Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
Key frame of Stalker (Copyright: Mosfilm)
As a Damn Fine Cup afficionado, you’ve probably already seen Andrei Tarkovsky’s Stalker (1979) or read the novel it’s based on, Roadside Picnic by the Strugatsky brothers, or both. You’ll probably have informed opinions on each of them. If you haven’t: sorry, there are spoilers coming.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
They’re a beautiful family, the Paivas: father Rubens, mother Eunice, and their five children. They live in a nice house, they have nice friends, they obviously love each other. They enjoy days at the beach. Looking at their lives, you would almost not notice that they live in a military dictatorship – almost. They comfort each other when, after the kidnapping of the Swiss ambassador to Brazil, the country becomes more threatening – though the oldest daughter, Vera, is sent to London along with friends of the family. Just because you’re safe doesn’t mean you shouldn’t take precautions.
And then Rubens is arrested. And that is the last they’ll ever see of him.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
What comes to your mind when you hear The Lord of the Rings and the name “Ian Holm”? For most, it’ll probably be Peter Jackson’s Lord of the Rings trilogy – but for Alan, it’s the BBC radio adaptation from 1981. Sadly, there are generally no trailers for radio shows, definitely not for ones that are 44 years old, so let’s instead do one better – and link to the actual episode. Enjoy!
It’s a conundrum: this late in Criterion’s Essential Fellini box set, I didn’t expect to find a film I’d like as much as And the Ship Sails On – but at the same time, I ended up finding it more frustrating than many of the films I liked considerably less. There is a lot I love about And the Ship Sails On – but it feels like by the time Fellini made it, he had mellowed with age, and in this case I wish he hadn’t. The film is too loving and mild as satire, when the themes it addresses would have required a sharper sensitivity, one that isn’t averse to drawing blood… and this shortcoming is much more obvious in 2025 than in 1983.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
What do our baristas do when they’re not podcasting or writing blog posts about Korean series, animated favourites, or their addiction to the Criterion Collection? In Sam’s case, he teaches at a Swiss grammar school – and he regularly stages plays at the school where he teaches. This spring, he directed a production of Clare Boothe Luce’s 1930s Broadway play The Women, which was famously turned into a 1939 film by George Cukor, and rather less famously a remake in 2008, starring Meg Ryan and Annette Benning. Join Sam and Julie as they talk about the play and the production. How does a play that is almost 90 years old hold up when staged in 2025? How does a Broadway comedy of manners work when performed by students in a Swiss town? Does The Women in a staging that keeps its 1930s context speak to modern audiences? And, perhaps most importantly: if he had the opportunity, who would Sam himself portray in this all-women play?
Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!
Growing up in Switzerland, everyone is of course hyper-aware of its uber-famous orphan story Heidi, Johanna Spyri’s 1880 novel about an alpine transplant who performs miracles on grumps, frumps and wheelchair-bound aristocrats. Needless to say that even much before the iconic 1974 Japanese animé adaptation so poignantly remembered in Matt’s last post, Heidi had become a global ambassador for idealised images of our country and had spawned a wide range of stage, film and TV adaptations. And despite Switzerland’s best efforts, the most interesting versions were contributed by other countries and cultures, and I don’t just mean Japan.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Stop me if you’ve heard this one before: a conventional yuppie who, if you look at him from the right angle, reveals a streak of disaffection with his life bumps into a free-spirited young woman. She introduces him to the wild side of life, and they embark on a whirlwind romance. All together now: can you say “Manic Pixie Dream Girl”?
If you rolled your eyes at this, rest assured: that was pretty much my first reaction to Jonathan Demme’s Something Wild – so much so that after about half an hour I ejected the Blu-ray and watched something else instead. For those first 20-30 minutes, I felt more and more that I really didn’t need yet another take on that particular well-worn cliché. Charlie Driggs (Jeff Daniels) and Lulu (Melanie Griffith), as she calls herself to begin with, weren’t endearing to me: I found them and their idea of what breaking free from convention looked like grating. It’s one thing to watch teenagers who believe they’re the first ever to break free from the bonds of social mores; it’s quite another to watch two supposedly grown-up people behaving like those teenagers. There’s something to it that is smug and self-satisfied and, frankly, a bit boring.
A Damn Fine Cup of Culture 