our dis­cus­sion:

The final issue of Ta-Nehisi Coates’ Cap­tain Amer­i­ca is com­ing July 7.

We rec­om­mend the Cap­tain Amer­i­ca Com­ic Book Fans pod­cast for more infor­ma­tion. Their recent inter­view with long­time edi­tor Tom Brevoort was illu­mi­nat­ing, and they spent eps.  33 and 34 walk­ing through Truth: Red, White & Black.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

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Open Culture was founded by Dan Colman.