[00:00:03] Speaker A: Hello and welcome to year seven of the geeky brummy show. Joining me today, miss Keith Linfield. Welcome.
[00:00:08] Speaker B: Welcome, Ryan. Happy birthday to geeky brummy And Miss Lee Price.
[00:00:12] Speaker A: Welcome back.
[00:00:12] Speaker C: Hello.
[00:00:13] Speaker A: How are we? Both seven. Seven years we've been doing this now.
[00:00:18] Speaker C: Seven. You two have been doing this seven years. I'm not quite you're six.
[00:00:24] Speaker A: Six.
So it's five years for you.
[00:00:29] Speaker C: Okay.
[00:00:30] Speaker A: Half a decade.
[00:00:32] Speaker B: We're more grayer than we are when we started out.
[00:00:36] Speaker A: I wasn't gray when we started, just appeared.
Coming up on today's show, in celebration of our 7th birthday, we'll be talking about some of our favorite things. With 7th in the title, the Oscar nominations come out since we last recorded, so we'll be looking through those and seeing if the Oscars are actually relevant anymore. Plus with a few other bits, but we'll be back shortly.
[00:01:03] Speaker C: Eight.
[00:01:20] Speaker A: So it is the start of 2023 and it is award season, so, as per usual, we get some nice stuff in the cinema we actually want to bother going and watching, which isn't MCU movie for Lee or the latest Turgy.
[00:01:33] Speaker C: Oh, no, there's still an MCU movie on at my local cinema.
[00:01:36] Speaker A: I think there's about just one about to start, isn't it? Quantumania will be out by the time that we speak about.
[00:01:41] Speaker C: Yeah. And Black Panther's still on at my local.
[00:01:44] Speaker A: Still.
[00:01:44] Speaker C: Yeah.
[00:01:45] Speaker A: Milking that bad boy.
[00:01:46] Speaker C: It's basically that and Megan.
And then like a single showing of everything else. Of all the Oscar movies, you think.
[00:01:54] Speaker A: They would have like Megan would have been done now it's had its social media spectacular.
[00:02:00] Speaker C: Oh, no, they're also still showing Avatar.
[00:02:02] Speaker A: As well, of course.
So when we're going to get air and earthbending in the next Avatar movies? Sorry, wrong franchise.
This one's the pocahontas fergully one, isn't it? Everybody is blue.
Anyway, so is award season. So the Oscar nominations have been out since we last recorded.
A bit of a random selection for some roles, maybe, but we'll just have a chat about the Oscars and see if they're still relevant. So starting off one that always starts off actor in a leading role and this is slightly controversial now because I think the Golden Globes have swapped to non actor actress. It's just leading role and supporting role where the Oscars are still keeping these separate based on old style gender terms. So I think it's a bit get with the times.
[00:02:54] Speaker B: Maybe that would work if the Golden Globes had actually had actors of both genders.
[00:03:00] Speaker C: True.
[00:03:00] Speaker B: Which they didn't do. So it's pointless.
[00:03:02] Speaker C: Yes, we see why it was segregated in the first place because then you end up with a situation where a lot of actresses just simply don't get recognition.
[00:03:10] Speaker A: Yeah, true. But if we look at actor in a leading role for the Oscars, so we have Austin Butler for Elvis, which I've still not seen, so I have zero opinion on that one. Colin Farrell for banshees of an Issharin, which one of my favorite films of the previous year.
[00:03:24] Speaker C: I was never sure what to think of that. Like, I kept seeing trailers for it and I was like, I don't know if I want to see this or not.
[00:03:30] Speaker A: I think going forward, it's going to be one of those in Bruges banshees of anisharin double bill kind of deals, because it's a film, really about nothing, which is pretty much what Inbruge is about.
[00:03:42] Speaker C: That's kind of what got me. I saw the trailers. I'm not sure. I feel like this could be good, but it also feels like it's about nothing.
[00:03:50] Speaker B: I kind of slightly disagree that it's about nothing. I think it's slightly heavily handedly, trying to make an allegory an allegory of like how two people who used to get on could suddenly fall out and cause serious grievous bodily harm for no apparent reason.
Yeah, it's an okay movie. It's a one watch it's like most Oscar movies. You watch it once and then that's enough.
[00:04:17] Speaker A: Yeah.
Next one, Brendan Frazier. He's having his.
[00:04:23] Speaker B: Freinoceros, I think, is.
[00:04:25] Speaker A: The phrase for it, where he's come back from the cold after many years in the wilderness. And he seems to be back to being an acting powerhouse again. So he's been nominated for the world.
[00:04:34] Speaker B: He has been doing like three seasons of Doom Patrol in the meantime.
[00:04:39] Speaker A: But before that, Keith, it was a very slightly recurring role in Scrubs is The Last Memory of People and how.
[00:04:46] Speaker C: Long by very recurring, I mean, he was in two mean, he made your.
[00:04:53] Speaker A: Role for those two episodes.
[00:04:55] Speaker C: But yes, his role is important, especially in one of yeah.
[00:05:00] Speaker A: So it's been a long time. I've not heard or watched this, but I've heard very good things about it. And it's supposed to be a very powerful movie.
Sadie sinks in it as well, from Stranger Things.
[00:05:14] Speaker B: Yeah. Directed by Darren Aronofsky.
[00:05:17] Speaker A: Next on the list, Paul Mescal from.
[00:05:19] Speaker C: Afterson I don't even know what that is.
You've got to have the one in there that's just like the film no one's heard of that's just been put on there because the director's mates with someone at the Academy.
[00:05:34] Speaker A: Well, coming up in the next one after that is Bill Nye, which everybody knows but Living, which, again, a film I've not got round to watching.
[00:05:41] Speaker C: I've seen the trailer and I instantly went, yeah, no, I'm not watching this.
[00:05:45] Speaker A: Yeah, so what from the trailer could you divine about that film?
[00:05:49] Speaker C: That it's basically like it's the kind of film that they made to try and win an.
[00:05:57] Speaker A: I mean, has Bill Nye got an Oscar? I don't think he has.
[00:06:02] Speaker B: No.
[00:06:02] Speaker C: I don't think he's he's got an Oscar in our hearts, I think, for.
[00:06:07] Speaker A: Shaun of the Dead. They all should have won Oscars for that film, to be honest. Right. So if we move on to actor in a supporting role so Brendan Grief, gleason Banshees of Nishirin, again, great film work, very well acted, like both of them.
Definitely a film to watch, but I don't know if it's going to have staying power.
I think In Bruges is one of those films that everybody just remembers every single line of it. And there's some great lines in Banshees of Nisharin, but I don't think it's going to have that kind of meme potential that the original one had.
[00:06:37] Speaker B: It's not as awesomely sweary as in Bruges. So, I mean, that's an added bonus.
[00:06:42] Speaker A: To that movie brian Tyree Henry for.
[00:06:49] Speaker C: Saw because I saw that he'd been nominated and I thought, oh, for Bullet Train, right? Yeah, because that's the only film I could think of that he was in last year.
[00:06:57] Speaker B: The idea of Bullet Train getting an Oscar nomination for anything is quite outstanding.
[00:07:02] Speaker C: But to be fair, he was good in it because I was convinced he was actually British.
[00:07:06] Speaker A: Yeah.
And then we got JuD Hirsch for the fablemans, which is Steven Spielberg's present to himself. It's like, what can I do with a very vast budget and get Paul Dano and Judd Hirsch?
[00:07:20] Speaker C: Well, this is the Oscar pick. That's like the film that's about yes. So you've always got to have.
[00:07:31] Speaker A: Again, not seen the foemans watched it and watched the trailer and was like, well, so it's basically Steven Spielberg's talking about how amazing his childhood was, but still quite dark at sometimes I've heard it's.
[00:07:43] Speaker C: Not kind of if it doesn't have aliens or dinosaurs in it's, not a Spielberg film.
[00:07:48] Speaker A: I'm interested.
And then Barry Keoghan will be nominated also for Banshees Omnichirin, which is amazing because that's probably the least screen time for nomination since Anthony Hopkins as Hannibal Ector.
[00:08:03] Speaker B: They do kind of like that. Like very fleeting performances that they do.
[00:08:10] Speaker A: Mean he's good in the film, but I wouldn't say that was an Oscar worthy performance.
[00:08:15] Speaker B: Yeah.
[00:08:17] Speaker A: A little bit weak to round off actor in a supporting role. There's Kihi Kwan for everything everywhere, all at once, which I think is maybe the family crowd favorite nomination. And I think hopefully he gets it. What a turnaround to being like three of the most popular 80s franchises disappear forever and then come back with such a great barnstorming movie.
[00:08:39] Speaker C: Well, this is why I'm convinced that actor and in both leading and supporting role will go to Brendan Fraser and Kihi Kwan respectively. Because Hollywood loves a comeback and that's what it is for both of them.
[00:08:52] Speaker B: Yeah, although the it's got nothing to.
[00:08:55] Speaker C: Do with the actual performances. It's just like they like the idea.
[00:08:58] Speaker B: Of Austin Butler is a musical biopic one. They love that because when I finally got around to seeing Bohemian Rhapsody, I was like, okay, how did he win an Oscar for this? Because it wasn't the best performance I'd ever seen. And this is for a film that quite knowingly leans into the camera and winks at you about Wayne's World halfway through the movie. I mean, I don't know. Who knows with the Oscars.
[00:09:24] Speaker C: For a second I thought you meant Elvis did that.
[00:09:25] Speaker B: I was like, Why Elvis does a Wayne's World reference halfway through the thing.
[00:09:31] Speaker A: With Behemoth Rhapsody as well is I would have liked to have seen the Sasha Baron Cohen version because I think he really leaned into it. And he's a great dramatic actor. When he wants to be a dramatic actor, he's just taken away from him and given to Remy Malik, which is a bit of a weird, but yeah. So Kihi Kwan I would like for him to win.
[00:09:52] Speaker C: I mean, he was good in everything.
[00:09:53] Speaker A: Every role, considering the role was very obviously written for Jackie Chan.
[00:09:56] Speaker C: Yes. I think he the fanny pack fight scene, very clearly is the Jackie Chan fight scene.
[00:10:03] Speaker B: Yeah, it's tricky. I think they'll probably go because they won't give it anything else in the major categories. I think they'll do the performances for.
[00:10:15] Speaker A: Maybe. So moving on to actress and leading role. So Kate Blanchett and Tar. So there is a theory of when she is the title character, she always gets nominated for an Oscar.
So it happened with the two Elizabeth movies. It's happened with other films where she's nominating the title, she gets an Oscar nomination. It's kind of weird Oscar effect for that one.
[00:10:39] Speaker B: Well, she didn't get it for Thor Ragnarok.
I mean, that was hella. She was pretty cool.
[00:10:46] Speaker A: If it mean Thor hella, she might hella Thor. Yeah. But yeah. Tar depressing, horrible, nasty feeling movie. But she's great in it. So I don't know.
[00:10:59] Speaker C: Worth a shot, maybe.
[00:11:01] Speaker A: Anada Armour for Blonde the Critically movie.
[00:11:05] Speaker C: Yeah. I've heard how bad this is.
[00:11:07] Speaker A: I've heard the film is absolutely awful in every way, shape or form apart from Anada Armour's performance.
[00:11:13] Speaker B: It's a real kind of like you've heard of Marilyn Monroe. This isn't anything. This is mostly made up.
[00:11:20] Speaker C: We're vaguely aware of Marilyn Monroe. We made a film about yeah.
[00:11:25] Speaker A: Just seems to have walked away with that. Andrew Reisber in two.
[00:11:29] Speaker B: Leslie I think the controversy surrounding this will mean that there's not a chance in heck that they're going to give it to her.
[00:11:35] Speaker A: Definitely.
Do you want to explain about the controls?
[00:11:39] Speaker B: Not really.
You can go and find that out by googling it.
[00:11:43] Speaker C: Yeah.
[00:11:43] Speaker A: Yeah. I think it was very much we've nominated this and now we've got a backpedal.
[00:11:48] Speaker B: Yeah.
[00:11:49] Speaker A: So. Michelle Williams for the fave ones. Michelle Williams has come a long way since Dawson's Creek. She is a great dramatic actress, but I don't think it's her think.
[00:12:01] Speaker B: I think that's going to be the one that pips it.
[00:12:05] Speaker A: Because the final nomination, of course, is Michelle Yeo for Everything, Everywhere, all at Once, which I think everybody is riding that train at the moment of she deserves an Oscar for think.
[00:12:16] Speaker B: I think my problem with Everything Everywhere, all at Once is it's just too popular genre.
I mean, it's unusual apart from the.
[00:12:27] Speaker A: Occasional ones where what genre does it live in?
[00:12:29] Speaker B: Keith but it's a fantasy. I mean, we're talking about a film that has its biggest thing in it is a bagel and hot dog fingers. I can't see this.
And like Lee said, the Spielberg movie, the Hollywood lover story about Mean.
It would be awesome if it know if Michelle Yeoh picked it up. I mean, that would be pretty cool.
[00:12:57] Speaker A: I mean, she's been in some great films and I think she doesn't because she's been in mainly genre movies. I don't think she probably is appreciated as much as she should have been.
So moving on to actress in a supporting role and this one, again, slightly controversial. Angela Bassett for Black Panther Wakanda forever.
Slightly controversial because I think it's the first time outside of it just being a Marvel best film or best ensemble or one of those films, it's the first time that somebody's actually nominated for a performance in an MCU movie, actress wise. I mean, she was fantastic in the film. Rest of the film is pretty average at best.
[00:13:35] Speaker C: Also, this kind of feels like it's just we want to give a nomination to Basset.
[00:13:41] Speaker A: Yeah.
[00:13:41] Speaker C: More than anything else. It's probably not one film this.
[00:13:47] Speaker A: Know. What did you think of Wakanda forever?
[00:13:49] Speaker C: Keith.
[00:13:52] Speaker B: It was okay. I mean, it had a lot of baggage to deal with in terms of what do you do when your star unfortunately passes.
And some of the content I think they could have amped up, particularly the idea of kind of oppressed native indigenous peoples. That could have been a little bit more with that and Namor's motivations. Again, I think there was a lot that could have happened that didn't quite it did end up being a little bit of a lost its way.
It kind of lost its way a little bit. And I think that's possibly because what they'd planned and what they had to do just didn't work and they couldn't get out of the Marvel schedule to do it.
But decent enough. Decent enough. Ryan Coogler does a bang up job and the performances pretty much all round are pretty good. Pretty strong for a Marvel film. It's a more dramatic piece.
[00:14:57] Speaker A: So next up is Hong Khao for the Whale. Again, not seen heard good things. Definitely going to watch it at some point. But I've heard great things about that film. That's about as much as I can say in it. Kerry Condon, also nominated for an Oscar for probably slight even less screen time than Barry O'keen in Banshees of an Issue. So all four segments pretty much nominated across.
Again, not really the strongest of performances for the amount of screen time.
[00:15:31] Speaker B: Yeah, I'm trying to think of anybody that I would have preferred to have seen nominated.
But again, it's been a difficult year for kind of films.
[00:15:45] Speaker A: Yeah, well, it's been that post pandemic kind of I mean, there are some films, I think, the menu Annotation Joy maybe should have had a nomination thrown in there. And maybe Ralph Fines, I think, should have possibly in the category. But to finish off actions and supporting role, jamie Lee Curtis and Stephanie Sue, both nominated for everything, everywhere, all at once. So I think if there's one category they've probably got a chance of winning.
[00:16:11] Speaker C: It'S probably going to be this one.
[00:16:13] Speaker B: Yeah. I mean, if I was given the choice, I'd give it to Jamie Lee. She's awesome in that role.
[00:16:18] Speaker A: I did not recognize it for the first 20 minutes that she was on screen in that film.
[00:16:23] Speaker C: I'm like, Well, I didn't know it was her until we talked about it on the show and you said that it was Jamie Lee Curtis. And I was like, what?
Where was she?
[00:16:33] Speaker B: Oh, it's a great performance.
[00:16:36] Speaker A: Fantastic performance. But Stephanie sue again, absolutely fantastic performance.
[00:16:40] Speaker C: I think there's sort of a lot of debate over who of the two of them deserves it more. Because while Jamie Lee Curtis is great, her role is quite small, whereas Stephanie Sue, her whole role is integral to the whole story.
It's a mixture of things, really.
[00:17:00] Speaker A: So they're both great, both fantastic, and it's definitely one of the best films that's been out in the last year or yeah. By a long well, we'll speed up a little bit animated feature film. So we've got Guillaume de Toros Pinocchio. Marcel the shell with the Shoes on. pussing Boots the last Wish the sea beast and turning red. So I think Turning Red is the plus one into that film.
It was a great film, but don't.
[00:17:28] Speaker C: Think it feels more like that. We always put the Disney Movie of the Year in that category.
[00:17:33] Speaker A: Yeah.
[00:17:33] Speaker C: Sort of thing.
[00:17:35] Speaker B: Yeah. I mean, I'd heard a lot of good things about the CBC and then I watched it and I was kind of I'm not I didn't enjoy it as much as I thought. I did enjoy turning red much more. I'd like it to go to.
[00:17:49] Speaker A: Guillermo de Toro. You're going to be Guillermo de Toro. Stop motion.
[00:17:52] Speaker B: I kind of like the stop motion stuff, I think.
Yeah. Given a choice, I think that's what I'd pick. Although, from what I've seen of pussy boots, though, that looks like the Spider Man into the Spiderverse of the Shrek.
[00:18:11] Speaker C: I think I was looking at rotten tomatoes.
[00:18:13] Speaker A: It's pretty much just fantastic across the board.
[00:18:17] Speaker C: Yeah. It's weird that the reaction is so weird to me because I'm seeing so many people going, oh, my God, it's so good.
It's just this brilliant animated film, and it's, like, so emotional. I'm just like but it's a Shrek spin off.
[00:18:32] Speaker B: It's a sequel to a spinoff that wasn't that good, really, to be honest. And it's like, everybody's going, this is amazing. And I've kind of like the animation style is really cool. But given the fact that I do love a stop motion animation. I'd kind of want Pinocchio to win.
[00:18:51] Speaker C: Yeah.
[00:18:51] Speaker A: I mean, it comes to something when the Pixar movie's not even in the category, which was lightyear this year, which kind of but I don't know, did.
[00:19:00] Speaker B: That get a significant theatrical run? But I think it must have done in the end.
[00:19:05] Speaker C: It did seem to be on at my cinema for a while, so I.
[00:19:08] Speaker A: Think that's decent enough, though. So moving swiftly down the categories. Cinematography so we've got all quiet on the Western front.
Bardot, false chronicle of a handful of truths.
Elvis Empire of Light and Tar.
[00:19:24] Speaker B: It's going to go to all quiet.
[00:19:26] Speaker A: On this East Front and then directing So Martin McDonough, of course, banshees are initiated, was obviously going to win them, but as you said, very heavy handed, but thin story, but beautifully.
[00:19:42] Speaker B: Yeah, but you can't go far wrong when you just plop a camera in the middle of Picturesque Island, really.
[00:19:47] Speaker A: Colin Farrell and what's His Face having a bickering session together, because that's what everybody remembers from in Bruges. True. Everything everywhere once. Daniel Kwan, daniel Scheiner.
Again, no surprises there. Spielberg, of course, gets a nomination for the favourite ones because it's about Hollywood.
[00:20:05] Speaker C: And it's about against the law to not nominate Spielberg.
[00:20:09] Speaker A: Todd Field for Tar and Ruben Austin for Triangle of Sadness.
[00:20:15] Speaker C: Yeah, see, I looked this up and weirdly, I kind of want to see that film, even though I've never seen it before.
[00:20:21] Speaker A: Yeah, I think it's one of those where this is one of the things I was going to talk about later is, does the Academy Award highlight some films that you might have missed?
And I think it's usually pretty thin, but I think they've gone slightly wider. Fields.
[00:20:37] Speaker C: Yeah, because with that one, I read the premise and I was just like, oh, so it's a bunch of rich people just tearing each other apart on a boat. Yes, please, I want to watch that.
[00:20:45] Speaker A: I think since Parasite, they have slightly moved away from just purely the Hollywood.
[00:20:52] Speaker B: Mill.
[00:20:53] Speaker C: Yeah. They realized that if we give Best Picture to a good film that people have actually seen, then people might actually pay attention to the Oscars again.
[00:21:00] Speaker A: Yeah. So, documentary feature film nominations, not seen any of these, so I have nowhere to comment. But all that breathes all the beauty and the bloodshed fire of love. House made of splinters. Navani.
Again, short film, not seen any of these. Elephant whisperer. Haul out. How do you measure your year? The Martha Mitchell effect. Stranger at the gate.
[00:21:23] Speaker B: Yeah.
[00:21:24] Speaker A: Any of no.
[00:21:25] Speaker B: It's really tricky to find the short form stuff in the UK. It doesn't really get shown unless it's on TV.
[00:21:32] Speaker A: Yeah. International feature film, All Quiet on the Western Front for Germany, which is probably going to win because it's living in that category.
[00:21:39] Speaker C: What gets me about that film is the first time I heard of it was on the Oscar nominations. I was like, but that's a really old film, and realized that, oh, no, they've done another one, apparently.
[00:21:50] Speaker A: It's fantastic and it really does kind.
[00:21:53] Speaker C: Of I'm sure it is, if you're into that sort of thing. But I see War and I'm just like, yeah, okay, I've seen this movie a million times.
[00:21:59] Speaker A: Yeah. Other films are Argentina 1985, so I'm assuming it's about shoes.
Close from Belgium, EO from Poland, and the Quiet girl from Ireland.
[00:22:11] Speaker B: I'd heard a lot of good things about EO.
Who knows? It'll be all quiet, obviously.
[00:22:17] Speaker A: Makeup and hairstyling, all quiet on the Western Front. The Batman appears for the first time.
[00:22:23] Speaker B: In this know, Zoe's hair was pretty awesome.
[00:22:27] Speaker A: Yeah. Black Panther wakanda forever. Elvis and the Whale.
[00:22:34] Speaker B: I mean, probably Elvis.
[00:22:36] Speaker A: I would have mean for that. Yeah, the Batman was mean. Again, I didn't recognise Colin Farrell for.
[00:22:42] Speaker B: Quite a significant penguin.
[00:22:45] Speaker A: I think he was fantastic. If we move on to original score again, all quiet in the Western Front by Volker Berthwan, Babylon by Justin Herwitz, which I thought was definitely oxcabate and seems to have picked up nothing because it's terrible. The banshees of an issuing again, Carter burwell everything everywhere all at once on looks and the fablemans, because it's John Williams.
Yes, he could fart on the toilet and that would be Oscar nomination.
[00:23:13] Speaker B: This is where scores, particularly over recent years, I'm like, I can't recall any of the scores for most of those movies, unless it's the kind of like, needle drop malarkey that everybody loves these days. Don't be thinking really? Any of those.
[00:23:31] Speaker A: I mean, I thought, well, June was the previous year, so I was always going to get a nomination. But your favorite hasn't appeared in that, thank goodness. I'm sure he's done a film with a giant horn at some point.
[00:23:43] Speaker B: Well, I mean, he tried to get his name into the Top Gun Maverick.
[00:23:46] Speaker A: Score, but, you know, he tried, so go for original song. We have applause from? Tell it like a woman. Music and lyrics by Diane Warren.
Hold my hand from Top Gun. Maverick music and lyrics by Lady Gaga and BloodPop.
[00:24:03] Speaker B: Again.
[00:24:04] Speaker A: Not what I remember from Top Gun.
Don't even remember that. Lady Gaga did a song for that. Lift me up from Black Panther wakanda forever. Music by Thames, Rihanna, Ryan Coogler and Ludwig Gold.
[00:24:15] Speaker B: It's going to be Rihanna's.
[00:24:16] Speaker C: Yeah.
[00:24:17] Speaker A: Lyric by Thames and Ryan Coogler. Natu. Natu is the first appearance of RR, which is one of the biggest viral hits of the year. So this is a Tollywood movie. If you've not seen it, I think it's on Netflix. It's about three and a half hours long and it is a visual assault for your eyes.
[00:24:35] Speaker B: It's nuts, but awesome.
[00:24:38] Speaker A: It's one of those films of this would not have been made anywhere else in the world apart from Tollywood. It is fantastic and recommended watch.
[00:24:47] Speaker B: Yeah, I mean, it's a Bollywood movie through and through, but you just go, this is just pretty awesome.
[00:24:52] Speaker A: And then the final song in that category is this is a life from everything, everywhere all at once. Music by Ryan Lott, David Byrne and Mitsky lyrics by Ryan Lott and David.
[00:25:02] Speaker B: They'Ll give it to Rihanna. I think it's Rihanna's year for this.
[00:25:04] Speaker A: I do love a bit of David Byrne, though.
[00:25:06] Speaker B: Yeah.
[00:25:07] Speaker A: And then we come to the world's largest category. So best picture. So they've booked up to ten movies this year.
[00:25:13] Speaker B: It's been ten for quite a while now.
[00:25:14] Speaker A: Yeah, they're trying to add some diversity, I think, to the mix of films in here.
[00:25:17] Speaker B: Well, there's some here that are quite clearly not going to win.
[00:25:21] Speaker C: Yes.
[00:25:21] Speaker A: So all quiet on the Western front. Not going to win. Avatar the way of water not going to win. You're not going to win that's put.
[00:25:28] Speaker C: In there going no. We are aware that we do nominate popular films once in a while.
[00:25:32] Speaker A: It's made the most money over the short time of any film ever. James Cameron at least gets a nod for that, even though it is less plot than I could write on the back of a matchbox.
[00:25:43] Speaker C: So it's like the first one, then less plot. Okay, that's impressive.
[00:25:47] Speaker A: I didn't know how they managed to.
[00:25:49] Speaker C: But what I love about Avatar is that I've seen Avatar and I couldn't tell you a single thing that happened in Avatar.
[00:25:56] Speaker A: Just watch Fern Gully and put some 3D glasses on. Same experience.
Banshees of Nishrin.
[00:26:02] Speaker C: Of course.
[00:26:03] Speaker A: Elvis. Everything, everywhere, all at once. The fableman, of course, top Gun.
[00:26:09] Speaker B: Maverick which is like Top Gun maverick.
[00:26:12] Speaker C: Top Gun maverick triangle of sadness.
[00:26:15] Speaker A: And the last film on the list, which is woman Talking, which I think is probably just around up the numbers.
[00:26:22] Speaker B: To ten, considering in our last episode, I picked Top Gun Maverick as my film of the year, purely as a blockbuster experience. There hadn't been anything like it for a long time.
[00:26:32] Speaker C: Yeah, I think Top Gun is going to be one of those films where it's on people's films of the year, but it's not going to work.
[00:26:38] Speaker B: It's a film that you enjoy.
[00:26:41] Speaker C: You wouldn't say it was the best film ever made and I think Women Talking is probably in there because of its subject matter and a lot of discussions that are going on in wider society at the moment. I think it's like, oh, look, we.
[00:26:50] Speaker A: Can be self reflective.
[00:26:52] Speaker B: I'd like to say it was a two horse race between the Fablemans and Everything Everywhere all at once, but you've.
[00:27:00] Speaker C: Got Elvis in there and stuff like that. You've got Banshees as well.
[00:27:03] Speaker A: They do love a bit of bad know, they love a bit of but.
[00:27:07] Speaker C: Again but then again, with things like Parasite winning and Shape of Water winning, I think everything, Everywhere, all at Once has more of a chance than we probably expect.
[00:27:17] Speaker B: I mean, I did enjoy Elvis. I really, really liked Elvis. But there was something that when you came out of everything, everywhere, all at once, you just went I have seen something unique and you want to go.
[00:27:31] Speaker C: It was absolutely the best film, I thought, last year.
[00:27:33] Speaker B: And the fact that the scene I loved most would spoilers anybody inanimate rocks or inanimate for a certain amount of time.
[00:27:44] Speaker C: I loved that those sequences I loved it where it was just the words on screen because it was just dead silent in the cinema. So you had all that noise and then it's just dead silent in that room.
[00:27:54] Speaker B: Now we've described what we like about it. It won't win. Yeah, it won't win because it's just too unusual and it's not a film.
[00:28:02] Speaker C: But again, we've got stuff like Shape of Water winning, we've got stuff like Parasite.
[00:28:07] Speaker A: We've said Parasite would have won ten years ago.
[00:28:10] Speaker B: Exactly true.
[00:28:11] Speaker A: And the honest answer would be it got nominated ten years ago. And I think the culture is slowly shifting away from the big bombastic movies such as Top Gun, Maverick and Avatar, and I don't think they've got a chance. I think it's just a case of, well, we've got to acknowledge that these films exist because they made a I.
[00:28:31] Speaker C: Think the thing is, the Oscars have had this problem for a while where it feels like the things that win it are going to be a war movie, a biopic or a movie about Hollywood. And it was only those three that seemed to win.
I think after Lord of the Rings won it, it was those three categories only and I think they've finally taken that on board as like yeah, that has kind of become a bit of a cliche. Let's try and be a bit more selective about what we I think Tar's.
[00:29:01] Speaker B: Probably got an outside chance, actually.
[00:29:03] Speaker A: Yeah, I think if we rattle through the last few we'll skip production design.
[00:29:07] Speaker C: Because yeah, those sorts of categories where you're just like well, I mean, it was good.
[00:29:16] Speaker B: Even the Oscars don't care because they go here are the technical categories that were announced 3 hours earlier in another room in a different city.
[00:29:22] Speaker C: It's the equivalent of the Game awards, esports categories, best Special Effects.
[00:29:28] Speaker A: So we go short film, animated, so we have the boy them all, the fox and the horse probably most likely want to win it. Flying sailor, ice merchants, my ear of digs.
[00:29:40] Speaker C: I remember seeing that on the list and being like, what?
[00:29:43] Speaker B: I want that to win anyway, regardless.
[00:29:46] Speaker A: I want the next one to win just for the title, which is an ostrich Told me the World is fake and I think I believe it.
[00:29:53] Speaker C: Those last two are like yes, yeah, those last two should win it in a just world. But this is not a just world.
[00:29:59] Speaker A: So short film, live action. We have an Irish. Goodbye, Ivalu. Le pupil night ride and. The red suitcase. So again, this is where the international stuff usually appears. Apart from Bet.
[00:30:11] Speaker B: Yeah, I think it would be nice if they put these things out on TV or streaming so you could see some of these short film type stuff because it's really hard to see any.
[00:30:23] Speaker A: Unless you go film festival or maybe the Electric or the Mockingbird and you looking at your independence in and you're going to struggle a little bit.
So sound. We have all quiet on the Western front.
[00:30:36] Speaker C: But it was all quiet though the joke was right there. I had to take Avatar the Way.
[00:30:43] Speaker A: Of Water, the Batman, which I think did have fantastic sound design, to be honest. Elvis and Top Gun Maverick.
[00:30:49] Speaker B: You see, this is where I thought this category was cobblers because the film this year that I thought had the best sound design was Nope by a country mile. That film sound was incredible and the fact that he's not got nominated is unbelievable.
[00:31:03] Speaker A: Well, I was going to come on to films that we think should have been in the list and have nothing.
[00:31:06] Speaker C: With Novia's because I don't tend to pay much attention to sound design. But when I was in the cinema watching Nope, I was very much paying attention.
[00:31:15] Speaker B: Nope was just phenomenal.
You just went, this is doing something interesting.
[00:31:22] Speaker A: The film is purely sound based because the visual effects don't match anywhere near the sound.
So talking of visual effects, all Quiet on the Western Front. Avatar, the World Water, the Batman, black Panther, wakanda Forever and Top Gun. Maverick they'll give it to top Gun deserves it, baby.
[00:31:40] Speaker C: Because isn't like Avatar's visual design just blue? Yes and nothing else.
[00:31:47] Speaker A: The hue slide out.
[00:31:48] Speaker B: I think they'll give it to Avatar just because of the war, because of what it it's the Cameron's advancement in visual technology.
[00:31:58] Speaker C: It'll be great when we see all that tech turn up in games in about five years time.
[00:32:02] Speaker A: So.
[00:32:03] Speaker B: Writing?
[00:32:03] Speaker A: Adapted screenplay all Quiet on the Western Front. Appearing quite a few bits in these other categories. Glass onion and knives out Mystery Living. Kazua Ishigura, of course, Top Gun. Maverick and women talking.
[00:32:17] Speaker C: Some of these are weird. Like two of them don't feel like they're actually adapted screenplays.
[00:32:23] Speaker B: Glass onion and Top Gun.
[00:32:24] Speaker C: Glass Onion and Top Gun are they just there because they're sequels and that's somehow an adaptation.
[00:32:32] Speaker A: And then writing for original screenplay we have last category badges of initian. Martin McDonough everything everywhere all at once Daniel Kwan, daniel Schyger. The favourments written by Steven Spielberg and Tony Kushner. I think that's cheating a bit. This is what I did on my.
[00:32:48] Speaker B: Heart when I was growing up.
[00:32:50] Speaker A: Tar, written by Tod Field and Triangle of Sadness by Austin so I think Banshees is probably going to get that one.
I'd love Everything Everywhere to get it because it's such an original screenplay.
[00:33:06] Speaker C: It is the most original screenplay.
[00:33:11] Speaker B: I'd like everything everywhere, all at once to win whatever category it's nominated in, just because it was a phenomenally a phenomenal piece of filmmaking that just kind of like flagged up came up together, to be honest.
[00:33:29] Speaker A: How do you even think about that? Because we look at his previous stuff, like Swiss Army Man.
[00:33:34] Speaker B: Again, swear, man, if you've not seen Swiss Army Man, you should see it because it's brilliant and it's Daniel Radcliffe at his absolute best.
[00:33:43] Speaker C: Yes, I need to see more of just Daniel Radcliffe being in his weird post Harry Potter movies, generally.
[00:33:49] Speaker A: I mean, having a fart powered Harry Potter being the central character of that film.
[00:33:55] Speaker B: I loved Swiss Army man. It is great.
[00:33:58] Speaker A: And then before that, of course, they did the turn down for what music video, which is the first thing I remembered that the Daniel's doing, which is Bobbins. Absolutely. Bobbins. And you can see the kind of.
[00:34:11] Speaker C: Yeah, I read that they'd done that. And I was like, oh, it makes so much sense. Yeah. Having seen that video, just seeing the.
[00:34:18] Speaker B: Poster for everything everywhere all at once, I was like, all right, I'm on this just looks interesting. And then I saw the first trailer and I was like, this is the film that's got me written all over it.
[00:34:27] Speaker C: For me, it was like just seeing it. Like everyone talking about it, and I was just like, actually, this sounds really interesting.
[00:34:32] Speaker A: But if you think about a 24, which didn't really exist until ten years ago, 2020 twelve was when it was founded, you think about the consistency, the quality and the originality of stuff that they pumped out in the last ten years to get to the stage of being in pretty much every single Oscars category for best film, best picture, best act.
[00:34:55] Speaker C: Although I will say, in terms of consistency, they made both my favorite film of last year and one of my worst films of last year.
[00:35:04] Speaker B: Please tell me what your worst film of last year.
[00:35:06] Speaker C: It was men.
[00:35:06] Speaker B: I'm so glad you said that.
[00:35:09] Speaker A: But they've been nominated for 49 academy awards since they found it in 2012.
[00:35:14] Speaker B: But it's it's a 16.
[00:35:16] Speaker A: The room with Brie Larson.
[00:35:18] Speaker B: But it's a studio that it works for them because they are green lighting different things that appeal to different audiences.
In the last few years, I've seen more of their films that I've enjoyed than the normal studios, so they're kind of showing Hollywood that there is room for kind of things outside. And as much as I like the Marvel universe and Star Wars and all of that kind of stuff, that's not my well, this is their best year.
[00:35:51] Speaker A: Ever this year in the Oscars. So they've had 80 nominations across six films. So everything everywhere all at once. Course leading the way with eleven nominations. Then you got the Whale with three nominations. Then you've got afterson Causeway close, marcel the shell with the shoes on, one each and even those who've not really had them over here as such, and.
[00:36:09] Speaker C: They'Ve not had that because I really want to see Marcel.
[00:36:13] Speaker B: I think by the time this goes out, it should be I think we.
[00:36:17] Speaker A: Talked about trailer talk a few episodes.
[00:36:19] Speaker B: We did, yeah.
[00:36:20] Speaker C: Back.
[00:36:20] Speaker A: And it was just one of those where we went, oh, well, we're all watching this.
[00:36:23] Speaker C: Yeah, I think we all just kind of just went, oh, my God, it's so adorable.
[00:36:30] Speaker A: But yeah, to turn that around in ten years by picking original works and this is the thing is they're all original stuff.
[00:36:38] Speaker B: And I think this hits the crux of your original statement is, are the Oscars relevant anymore? And generally, I don't think they've ever been relevant as a cinema goer. Personally, I watch what I like, and it's either Oscar nominated or not Oscar nominated, and it doesn't really influence me. And I've seen things that were Oscar nominated that I've hated, and there's been films that weren't Oscar nominated that I've loved and watched year in, year out.
[00:37:14] Speaker C: Let's not forget 2000. Who won Best Picture then with Crash, the film that history has basically universally derided as being just terrible.
[00:37:27] Speaker B: I mean, if you look back over the course of what films won Best Film of the Year over the Oscars, 90% of them, you would think, yeah, I'm not bothered.
[00:37:36] Speaker C: That's why I'm like sort of my comment about the last few years. When Shape of Water won, I was genuinely surprised. I was just like, how did that win? How did the sexy fish man film win?
[00:37:48] Speaker B: Well, like you said, when Lord of the Rings won, that didn't win because it was the best film.
It won because Hollywood were thinking they had to acknowledge what Peter Jackson had done with that series of films.
[00:38:03] Speaker A: Well, it didn't really get anything for the first two films apart from the usual visuals, sound, music, and then it was only Return of the King, and it was like, kind of like, we have to acknowledge how impactful this franchise has been, so therefore we've got to throw it in.
[00:38:19] Speaker B: And they do do that on occasion. When Titanic ran away with it, it was that kind of thing of know, we're acknowledging the industry and what Cameron's doing with cameras, what he's doing with kind of War.
[00:38:30] Speaker C: But the thing is, Titanic fits into the category, though it is basically historical, historical.
[00:38:36] Speaker A: Look at Avengers endgame. And again, that was ten years of payoff to get to the stage of again. I know they're not your favorite films, Lee, but you got to look at the impact of the MCU on the cinema industry. And they pretty much, for quite a long time, steamrolled the entire industry to the state of people still going back to the cinema.
[00:38:55] Speaker B: I think if you're not a big cinema goer and you don't really know what to watch, the Oscars is a good kickoff point. For you to kind of get a feel for what you might like. But there are dozens and dozens of films that get released all the time that often don't even see the inside of a UK cinema. So I think, watch what you like, love what you like. Don't apologize for it.
[00:39:20] Speaker C: I mean, out of a lot of my favorite films of last year, only one of them has been nominated for any Oscars. And that's everything everywhere all at once.
But stuff like Bullet Train and the Nick Cage movie, whose name I forget because I just keep calling it the Nick Cage movie.
[00:39:35] Speaker B: The unbearable weight of massive.
I am Nick Cage.
[00:39:43] Speaker A: Nicholas Cage plays Nick Cage.
[00:39:46] Speaker B: Yeah. And you were saying about things that were missing because I really love no.
[00:39:52] Speaker A: Deserved something, at least. And I'm so surprised that he's just got nothing at all.
[00:39:57] Speaker B: Well, I'm surprised that Kiki didn't get a nomination for her performance in that because it's a good meaty performance.
[00:40:08] Speaker C: Part of me wonders if it is because it is kind of critical of Hollywood.
[00:40:11] Speaker B: Oh, yeah.
[00:40:14] Speaker A: The erasure of black history as part of Hollywood.
[00:40:16] Speaker C: Yeah, exactly.
[00:40:17] Speaker A: Being one of the themes.
[00:40:18] Speaker B: The Academy looked at it and went, no.
[00:40:20] Speaker A: Yeah, but I suppose it depends as.
[00:40:23] Speaker B: Well because you'll have a lot of.
[00:40:24] Speaker A: Studios who will push a certain film and say, right, this is the film we're going for with the Oscars. So if you look at a 24s output this year, they have obviously gone everything everywhere, all at once is purely for your consideration. We'll push as much as we can.
[00:40:41] Speaker C: To get I mean, I get the impression with that film that they were genuinely surprised at how well it did because a lot of its success was word of mouth because it just seemed to just appear online on social media overnight for me. Now everyone's suddenly talking about it.
[00:40:57] Speaker B: It did capitalize on the whole idea of like, if you only see one multiversal movie this year, this is the one to see. Which was great. I mean, considering how kind of Doctor Strange fumbled the ball a little bit with that Sam Raimi.
[00:41:10] Speaker A: Sam Raimi gets nothing from Hollywood.
[00:41:12] Speaker C: I do love how that turned around, especially from my position of just like everyone was like, hyping up. The Doctor Strange movie is like, this is the multiverse movie that you need to see end of the year. It's like, no, this is the multiverse.
[00:41:24] Speaker B: Yeah. I mean, I love the fact that I've read recently a serious article on the evolutionary probability of hot dog fingers.
Genuinely scientists going, could this actually happen?
[00:41:40] Speaker A: Insta celebrate the black hole. This is the new Christopher Nolan.
[00:41:44] Speaker B: I love the fact that some researchers somewhere went, let's figure out if this is actually possible.
[00:41:49] Speaker A: Just realize if I do want to catch one of the Academy Award films, I'm going to have to watch the bloody Oppenheim trailer. 6 million.
[00:41:55] Speaker B: Oh, God.
Next year's Oscars are going to be all Nolan, aren't they?
[00:42:00] Speaker A: Yeah, it's just going to be another year where Oppenheimer dominates everything.
[00:42:04] Speaker B: Yeah.
[00:42:07] Speaker A: I don't know, I still think there is some relevance. I mean, there's some stuff we've talked about that they're mean. I'll be interesting to see the output, because if Everything Everywhere doesn't get at least two of the big categories, I will be massively surprised.
[00:42:20] Speaker B: I mean, I know that over the next few years, I will rewatch Elvis, Everything everywhere, all at once. Nope. Top Gun, you know, a few other films that I'll watch, and I probably won't watch some of them more than once. Yeah, banshees. I probably won't revisit I think I.
[00:42:41] Speaker A: Said maybe as a double header within Bruge, but maybe watching Bruge afterwards because.
[00:42:45] Speaker B: You'D watching Bruge second.
[00:42:46] Speaker A: Yeah, just to get lighter tone towards the end there.
[00:42:50] Speaker B: Yeah.
Chucking things at your door.
[00:42:57] Speaker A: But I love the ending of, to be honest, slightly spoilers the ending of the film where he goes anytime is quite just a nice little something still there.
[00:43:08] Speaker B: But I mean, when you think about it, it's those performances. It's the Colin Farrell and the Brendan Gleason that sell that movie.
[00:43:17] Speaker A: Without a doubt.
[00:43:18] Speaker C: Yeah, that was the thing, because obviously Mike not sure about seeing it or not, but I can already tell from the trailer the performances are great.
[00:43:27] Speaker A: Just from the trailer performance is fantastic.
Very heavy handed on the allegory, maybe.
[00:43:37] Speaker B: Overall heavy plot movie. It just feels too slight at the end, really.
But it's worth a watch, definitely.
[00:43:50] Speaker A: I'm sure we'll discuss when the awards come and Top Gun Maverick wins everything and Keith comes in beaming.
[00:43:57] Speaker B: Honest to God, if Top Gun Maverick wins anything outside of the technical awards, I'll be amazed.
[00:44:08] Speaker A: Something else hitting its 7th birthday this year is the Nintendo Switch console. Originally came out in October 2016, many, many moons ago.
[00:44:16] Speaker C: March 2017.
[00:44:18] Speaker A: It was unveiled in October 2016.
[00:44:21] Speaker C: Yeah, it was revealed in October.
[00:44:28] Speaker A: March 2017 sale. But yes, it has existed in its final form. It was the NX before that, I think, when it was in development. So it was unveiled back in October 2020, 16. We had a long discussion about it at the time of launch. I think many, many, yeah, we went.
[00:44:44] Speaker B: To one of the kind of demo indigenous things that they did, where they were showing off the bizarrely, the abilities of the JoyCon, which seems to be the only time I remember any of the abilities of the Joy that actually been utilized.
[00:45:02] Speaker A: So if you think back many moons ago, so it was the first hybrid console, is how they named it. So it was the culmination of the DS line of consoles and the Wi. And the Wi U morphing into something that kind of brought those two lineages together.
And it's on course to be the greatest selling console of all time because it's still in production, still going.
[00:45:27] Speaker C: It's got a while before it gets there because currently it's sitting on 122,000,000 units. And the top two, because it's currently the third best selling console of all time.
The DS is on 154,000,000 and the PS Two is 155. So still a good 30 million that it needs to get to just to catch up to the DS. But, I mean, it's doing pretty well. I could see it getting up there potentially.
[00:45:51] Speaker A: Well, it's strictly speaking, it's an 8th generation console, so it was put out to compete directly with the PlayStation Four and the Xbox One and One X back in the day. But they've never released a 9th generation console, so it's still going up against the Series X.
[00:46:07] Speaker C: It's interesting because I kind of do count it as the 9th one because the Wi U originally aligned, you see. So it's a weird one, but it kind of launched like their handhelds, which are always kind of off kilter with everything else, so that's why it's hard to really place within there.
[00:46:26] Speaker A: So I think it's one of the fastest selling consoles of all time when it originally came out, and it's still doing great numbers. We've had three models since the original release. So there's the Nintendo Switch, which think pretty much everybody has the Switch Light, which came out in September 2019, which was purely handheld. Yes, we can't take the joycons off. Seems insane when you think about it. And you can't plug it into your telly. And then there's the Switch OLED model, which came out 2021, which I love.
[00:46:55] Speaker C: After all the speculation of like, are they going to release a Pro model?
[00:46:58] Speaker A: Pro?
[00:46:59] Speaker C: And then Nintendo were like, here's one with a slightly nicer screen, basically, and that was it. I laughed so much when that was revealed. It was such a Nintendo move yeah.
[00:47:09] Speaker A: From the internal tech on it. So it uses the Nvidia tegra x one chip. So I had a Tegra X One tablet, and I think it was about 2015, 2016. And the internal tech is not actually that powerful at all. And it's still, what, think it was the first models? I think it's eight giga Ram or four gig around, maybe it's not a very powerful beast at all. And considering how much technology has changed since your initial development in 2016, and unveiling to now, it's just mind blowing to say that it's still running still.
[00:47:49] Speaker C: What I love about its success, though, is it proves the point that Power never sells consoles. Yeah, because the best selling console of a generation has never been the most powerful. No, it's never happened.
[00:48:00] Speaker A: And that's the other weird thing, is, even when they did release the Led model, it's slightly more powerful. I think it's the X One Plus chip in that version, but it's still nowhere near comparable to even the Xbox One X. And the PlayStation Four when it was up release. It was underpowered then. And does it suffer from that.
[00:48:21] Speaker C: Clearly not if it's the third best selling console of all time.
And the thing I have to say about it is that it's got a lot of support, it's got a lot of third party support, particularly from Japanese publishers. Indie developers love making games for it and I think if it was too underpowered, it would not get that level of support.
You can tell that they've kind of split product lines. If you take, for instance, Square Enix who are releasing an awful lot of stuff on the Switch. They're releasing stuff like Octopath Traveler and sort of smaller scale sort of old school RPGs which isn't like fitting in with their Final Fantasy 16 or for spoken type stuff, which is obviously the big AAA stuff, which is on the other systems. But the fact that they've been willing and able to find those niches on there shows that there is a place for the Switch and even with its sort of comparatively low power, it's still able to do something that appeals to a lot of people.
[00:49:27] Speaker A: Yeah, I mean, it's quite interesting to me to see how much crossover you get from Android Games, Play Store and stuff like that. You'll see, a lot of Android stuff is either Android iOS and Nintendo Switch and it gives people access to a home gaming platform that you wouldn't get on maybe the Xbox or the PlayStation Five. You'll find a lot of good indie games and a lot of cheap indie games where you're willing to throw a pound ATP.
[00:49:59] Speaker C: I think that sort of like the sort of hybrid nature of the console works really well for indies as well. Particularly if you've got like smaller scale indie games, you can play them on the move and it's like games that you can just kind of pick up and play are ideal for a system that you can play on the move, play on the train and stuff like that. It works really well for them. So they've made a home for themselves there and arguably better than something like the Steam Deck, which I think while it's a good system, the impression I get is that it's a lot more complex system than the Switch. The Switch is a lot more sort of pickup and play and I think that's kind of again, a big part of the appeal comes from that.
[00:50:38] Speaker A: Yeah. So as a Steam Deck owner, the battery life on it is woeful. That's to be expected because of the internals on it. It's much heavier, it's much chunkier, it's much more hardware driven. But you'll get games on there that you would never, ever find on Nintendo, which is just kind of valves it's Valve's own interpretation of Switch, basically. And you can kind of see that lineage of what if? The Switch, but for PC games is.
[00:51:04] Speaker C: Kind of but it is very much marketed at the PC gaming audience. It is very much like the fact that you can kind of customize so much of it and install so much stuff on it.
[00:51:14] Speaker A: Well, for example, at the moment I'm playing through EQS Zero, my Steam deck because A, it's not overly taxing, so you're not going to run the battery down, but B, it gives me chance to play a game that I would never normally have time to sit down and spend time at a PC playing. And it's good fun. It's great fun game and it's one of those that you can play in short bursts or you can play as long as you want and if you're plugged in, you're okay to stay.
Yeah, I mean, going back to the Mean, if we think about the longevity of some of the games on there as well. So we've got Tears of the Kingdom, of course, Nintendo Direct come out and that was a big announcement. And that's the third Zelda game we're having on the Switch.
[00:51:52] Speaker C: Yeah, it would be the second fully original one, but it is the third major Zelda release if we don't count Skyward Sword as well, because obviously that's just a port from the Wi, but.
[00:52:06] Speaker A: It'S usually because they usually put Zelda games at the start and the end of a console's life, which I found quite interesting.
They're obviously just going to keep pumping out switches until every single person in.
[00:52:18] Speaker C: The world has yeah, as long as it's still selling, they're not going to move on to Switch Two. And I think people need to start accepting that rather than at the start of every single year. I see like, oh yeah, this is the year when Nintendo are going to reveal the Nexus system. Their lineup is looking kind of sparse this year, but every year I see this comment and then February the Direct comes in and goes, no, here's the full lineup of the Switch for the rest of the year and we're just carrying on with it and it's like, cool. Could you stop speculating that the start of every single year, please?
[00:52:47] Speaker A: But even if you think about the games as well, I mean, the longevity of the games, if you look at Mario Kart Eight, which is in its third season pass running now, I think. So you think that game is still being charged at full price almost a decade after release.
[00:53:04] Speaker C: Is it still the best selling game on the system? I think possibly from what I've saw, it's still up there. But I think that's the other sort of strength of it. It's got those Nintendo first party exclusives, which there's a wide appeal to a lot of them. So stuff like Mario Kart is great because you've got the nostalgia factor with Mario, but also it's a game that you can play with family, with friends. It encourages, like the Couch Cop, which a lot of modern games aren't really too keen on pushing. It's more like we're going to push towards online play the Switch with stuff like Mario Kart and with Smash Brothers is very much like you can gather in one place and play stuff. And I think that's playing to its strength as well. And it gives it that kind of unique identity that perhaps PS Five and Xbox Series X don't really have. If you put them next to each other, they kind of blur together, apart from like, obviously one of them's got Halo, one of them's got God of War, and that's like, really the only distinction. Yeah.
[00:54:04] Speaker A: And I think looking at there's nearly four and a half thousand games available for the Switch, which is going back to like PS Two level era of having that level of choice on the gaming system. But even then, if you look at some of the possible alternative angles they've been taking with the console, so you look at the Mario Kart AR game, they did the can't remember the Nintendo Lavo, the Cardboard stuff, so they have tried to innovate a little bit. Well, that tried to keep some of that weird Nintendo.
[00:54:37] Speaker C: That's. What I find interesting about it as well is that they have done a really good it's probably the first time in a while that they've actually managed to sort of appeal to multiple different audiences at once because the Wi was very good at bringing on people who don't play a lot of games. Stuff like wi sports and wi Fit and things like that. But you could tell that they kind of slowed on games for the hardcore market. You had like, Twilight Princess, you had Super Mario Galaxy, and then it kind of dried up a bit until Xenoblade Chronicles came out. So you had about two or three years in between where it was just like and even then, Xenoblade is a very niche series, but it's like then the wi u tried to swing it around the other way and tried to be for the hardcore audience. It did have some really good games, but it just appealed to no one.
And so it's undersold. Whereas the Switch has, like, it has all your sort of core titles and they come out fairly regularly, but at the same time they've had stuff like Ring Fit Adventure, nintendo Switch Sports 9th.
[00:55:35] Speaker A: Best selling game of all time on the Nintendo. Exactly, which you wouldn't expect at all.
[00:55:40] Speaker C: But also they did, like Dr. Komashma, the brain training stuff, which did not show up in a single direct. And that was the point where I realized nintendo know exactly how to market stuff this generation, because they knew that the audience for that wasn't going to be the people who sit down and watch the directs. It's going to be your NAN who's going to see an ad for it in the break of her soaps. And oh, I remember playing that on the DS.
Maybe I should buy that for this one. It's that sort of thing. And they knew that was their audience. I was like, that's why the Switch has been successful.
[00:56:16] Speaker A: Yeah, I mean, I was rather excited to see the Metroid Prime remastered trailer as part of the night.
[00:56:22] Speaker C: My only criticism of that is that it's not the full trilogy.
[00:56:25] Speaker B: Yeah.
[00:56:26] Speaker C: But part of me is hoping that maybe they're doing it, drip feeding it, and then it ends with four coming out. Yes. And that's my hope.
[00:56:35] Speaker A: It's one of their first party titles, which they paid zero attention to kind of lives with, like pilot wings and stuff like that. And Starfox, which they've not touched forever.
[00:56:45] Speaker C: I mean, the last time they touched that, though, it wasn't very good. So that's fine. But if you look at the top.
[00:56:50] Speaker A: Ten games, so you got Mario Kart Eight to look, of course, at the top. Then it's Animal Crossing New Horizons. Which was the pandemic?
[00:56:57] Speaker C: That's another part of why it's been so successful, is just what I called the Animal Crossing situation.
[00:57:03] Speaker A: So that came out March 20, 2020.
[00:57:05] Speaker C: Which could not have been the perfect timing for Nintendo.
[00:57:11] Speaker A: And then Super Smash Brothers Ultimate, of course, is then third in the list. Then it's Breath of the Wild Sword and Shield, Odyssey, scarlet, Violet, Super Mario, Party Ringfit, Adventure, and then weirdly in 10th position, which I wouldn't expect is Pokemon. Let's go pikachu and let's go Evie.
[00:57:28] Speaker C: Oh, no. Pokemon almost certainly is going to be.
[00:57:30] Speaker A: In there, but it's above Brilliant Diamond and Shining Pearl, which I thought would get maybe the older.
[00:57:36] Speaker C: But I think if you think of it that way, there's more nostalgia for Gen One, which it lets go Pikachu and Eevee is closer to than Gen Four, which is diamond and Pearl.
[00:57:48] Speaker B: And it wasn't peripheral work with Pokemon Go as well.
[00:57:55] Speaker C: But I think let's Go had that sort of crossover with Pokemon Go. So that's probably a big part of what helped it there.
[00:58:03] Speaker A: And then if you look at the rest of the top 20 list brilliant Diamond Shining Pearls, super Mario Brothers U Deluxe Splatoon Two, Luigi's Mansion three, Super Mario 3d World Bowsers Fury Splatoon Three, Party Superstars Mario 3d All Stars, which is really good considering that was only out for eight years.
[00:58:21] Speaker C: Yeah.
[00:58:22] Speaker A: And then Nintendo Switch Sports to finish the game.
[00:58:25] Speaker C: Just want to double check with Smash Brothers ultimate. I know it's one of the best selling fighting games of all time. It's the best selling fighting game of all time. It managed to beat Street Fighter 230.44.
[00:58:36] Speaker A: Million sales as of December last. As of the December numbers.
[00:58:40] Speaker C: Yeah, because I'm pretty sure that Street Fighter Two was like the record holder for the longest time because there's like a million versions of it.
And it's Street Fighter Two. Everyone knows it.
[00:58:50] Speaker A: So what do we think is next? Are they just going to keep milking this cow for another three or four years?
[00:58:56] Speaker C: I think they're going to keep going with. It for a bit. They've probably got some plans for a follow up system at some point, but I think as long as it's still selling as well as it is, it would be business suicide to do it because it would split the market.
[00:59:13] Speaker A: Yeah, I think it's seen as kind of the additional console for a lot of people is that you'll have a PlayStation Five and a switch, or you'll have an Xbox Series S or X and a switch, because it's kind of that console of somebody else is playing a game on the other game PC or console. So I'll switch on there and play it somewhere else. That's perfect distraction for kids. Maybe if you want to watch something on TV, you're trying to watch a film, here's the console, go and keep yourself quiet.
[00:59:44] Speaker C: It is. And again, I think that's another factor in its success is it's the ideal console for families and kids. Because especially if you just see the advertising as a parent and you don't know anything about games, you see the Xbox is promoting how powerful it is and oh, look, we've got first person shooters on it. And then PS Five is like, here's God of War Ragnarok, we create us ripping people apart. And then you're just like, here's the Switch with Mario.
[01:00:15] Speaker B: It's where Nintendo have managed to do a good thing, is because when games consoles started, they were for kids.
Quite clearly, from the NES onwards, game consoles were for children.
Without a shadow of a doubt. What's happened is, over the course of time, the Sonys and the Xboxes have gone. Consoles are for adults and their content is geared towards the over eighteen s. And what Nintendo have done have gone. Games are for everybody and so we're going to market to everybody and that's why they've had their success. And where Xbox and Sony are chasing the adult market who are driven by this idea of more power, faster, harder, quicker, longer, whatever it is, kids are like, I just want to play a good game, I don't really care what the console is.
And I think that's where Nintendo have just gone. We're just going to continue to make great games.
[01:01:09] Speaker C: But this is where I see you can see all three companies, where they came from in how they approach games, because you've got Microsoft, who are a software company who want you to invest in Game Pass and things like that. You've got Sony who are pushing high fidelity stuff so that you'll buy the Sony TV to plug it into and hook it up to a Sony sound system.
And Nintendo were a toy company for the longest time and you can see that in their games. They're pushing like playfulness and that sort of thing. And again, aiming at families and kids and stuff like that. And I think that is it's given them that unique identity compared to the other two.
[01:01:49] Speaker A: And you have the activity element to it. So even the Zelda games, you can still flow your control around like an idiot if you want to do that for your sword swinging. So there's always been that kind of interactiveness with the Nintendo console and saw that in the three DS with the way that they designed that. The DS with the Stylus even going back to stuff like the VR Boy back in the day and those kind of maybe Missteps Superscope back in the day.
[01:02:15] Speaker C: Yeah, I mean, the Nez had the Zapper and the Rob Power Glove. And the Power Glove. I forgot about the Power Glove. I do love the Power Glove. It is so bad.
[01:02:25] Speaker A: There's always been that kind of let's experiment a little bit. And I think that's probably part of the success. But if you went through that best selling video Switch list, I think every single one was a first party title, though. So it must be just printing money like the old DS used to.
[01:02:43] Speaker C: And as well, they've been very good at getting games out frequently because as one of the four Wi U owners in the world, I definitely remember a period of time where there was nothing coming out for it at all. And that drought was a real problem for it. Even like early on, it still had a bit of a drought. And I think the Switch seems to have something. Every a month and a half goes by, there's another first party title that they've released and even already this year they've got Fire Emblem and then Zelda's coming out soon. And then after that you've got Pikmin. And so we already know that they're going to kind of carry that on this year.
[01:03:24] Speaker A: Just going through the list and to get to the first thing that Nintendo is not directly involved in as a first party releaser or publisher is minecraft three and a half million sales. And then there's a Japanese board game called Momotaro, which I assume is only released in Japan.
[01:03:43] Speaker C: Yes.
[01:03:44] Speaker A: And then you go next to and then it's Mario, and then among us, and then it's again nintendo.
[01:03:50] Speaker B: Nintendo.
[01:03:51] Speaker A: Nintendo. Nintendo. So, as you said, getting that constant.
[01:03:54] Speaker C: Release schedule, and I think making it a hybrid has contributed to that too, because they're not splitting the pipeline. Because I think that was part of the problem with the Wi U was everything was being made for the three DS. And then when sometimes you'd have a drought in the three DS where the Wi U would get a few more games and you'd see that happen, whereas because everything's on one, you're not splitting the audience.
[01:04:19] Speaker A: We all Switch owners, so we can't really say much not contributed to the success. But to me it is kind of the B tier console. But there's nothing wrong in being that.
[01:04:31] Speaker C: Yeah, it's carved out its niche and it's quite happy with its niche. I think that's why it's done as well as it has.
[01:04:38] Speaker B: It does what it does, and it does it extremely well.
[01:04:41] Speaker A: Long live the switch.
Number seven is a very popular number. Probably only number three is more popular than number seven. So we thought we'd look at the power of the number seven and how it's affected media and pick out some of our favorite examples. So if you think about number seven, so one of the greatest films probably ever known, seven Samurai, Magnificent Seven.
[01:05:06] Speaker C: I wasn't sure if you're going to bring up which of those two you were going to bring up, but they are effectively the same film, though.
[01:05:12] Speaker A: Then you've got seven deadly sins and seven the movie of David Finch's most renowned work.
[01:05:17] Speaker B: Seven year itch.
[01:05:18] Speaker A: Yep. Seven year itch. Seven heavenly virtues. Which comes across a lot. Seven Mysteries, seven great works, those kind of things. And there's always seven bribes for seven brothers. Yeah, rule of Seven, which always uses a plot device. Lucky number seven is quite lucky number. So, yeah, probably only three, and maybe 13 are as well renowned. So we thought we'd pick out some of our favorite sevens. So, Keith, what's your favorite seven?
[01:05:47] Speaker B: Okay, so I went around the houses trying to think of my favorite seven, and in the end, I picked one that I think had quite an interesting cultural impact in the UK at the time. So we're going back to the 1970s.
[01:06:03] Speaker C: Where I think I know where you're going.
[01:06:05] Speaker B: Going back to this. And so this is a TV series that started on the BBC, was created by the guy behind the Daleks, and it was Terry Nations blake's Seven, which I was obsessed with as a kid because it was just so unlike Doctor Who at the time with this cast of thieves and villains and renegades and stuff, and I was completely blown away by it. I loved the ship design that they had at the Liberator. They eventually had a diecast model of it, which I never got hold of, which is a shame, but the whole thing was really good. Obviously, it was BBC budgets and it was kind of a bit rickety in places, but some dodgy special effects. But the story writing was really impressive. They tackled quite important and interesting themes around governments and corruption and all the rest of it. It had a leading lady villain who that ten 1112 year old boy was kind of stirring weird things. And you just need to look up Jacqueline Pierce as serverland and you'll understand why.
But, I mean, this was such a big show that they even had a segment on Blue Peter where they showed you how to make a teleport bracelet and a Blake Seven gun out of pop bottles, plastic bottles, which I always wanted to make, but I never had any sticky back plastic.
But it went on for a few years. It went through a few cast members.
Paul Darrow, who was Avon's gone on to do lots of stuff with big finish, and it has probably one of the most dramatic endings to a TV show ever. People talk about how a lot of series don't kind of capitalize on their final episode. The final episode of break seven is devastating after the kind of like four seasons so that you've followed these characters, and it ends with a shootout but fades to black and just has noise over the titles, that kind of you go you don't really know what happens, and you kind of can go away. Thinking about it in lots of different ways, but it's an incredibly powerful ending to a show.
[01:08:23] Speaker A: Yeah, because doesn't Blake disappear for the vast majority of his own?
[01:08:28] Speaker B: He kind of gets lost, I think. The end of the second season. So they bring in some new characters. And Avon Paul Dara's character kind of steps up to be the kind of provincial lead. But they had two kind of leading computer characters. There was the Liberator ship computer called Zen, which was just the voice. And then they introduced later on a computer called ORAC, who was the Sassiest computer in the world. People think of C three PO, but ORAC was the Sassiest back chatting computer you've ever known.
And it kind of weathered that kind of characters coming and going. They killed characters off pretty seriously.
One of the original Seven is a character called Gan, and they kill him off in quite a brutal, kind of really shocking way. But characters lived and died.
[01:09:21] Speaker A: They weren't afraid to.
[01:09:24] Speaker B: When they went into the fourth season, they even destroy the hero ship, and you end up with them using the Scorpio, which is another ship. And then it was so big that it actually spawned its own monthly UK comic, so Doctor Who had got one at the same time. And then they had Blake seven. So people like Mike Austin were doing the artwork for some of these Blake Seven comic strips, which were kind of spinning off the story in the kind of final season of Blake Seven. Written text stuff and everything. So it was really good. But it had such a big impact on me as a kid. I absolutely adored Blake seven. It was great. The music, the visuals, all of the kind of like crazy model effects that were in there. And it's a show that could probably do with a resurrection. I wouldn't say reboot. I'd like to see them continue in the universe of Blake Seven.
[01:10:14] Speaker A: Like a battle star, galactica style, kind.
[01:10:17] Speaker B: Of well, yeah, maybe. But maybe one that continues on the actual universe itself with perhaps a new generation of people fighting the Evil Federation because it fed into kind of what was happening politically and environmentally in the world, in the kind of like late 70s, early eighty s. And I think we're a period where I'm feeling and seeing a lot of that similar a lot of similar themes. So I think it's a peak time for the Return of the Seven.
[01:10:48] Speaker C: What I find interesting about that, that show is I've never actually seen it myself, but one thing I have noticed is a big chunk of the principal cast seem to go into voice acting afterwards, and a lot of them have turned up in games I've enjoyed. Yeah, because obviously I've saw people talking about Paul Darrow a lot, and I was just like, oh, the guy who played the villain in Medieval on PS One, because that's who it is. And Stephen grief was also the narrator in a PS three game called Puppeteer.
And I found that out because there was a panel for black Blake Seven at MCM, which I sort of sat in on because after that was going to be like, Troy Baker in Nolan North. And I was like, I know this guy's voice. This guy was in puppeteer. And then it was just like, but it's a Blake Seven panel. Okay, well, I guess that's what he's famous for.
[01:11:40] Speaker A: And it's one of those shows that I skipped over as a troll because BBC Two didn't re show it. Because for some reason, they used to have this every six, roughly around five six p. M. Every day, weekday. On BBC Two, there'd be like a sci-fi half hour or an hour which one of my favorite things was growing up as a kid. And it was bonding time with me and dad because he worked quite long shifts and it's the only real time that we ever spent watching TV together. So it was always stuff like Star Trek The Next Generation or Deep Space Nine or Buck Rogers or UFO or Space 1999. That was the kind of stuff they always pushed, but they never really did.
[01:12:20] Speaker B: Yeah, I don't think he ever really kind of got that rerun stuff, really, because it kind of aired quite late in the evening. So it kind of aired in the spot where kind of when Star Trek and Rockford Files kind of showed originally on BBC One.
But yeah, it was kind of like.
[01:12:38] Speaker A: It was just maybe it was slightly too dark to be put on.
[01:12:41] Speaker B: Yeah, I mean, Terry Nation had I think he was also responsible for a TV series called Survivors, which was the bleakest kind of show ever in the history of TV, which was, like, post apocalyptic. It was yeah, it was generally Britain was effed and this was the tragedy. And it all seemed to be like dilapidated farmhouses. It's one of the reasons why I don't really like the countryside much, apart from a quick visit, but I wouldn't want to live there because you never know what's going on in these weird, dilapidated country houses. Yeah, but it was a cultural phenomenon, even if people didn't even see it. Somehow, somewhere people have heard of it, even if it's the kind of the parody short that got released on YouTube where it was at a service station with people going to a Blake Seven convention and stuff.
So it's kind of cool.
[01:13:35] Speaker A: It's one of those shows that seems to have had a much longer impact because it was made rather than the show itself.
[01:13:43] Speaker B: Yeah, I think the show's got a lot going for it in terms of its themes and stuff. And the performances are all generally pretty solid. Occasionally it veers into pantomime a little bit BBC the 70s.
It's one of those kind of serious Sci-Fi shows like Space 1999 that kind of don't really get the credit they deserve because they were trying something different from the kind of like pew pew, shooty shooty kind of post Star Wars thing that everybody really wanted at that point. But if you've never seen it, seek it out, it's out there. The DVDs, it's probably due for a restoration and a big resurgence. Yeah, and Big Finish have done quite a few audio adventures and stuff as well. If you can find the comics, they're quite a good little laugh. Thank you.
[01:14:32] Speaker A: Lee, how about yourself? What's your seven related item?
[01:14:35] Speaker C: So I went with probably something that's kind of obvious and went with Final Fantasy Seven, which was probably like a lot of UK gamers, probably it was my first exposure to JRPGs because with the Snares and everything, they basically never released anything over here. There was like a big JRPG, but Fantasy Seven was like the one that was pushed initially. I was kind of like, I'm not sure what this genre is. Why do you have to take turns in fights and things like that? And then I played it and was like, oh no, this is actually really good.
So obviously it is the sort of iconic JRPG where you're basically a bunch of ecoterrorists trying to stop an evil corporation from draining the LifeStream and destroying the planet. And then also there's a guy with.
[01:15:24] Speaker A: A big sword, very nice pass, who's.
[01:15:28] Speaker C: Trying to call a meteor down and destroy the whole world. So basically it's on two fronts, but it still holds up as a really good game. Like the original, apart from its slightly dodgy translation, generally holds up pretty well, because it just has this sort of really big, sprawling, epic story where you're starting out in this city, and then it just opens out into this massive world where you go all these different places and you can see all these different cultures and the impact that this major corporation has on the world with installing all these reactors everywhere and draining so much of the planet's life.
And then you sort of see the contrast in places like Cosmo Canyon and in the sort of island place that you've got later on in the story that ends up getting destroyed by just the way that the planet's reacting to all of this. And I think it's a story that kind of especially holds up with a lot of the discussion around climate change and things like that. So it's also just got such a colorful cast of characters. You've got, know, characters like Cloud, Tifa, Barrett and erith they're like iconic video game characters and everyone sort of recognises them, but even then you get some of the sort of quirkier characters, like Red and Catchy, whose name everyone says wrong because they think it's Kate Sith.
But I've looked up the actual Irish pronunciation. It's Catchy, who's basically just like a cat riding a giant moogle and he fights with slot machines. And it's very strange, but it fits into that universe really well and it manages to blend that kind of silliness.
[01:17:17] Speaker A: With weird Japanese idiosyncrasy.
[01:17:20] Speaker C: Yeah. And even for a PS One game, it just looks great. Obviously, everyone in in gameplay, everyone looks like playmobile figures, but it's still well.
[01:17:29] Speaker A: It was bit controversial at the time because Square enix is all well, Square as it was. Square Soft back in those days, had always been a Nintendo developer. And I think they went in with Final Fantasy Seven because they were supposed to develop it for the N 64 and they went, Will you want to do this? And Nintendo went, great, but it needs to fit this cartridge size.
[01:17:52] Speaker C: It was because Square really liked the CDROM format, they really liked how they could do more expansive cutscenes and all these full motion video things they really wanted to experiment with. And the N 64 doesn't do any of that. It didn't use CDROM.
[01:18:10] Speaker B: So therefore I seem to remember that that was my first real kind of multidisc game as well, because it was four across four disks.
[01:18:20] Speaker C: Three disks.
[01:18:21] Speaker A: So I think they were supposed to develop the disk based system. So if you look into the history of it, I'm not going to go into it because it's too much detail today, but if you look into it, Sony was supposed to be the original partner on the N 64 and the PlayStation actually span out of Nintendo and Sony falling out to the stage of it's.
[01:18:38] Speaker C: So weird knowing that out there, there is a patent for a Nintendo PlayStation. Yes, because Sony just took the name and then also then put it as one word instead of two, so that they weren't violating any trademark law.
[01:18:54] Speaker A: Yeah, because it was originally intended that they'd released the N 64 and then Sony would offer the disc as it.
[01:19:03] Speaker C: Was actually for the Snez. So it was directly it was supposed to compete with the Sega CD. Yes.
So, yeah, obviously, again, we're not going into that, but that is kind of where it came from. And then it spun off.
[01:19:15] Speaker A: Interesting that Square went with Sony, but.
[01:19:19] Speaker C: You saw a lot of that in that generation of a lot of companies following on. But, yeah, Final Fantasy Seven just it really holds up as a great game. And then, of course, we've got the remakes that are coming out now, and they are really, really good.
I've kind of fallen off the Final Fantasy series in general, especially since probably since Ten 210. Two is great. I made a whole video about it.
[01:19:43] Speaker A: As in, that was your last real.
[01:19:45] Speaker C: That was the last really good one. Yeah, because Twelve was like I could not get into it at all.
[01:19:51] Speaker A: Fourteen s online.
[01:19:52] Speaker C: Fourteen is the MMO. Yeah. That one, at least, is basically the only thing that's keeping Square alive as a company at this point, I think, because they keep making loads of missteps. But 13 was terrible. I played like a bit of 15 and it was just like a big, empty, open world. And I was just getting bored within the first hour of it.
But when Final Fantasy Seven remake came out, it was that kind of magic again. And even with all the new stuff they added, they kind of kept it in the spirit of the original, even if some of it does get really Bonkers Kingdom hearts nonsense towards the end. But it still works, I think. And it sort of really brought those characters to life as well. And recently played the additional UFI episode that they did recently because I wanted to play that. And obviously originally it was exclusive for the PS Five. And at the time I was like, well, I don't have a PS Five. I'm not playing that. And then I think last year I finally got around to actually playing it and that was a lot of fun. And it just kind of added these extra dimensions to it that just weren't there in the original. And I'm really interested to see where they take the next two installments of this remake, especially with all the Bonkers Kingdom hearts nonsense that's happening.
[01:21:09] Speaker A: It's very interesting going forward.
[01:21:12] Speaker C: Thank you.
[01:21:14] Speaker A: I've gone with Slightly Left Field Choice, so I did think about going for The Magnificent Seven itself because it is a fantastic movie. Definitely go and watch it if you've never seen it. It's one of the greatest pieces of cinema. And then Seven Samurai's before that. But I'm going to take it a further iteration down, and I'm going to put some funky, terrible Eighty s sci fi into it.
[01:21:36] Speaker B: Keith. You've gone battle beyond the stars, haven't you?
[01:21:40] Speaker A: Yeah, because it's one of my favorite films when I was growing up as a kid, because my NAN used to put it on all the time. She had it on VHS Player I.
[01:21:48] Speaker B: Saw it in the cinema.
[01:21:50] Speaker A: Yeah, it's a greatly awful film.
[01:21:53] Speaker B: It's not awful. It's not awful.
It comes out of the Roger Cormann.
[01:21:57] Speaker A: Studio, so it came out of pictures, which was Roger Cormann's film. And it was purely to cash in on Star Wars mania at the time. So in the late 70s, early 80s, so much science fantasy and science fiction got created because everybody was trying to cash in on star wars being the new genre. So this was kind of let's take the plot of Magnificent Seven and throw it in space and put a few spaceships together and some low budget effects. But actually the cast is fantastic.
[01:22:30] Speaker B: It's not as bad as it sounds.
[01:22:32] Speaker C: I mean, I hear Roger Cormann and already know where this is going.
[01:22:35] Speaker B: The casting is fantastic.
[01:22:36] Speaker A: So you've got Richard Thomas.
[01:22:37] Speaker B: Who's john Boy?
[01:22:38] Speaker A: So basically his planet.
[01:22:39] Speaker B: John Boy Wolf.
[01:22:40] Speaker A: Yeah. His planet is taken over by the evil character played by John Saxon, who has a spaceship with what is known as the stellar converter, which is the most biggest baddest weapon in the world. And so basically comes and takes over his planet. So John Boy is sent out to space in his spaceship, which looks like.
[01:22:56] Speaker B: A pair of boobs called now. It's got an onboard AI called now.
[01:23:01] Speaker A: Boobs, two big boobs right at the bottom of the spaceship. Just in case you've never seen the box.
[01:23:06] Speaker C: But yes, that's where Lex got their ideas from.
[01:23:10] Speaker A: So it gets sent out to go and put together a motley crew of seven helpers to come and rescue his planet from the evil John Saxon of which one is Robert Vaughan, who is also in The Magnificent Seven. And plays exactly the same to the stage where Roger Corbin actually recycled some of the dialogue from The Magnificent Seven to put in the script for this film.
So you also got Sybil Danning, who's well known for But Rogers and quite a few other names at the time, george Peppard, who then of course, Breakfast at different The A Team. There's a really good casting in here as well. And special effects are actually done by James Cameron.
[01:23:49] Speaker C: Okay.
[01:23:49] Speaker A: And the music is done by James Horner.
[01:23:52] Speaker B: Yeah, it's basically exactly the same soundtrack as he ends up using for Star Trek to the Ratakhan.
[01:23:59] Speaker C: So it's almost like he basically went, well, I made this score that's actually good. Time to put it in a good movie.
[01:24:06] Speaker B: I won't have anything said bad about Battle Beyond the Stars. It's a great movie.
[01:24:10] Speaker A: It is one of those films and it fills into that Saturday afternoon, Sunday afternoon TV of I just want to watch a really fun film with space battles and lasers and some fairly decent acting and not have to think about the plot to a certain extent.
[01:24:27] Speaker B: And it does stick to the kind of the core theme. There are bits in it when you go, man, they're killing off people. And it's like.
[01:24:36] Speaker C: The impression I get from this is that it's basically one of those it's definitely not high art, but it's something that is fun and entertaining.
[01:24:44] Speaker A: So at the time it was the most expensive film that Roger Cormann made.
[01:24:48] Speaker C: That's not saying a lot.
[01:24:50] Speaker A: $2 million, which in 1980s, it's a fairly decent budget. I think the vast majority of that probably went on. Robert Vaughan and George Pepper probably but.
[01:24:59] Speaker B: He did recycle a lot of the effects. I think half of the visual effects end up in things like ice pirates and stuff that come later.
[01:25:05] Speaker A: So I think he basically made his money back a few times over by recycling some elements as such. But it's quite a dark film as well, if you watch it. Not through kid eyes and you realize the plot behind quite I'd say it's probably on a par with something like Galaxy Quest, which, again, you think is a perfectly fun Rompy film. And then you actually think about the storyline behind it. It's like Jesus actually pretty dark. And John Saxon's character Sedor, doesn't do very well throughout the film as such. No, but as you said, the score pretty much gets carried over into Krull and Star Trek Two, The Wrath of Car, and then James Hornegut went and got his Oscar for Titanic for this film, after meeting James Cameron on this film, and James Cameron doing the special effects. It's quite well done. Apparently Bill Paxton was on set as a carpenter at one time.
[01:26:05] Speaker C: So where was this in relation to Aliens?
[01:26:08] Speaker A: So this was 1980.
[01:26:10] Speaker B: Well before, yeah, it's only the year after Aliens.
[01:26:12] Speaker C: Yeah, because I'm just seeing Aliens just forming on the set of this movie six years later.
[01:26:21] Speaker B: It's a crime that currently in the UK, there isn't really a good way of watching it. It's gone off itunes, there isn't an easily accessible Blu ray edition, and it is well worth a watch.
[01:26:34] Speaker A: So the DVD actually came out in 2001, so it's probably those copies are starting to get a bit of disrop by now.
[01:26:40] Speaker B: I think Shout Factory or somebody in the US put out a Blu ray. I think there's a German version kicking around that you can get on Amazon stuff, but there's not a decent version in the UK.
[01:26:52] Speaker A: And I think it's just a great, fun film quality movie. Yeah, and it's kind of though it is slightly cheaply made than Star Wars and films of its ilk. Every single one of the spaceships in it is very unique. It's completely its own style and it looks beautiful. And they've really thought about how the ships are operated and not that I've.
[01:27:16] Speaker B: Considered buying it, which means I have considered buying it, but there's a Scent X Men action figure, which is pretty nice. That's the Sybil Danning character. But, yeah, that's another one of those, kind of like early you're 1213 and there's people on TV and you go, what's this I'm feeling towards these people? But, yeah, I love it. And it's the music as well. That James horned music actually really carries a lot of the music with the space bottles and stuff.
[01:27:43] Speaker A: And if you think about the music in Star Trek Two, the Wrath of God, quite, very well received and well fitting. And there's kind of that weird connection between the two, but you can see how he would. Have reused some of that school.
[01:27:56] Speaker B: Yeah, it's one of those weird movies that I really love. Like there's that and then there's like Last Starfighter, these weird Sci-Fi movies that kind of came out of the fact of Star Wars and Tron and all the rest of it.
It's a good fun movie.
[01:28:12] Speaker A: So if it's on I recommend oh God, yes.
[01:28:15] Speaker B: Definitely watch it.
[01:28:16] Speaker A: If you've got any love for Sci-Fi at all, it's definitely worth a watch.
[01:28:21] Speaker B: Yeah, it's top tier B movie. Top tier.
[01:28:24] Speaker A: So that's our weird sevens pick.
[01:28:30] Speaker B: Awesomes.
[01:28:33] Speaker A: Right? It's time for our one geek thing. We really need to put a proper name in for this feature at some point.
[01:28:41] Speaker B: Yeah.
[01:28:42] Speaker A: So what's our one geeky thing we've all been up to? Lee, do you want to start off?
[01:28:45] Speaker C: Okay. I've been playing a lot of games that are new to me but I think that the one I need to talk about is the newest one which it's the game that got shadow dropped back in January by Microsoft during their developer direct conference and came out of nowhere.
It's by Tango Gameworks, who are best known for the evil within. And this game is absolutely nothing like the evil within.
[01:29:13] Speaker A: Bethesda. So another Microsoft company?
[01:29:15] Speaker C: Yeah, so it's Bethesda and Tango gameworks and it is Hi Fi Rush and it is a character action game in the sort of style of like Devil May Cry Bayonetta, that sort of genre with the added twist of also being a rhythm game. So if you fight on the beat then you get additional points, additional rewards and all that sort of thing. And it is like for a game that released in January, I think it's my game of the year, obviously pending, we've still got eleven months. But yeah, it's sort of made that level of an impact of just being like this really just out there game that not a lot of people are making and just caught everyone's attention.
So you play as a guy called Chai who is like a wannabe rock star and he has entered himself into a program to get himself a robot arm.
[01:30:17] Speaker A: Not just generically, he's got a bad.
[01:30:19] Speaker C: Arm, he's got a bad arm and he's getting it replaced with a robot arm.
But something goes wrong in the procedure and he ends up as well as the aerobot arm getting fused with his not ipod, legally distinct from an ipod MP3 music player. Yeah.
And that ends up fusing with his arm so that he finds that he basically can now interact with the world on the beat of the music and it's all just really awesome and cool.
But because of that happening the corporation who gave him the arm views him as a defect and is now trying to remove him from the equation and he ends up sort of joining a kind of rebel resistance to go up against the corporation. And it's basically just it is a stupid but glorious premise where you and a bunch of ragtag cat team of people and a robot cat and a robot cat named after a drum machine but all of its sound effects are taken from and you go up against the man and you destroy everything with the power of rock. And it is great. It is basically just this bold, brash, art style. It's very cell shaded and I'm just endlessly impressed with the animation styles because so many of the cutscenes blend two D and three D animation. Like it constantly flips between the two seamlessly. You just don't notice unless you're really looking for it, you don't really notice how seamlessly it's jumping between the two.
And then obviously the gameplay carries on that sort of 3D animation very reminiscent of like old sort of PS two GameCube games that sort of Beautiful Joe. We discussed jetset. Radio.
It's got that kind of visual style that a lot of games in that era had, but it's also just so much fun to play because you're doing all these combos and fighting off waves of enemies, but you're all just doing.
[01:32:21] Speaker A: It to the music and some decent music.
[01:32:24] Speaker C: The music's really good. But for me, the best part of it, where it all kind of comes together is a layer level where there's a cafeteria fight set to The Prodigy's Invaders Must Die. And during that I'm pretty sure that everything I got was an S rank because I was just in the zone with that track playing and just fighting to that track because I love that track. And just the fact that you hear the sort of building intro come in during the cutscene, you're like, are you really going to play this? And then on the We Are The Prodigy, the fight starts and it's just perfect. And I'm just like the fact that this game exists. It feels like a game made specifically for me.
[01:33:05] Speaker A: Yeah, there's a variety of musical tracks and it said there's Nine Inch Nails, Black Keys, Fiona Apple, Joyful Midaba, so it's a really interesting mix of tracks that they picked. And I think there's a streamer mode where you can swap the music out if you are going to twitch stream.
[01:33:20] Speaker C: It or anything like that.
[01:33:21] Speaker A: But yeah, I'm just through, I think, the end of the second level with the giant one. So I'm not all the way in yet, but I have gloriously enjoyed every minute so far. It's just been fun and I forgot video games can be fun.
Don't have to be just a slog and get through stuff. It's just bobbins and it wouldn't work on any other team, I don't think. But yeah, you can see that lineages come through from Beautiful Joe and those kind of things and great fun, isn't it?
[01:33:59] Speaker C: Yeah.
And what I love about it is that it kind of just sets out to be a very specific thing. We've got a lot of games from AAA Studios these days, which are like focus tested to death. We've got to put crafting mechanics in there. We've got to put an open world in there. We've got to put this in there. But it all just kind of bogs it down and like I said, makes it kind of a chore, whereas this just kind of tosses all that out and goes, no, we want to make a character action game that's also a rhythm game. And that's all we're doing. And we want it to be a Saturday morning cartoon in its vibe. And that's all we're going to do the whole time.
[01:34:31] Speaker A: We should include a sassy robot cast. Yeah, we should include Fridges giving you the hints all the way through the game.
[01:34:37] Speaker C: I love the fridges.
Well, the thing I love about the Fridge is that it's also, like so much of its dialogue is just kind of weirdly creepy as well, because he's just kind of like, well, I'll be.
[01:34:48] Speaker B: Here waiting for you.
[01:34:49] Speaker C: Yeah, it's just like, oh, we're friends now, right? We're best friends forever.
But I also like, within sort of its sense of humor, there is like a recurring reference to the evil within. You can actually find the main character of the evil within in the game as a robot. And you can talk to him and he's like the most miserable character in the entire game. Having played a bit understandable. Yeah, having played a bit of that, I'm like, no, that absolutely checks out for his character. You just come across this gruff voice guy called Seb seb AAA, I think his name is. And you're just like you're from the evil with him.
And then there's a scene sort of later on in the game, like a cut scene that comes in. And it's just one of the funniest things I've ever seen in a video game. Basically, the main character is carrying someone out of a room and constantly just whacks their head against every single door along the way. And the comic timing of this cutscene just ramps up with each time it happens. And it's easily one of the every time I think about this game, I keep thinking about the work of Edgar Wright. It's got that same kind of kinetic editing, editing on the beat and all this sort of thing that he loves doing. And also that same sort of sense of humor that comes across.
[01:36:12] Speaker A: I think the only thing I can even consider it coming close to is the scene in the Shaun of the Dead where Don't Stop Me Now is on the jukebox.
[01:36:21] Speaker C: Yes.
[01:36:22] Speaker A: And they're all beating the landlord up.
[01:36:23] Speaker C: It's very similar to that. And also you can also look at Baby Driver as well, where you got all the car chases set to music as well. It's that same kind of feeling to it, I believe. Weirdly enough, that scene from Shaun of the Dead, though, may have been an inspiration on the so and I can definitely see it and obviously the premise, I can see a Scott Pilgrim influence in there very easily as well.
[01:36:46] Speaker A: Definitely bit of Scott Pilgrim in there at some point.
[01:36:50] Speaker C: But yeah, it is such a good game and it came out of nowhere and the fact that it's already a contender for my Game of the Year is enough.
[01:36:59] Speaker A: Definitely one of those games where I think they've done the best thing of keeping it quiet. So it's on game. Pass it's on steam as well. So I think Xbox, PC source, it won't be surprised if it doesn't come out on the switch at some point in the future.
[01:37:11] Speaker C: But the thing that sort of got me as well with that is because it's released on Game Pass, it could come out and just be like, here's what I do. And everyone can immediately go, well, I guess I'll play that then because I've got a Game Pass.
Although it's done well on Steam, though, it's actually done better than forspoken the big AAA release from that same week.
[01:37:29] Speaker A: Yeah, but let's not talk about but.
[01:37:33] Speaker C: It definitely says a lot that that happened, that even a game that was on Game Pass was able to achieve that.
[01:37:39] Speaker A: Yeah, I've heard there's some dialogue issues with yeah.
Keith, what was your geek thing?
[01:37:46] Speaker B: I'm going to pick something. This only just kind of started over on Apple TV Plus, and I think.
[01:37:54] Speaker A: You'Re the only person who has no.
[01:37:56] Speaker B: No, there's plenty of others. But I'm picking this because it's going to be this guy's year and it's a new TV series called Shrinking, which has been developed by Bret Goldstein from Ted Lasso and Hercules of Thor fame.
And it stars Jason Siegel as a psychiatrist in a firm which is run by a certain Harrison Ford who is having a ball being funny. And he is a very capable actor who can be funny.
It's a funny show, but also tackles quite interesting themes. Jason Siegel's character is dealing with the grief of losing his wife and how he interacts with other people and his daughter, and the unorthodox methods he's using to help his patients.
So I'm kind of a few weapons owed into the first few. It's dropping on a kind of weekly basis, but it's great. And it's great just seeing Harrison Ford having a ball, just playing things for laughs. And it's got me super hyped for Indiana Jones later on.
[01:39:05] Speaker C: Yeah.
[01:39:06] Speaker A: Because I've seen this and I've heard Jason Siegel talk about it quite a bit because it's his new big show, of course. But yeah, the reason I'm aware of it is because Bill Lawrence, who did Scrubs, is one of the co creators as well. So it's kind of got that lineage to it.
[01:39:20] Speaker C: Yeah.
[01:39:20] Speaker B: I mean, it's got good, decent people behind the scenes that have created it, so it's got a bit of that kind of Ted Lassoe vibe to it as well. But it's a great show. I'm only a few episodes in so far, but it's great. And Harrison Ford's just awesome.
[01:39:39] Speaker C: That's just the universal statement.
[01:39:41] Speaker B: But it's just got me so hyped for Indie later on in the year. And I'm kind of like, yeah, it's nice to have Harrison Ford on TV.
[01:39:49] Speaker A: Because that's the thing from the last big project he was in, was, of course, Star Wars. And people know Harrison Ford has been done with that universe for quite a specific amount of time.
[01:39:59] Speaker C: That's what I was about to say. When you said, it's great to see him being funny. I was just like, well, I'm glad to see no one's asked him about Han Solo, because that's the joke, isn't it?
[01:40:08] Speaker A: That nobody should ask him about Star Wars, just ask him about Indiana Jones, because that's the universe he has to be in.
[01:40:14] Speaker C: You could see it in that convention he was at recently where they were showing off the new indie trailer, I think it was, and he's beaming, he's having a great time, and then somebody.
[01:40:23] Speaker A: Mentions Han Solo and he starts getting angry again.
[01:40:25] Speaker B: But if you've got access to Apple TV Plus, it's definitely worth watch. It's a good show. It's funny, but poignant and heartfelt.
It's one of those shows that you kind of just go, I don't know what it is that I'm really enjoying, but I'm really enjoying it. And I think it's the ensemble cast and just kind of basically how even the kind of smaller actors are just phenomenal in it.
[01:40:51] Speaker A: Yeah, because it does kind of annoy me quite a lot because there's all these great shows on Apple TV, like Ted Lasso Seven, and it's stuff that I just don't want to give Tim Apple some money.
Can you just release them and other streaming services after you're done with them, please? So we do get a chance to watch that. So they've got quite a good I mean, there's been a good mix of stuff that they've had come out.
[01:41:15] Speaker B: There's plenty of good shows.
[01:41:16] Speaker A: They ruined foundation, which I forgive them for, to be honest.
[01:41:20] Speaker B: And they're not going to penalize you for sharing your password with anybody else. So when you've got rid of your Netflix subscription, you'll be able to get Apple TV Plus for a lot less than Netflix, and you don't have to.
[01:41:31] Speaker A: Return your device of choice back to your home station after 31 days.
[01:41:35] Speaker B: So when you've all subbed out of Netflix for whatever reason, you can pick up Apple TV Plus for about 599 a month. It's probably seven now with inflation, with things. It's probably 20 pounds now by the time I said this. But yeah, it's good. It's definitely worth and there's plenty of good stuff on Apple TV Plus.
[01:41:53] Speaker C: The way you said all that, I was about to ask, like, so how much did Apple pay you for this promotion?
[01:41:58] Speaker B: You have to put hashtag for All Mankind Foundation. Loot Raw.
[01:42:04] Speaker C: There's loads of Good Stuff foundation because.
[01:42:05] Speaker A: I'm still very angry about that and they've actually ruined it.
[01:42:08] Speaker B: Yeah, there's an awesome Beastie Boys documentary as well, which you should watch. 699 per month is the current absolute bargain.
What about you, Ryan? What's your geeky thing this week?
[01:42:20] Speaker A: So I'm going to be as plain as possible. Blast of us.
I never play the games and I think I'm enjoying the series a lot more for not playing the games because I don't know what's coming up. But it's Pedro Pascal's getting very typecast somebody who picks up an orphan and takes them across the world somewhere, isn't it? But he does it very mean. If you change that orphan to small people in category, you could probably include defending what's his face from Game of Thrones as well.
Tyrion but yeah, so it's obviously had a lot of money thrown at it.
It's great to see that Neil Druckman's actually being involved as one of the creators of the series. So you can see that kind of care and craft. And from what I've heard is it's sticking very close to The Last of US video game and not veering too far away and making you feel immersed in that universe without the Hollywood sheen going over the top of it.
It's been a fantastic ride so far. Really enjoyed it. I've really enjoyed the first couple of episodes I watched. I'm a little bit behind. I've not watched the Nick Hoffman episode, which everybody has been raving about. And it's one of his best things that he's ever put to a screen. So I'm looking forward to watching that. But nice to see Anna Torv back because I used to love her when she was in Fringe and then she seemed to have done nothing for ages and now she's back on TV for The Last of US, which is great to see that she's back. But yeah. Bella ramsay. Pedro pascal couldn't probably do any better casting. I know Nathan Fillion is always banded about when they talk about stuff like that, but I think it's a very good pick.
[01:44:06] Speaker C: Well, I've not been able to watch it because it's like now TV and sky and all that. But I kind of know a lot of the stuff going on behind the scenes because I listen to the PLAYWATCH Listen podcast that Alana Pierce does and Troy Baker is one of the people on that. And obviously he's actually been partly involved in it as well.
I think he does the official podcast and he's a good friend of Neil Druckman anyway, which is why he keeps getting cast in his and like, they've obviously been talking about how close Neil Druckman is to the production of it. And a lot of the discussion behind it is like so obviously Craig Mazin, who is the showrunner, obviously the guy who did Chernobyl, he's sort of had a lot of discussions with Neil Druckman about what's the really important thing that you were trying to get across here in this section of the game.
What I find interesting about the show as well is the Game is kind of structured like a TV show already.
The chapters kind of feel very much like TV episodes. And I think that's why this adaptation works really well, because they're just taking each of those segments and making an episode out of it. From everything I've heard and everything I've seen, that's how they're doing it. And I really think that that is probably why it's proving to be so successful.
[01:45:32] Speaker A: Yeah. And spoilers will abound from here on out.
So the first episode is very much focused on Joel and his daughter Sarah. His daughter Sarah is proven to the main character of the first episode. So you get that really kind of significant attention and significant weight developed to that character. And it's like you feel like she is the main character. And of course, when she dies, it's kind of you get an emotional gut.
[01:45:57] Speaker C: Punch on that one, which is a really good way of doing it, because in the game, you actually play as her as the first section of the you actually you are Sarah at the start of the game before you ever play as Joel. And that's kind of how the game was able to kind of connect you.
[01:46:13] Speaker A: With the way for the narration because it focuses on her for the day, like the outbreaks happening in the background, but it's just her going through a normal day to day life while Pedro Pascale's out work and doing stuff. But, yeah, it actually opens with John Hannah, of all random people, talking about how it's like a 70s scene, you got big Head from Silicon Valley, and it's like those two having a discussion on this panel about, oh, if Fungus ever goes across into the infects people, we're screwed, basically. And then there's little snippets at the start of each episode which looks at another bit around the world and what's going on. So really well done.
The only slight disappointment I had in it. I was hoping they'd just end the episode there, but they do the time skip and then they just carry on into that kind of thing for the part, the first episode. I think it would have been better if they just ended it there.
[01:47:03] Speaker C: And yeah, especially because with The Game, you get like a whole credit sequence between the prologue and the first chapter that sort of represents the time skip. One thing that as well. Obviously, you're mentioning you haven't seen the Nick Hoffman episode yet. From what I've heard with that, that is a significant departure from the game. But they've done it in a way where the way the story was told in the game made sense for the game. But to do it for a TV show, they've done it exactly how they should have done it for a TV show. So you've got Nick Hoffman's character who you kind of get bits of his backstory when you spend time with him in the game. But from what I can tell, the episode is just about him and that's kind of how they've done were, though I've seen some people complain that, well, where was the school and where was the fridge trap and all this sort of stuff. And I'm just like, those things are really good for the game. But do you really just want to spend an hour watching Pedro Pascal and Nick Hoffman walk through a school?
Because that's what you're asking for. And I don't think that that's going to work for a TV show. It works for a game because you're playing through it and you're interacting with the world, but you're not. But I think as a TV show focusing on the more emotional side of things, the character aspects of it is the right way to go. So, yeah, you're going to cut the fridge trap, you're going to cut the school. None of that's important.
[01:48:27] Speaker A: Yeah. And the last episode of Watch was the one which was them going through the museum. And the end of that episode, I'll try not to spoil too much, is kind of a pivotal moment in the series and a big change. But from the other thing I've heard is they've brought back a lot of the people who played the infected and the motion capture people are the people playing the infected in the video game. So it's a really good way of keeping that kind of same feel, same mean.
[01:48:53] Speaker C: I know that Troy Baker and Ashley Johnson do show up at some point. I know from what I've read about where the plot is right now, we wouldn't have encountered Troy Baker yet. He's much later on in the series. Yeah, I'm not sure Ashley Johnson fits into it because I think she might be like a flashback character, possibly.
[01:49:15] Speaker A: So I think it's already been renewed. So I'm assuming that'll be picking up Last of US, part two. Probably more than probably likely. But yeah, it's one of the best crafted TV series of I do really.
[01:49:29] Speaker C: Want to see it, but I can't at the moment.
[01:49:34] Speaker A: Maybe we'll find some way of getting.
[01:49:35] Speaker C: You access to that.
[01:49:38] Speaker A: So that's it. Thank you for joining us on this seasonal episode of our 7th birthday of Geeky.
[01:49:44] Speaker B: Remy, you haven't had a cake streamers.
[01:49:50] Speaker A: Do it in post key.
[01:49:52] Speaker B: Fix it in post.
[01:49:53] Speaker A: Yeah. But yeah. Thank you very much for joining us. I've got some really fun stuff coming up this year, so do keep an eye out on our socials and our channels such as YouTube, Twitter, Facebook, Instagram, Mastodon and Hive when I actually get round to actually using those all at a geeky brummie. And keep an eye on the website where you'll find Keith's comic roundup, which is the finest comics for your box every week and some interesting choice in there. It's not usually just purely Marvel and DC.
[01:50:25] Speaker B: It has been recently, but it's not.
[01:50:27] Speaker C: Purely it's early in the year. Keith probably going to happen.
[01:50:31] Speaker A: But some fantastic comics, which you'll never probably find anywhere else unless you pop to your local comic bookstore and collect them. And Lee's Gaming Roundup looks at the finest video game releases of the year, and not just again AAA titles. We look at indie stuff and what's really interesting and you pick a game of the week based on what appeals.
[01:50:48] Speaker C: Yeah. What sounds the most interesting thing that week?
[01:50:51] Speaker A: Yeah. Matt, of course, has his Esports Roundup, looking at the latest and greatest esports news. I'm back with the Tech roundup when I get a femtosecond to tell you about what's going on. So the latest one's about CES and another one coming in soon. And Sam, who is our new film reviewer, will be posting regular movie reviews, so look forward to those coming up on the Geeky Brooby website. But for now, thanks for giving us bye, everybody. Bye.
Hello and welcome.
[01:51:39] Speaker B: Table. Right.