Is this the real life? Knit’s Island (2023)

So many video games are about escapism – but this doesn’t mean that the worlds we escape into when we play are necessarily better worlds than the one we inhabit. No, when we pick up that controller, we often find ourselves in situations that are brutal, life-or-death: warfare, disaster, the apocalypse. It’s therefore not surprising that perhaps the most common player interaction in games is killing – or its flip side, dying. Obviously, though, that’s partly beside the point: in a virtual world, death means very little, whether you’re the one doing the dying or the one who’s killing. One Nazi, zombie, mutant less – or, if it’s the Nazi, zombie or mutant who won that particular fight, you reload and get another chance at killing rather than being killed. The worlds we escape to may not be better than ours, but they’re exciting, and the reversibility of death is obviously a plus.

But is this all these worlds can be: places where we either kill or die, over and over?

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I’ll be in my trailer… watching trailers: (template)

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.

In 1982, while England was whipped into a frenzy of nationalism by a wedding that, in hindsight, didn’t seem to benefit any of the parties involved, our Alan was taken to see Richard Attenborough’s Academy Award-winning Gandhi and got a glimpse of the ways that the British Empire wasn’t perhaps all it was cracked up to be.

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A Damn Fine Espresso: August 2025

Our Lost Summer continues, quite fittingly, with another David Lynch film: in our August espresso, Alan and Sam talk about Lynch’s most ’90s nightmare, Lost Highway, in which murder, mobsters, Mystery Men, Patricia Arquette (with black hair) and Patricia Arquette (with blond hair) abound. Add music by Nine Inch Nails, the Smashing Pumpkins, Marilyn Manson and Rammstein, plus a killer track by David Bowie, and you have a David Lynch film that, more than all his other work, very much is marked by the decade it was made, so much so that at times it feels like a feature-length video shown on MTV’s Alternative Nation. But does this make Lost Highway dated, or does this neo-Hitchcockian slice of jealousy and paranoia hold up in 2025? There’s only one way to find out: listen to us, because, as a matter of fact, we’re at your home right now.

For more Lost Summer listening about David Lynch, make sure to check out our June episode (dedicated to Lynch’s Blue Velvet, Twin Peaks: Fire Walk With Me and Mulholland Drive) and the July espresso (on Wild at Heart).

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Six Damn Fine Degrees #247: Gandhi (1982)

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!

In July 1981, my school went a bit mad. The heir to the British throne Prince Charles was getting married to Diana Spencer, someone the media genuinely referred to “a commoner”. Parts of the UK were getting insanely excited by the prospect, and this included my classroom. The Wedding, we were told, was a Big Event. For kids, this was an event that had everything. After all, there were Princes and Princesses, images of fancy soldiers and decorated palaces, alongside lots of maps smothered with pink. Union flags appeared in the school, and no trip to the shops was complete without seeing aisles of colourful tat with crowns on it.

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I’ll be in my trailer… watching trailers: Oh deer!

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.

To what extent are our film and TV tastes determined by our parents and by what we watch growing up? In this week’s Six Damn Fine Degrees, Matt remembers the films and series he watched due to his mother: from Zulu via M*A*S*H to Bambi.

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Criterion Corner: The Three Musketeers / The Four Musketeers (#1263)

Every now and then I’m amazed at how pop culture doesn’t actually require you to have seen, read, heard or played something for you to have, or at least think you have, a fairly clear idea what it is. I’m sure I’ve seen snippets of versions of Alexandre Dumas’ Musketeers stories, but I don’t think I’d seen an entire Musketeers film – let alone watched a series or read any of the original novels – until a few weeks ago. (Not even Douglas Fairbanks’ silent-era original.) Nonetheless, I had quite a concrete image in my head: four friends in dashing 17th century outfits, wielding swords (but not muskets – go figure) and getting into swashbuckling adventures, rescuing damsels and foiling the wicked plans of scheming authority figures.

What I didn’t expect: that the three Musketeers (feat. D’Artagnan) would basically turn out to be The Beatles from A Hard Day’s Night… in dashing 17th century outfits, wielding swords (but not muskets – go figure) and getting into swashbuckling adventures, rescuing damsels and foiling the wicked plans of scheming authority figures.

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Six Damn Fine Degrees #246: Michael Caine, Alan Alda, my mum and me

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!

In the autumn of 2009, my mother was in the last few months of her fight against cancer. In fact, she’d battled more than one cancer throughout her life, and even when she was doing well, the knowledge of how it had affected her life and the fear of its return, at some point, in some shape, was always with her. Earlier in 2009, an episode had revealed that one of the tumors had returned and metastasized, making it clear, if not to her then to most of her family members, that this would be her last fight, and it was just a matter of time until she lost it.

My father, who had retired early (not entirely of his own volition), looked after her while she was still at home, before her final stay at hospital. They’d not always been very happy together, but they had seemed to find a way of being kind with each other during the last couple of years they were both alive. But there was a weekend when my dad said he wouldn’t be around – I don’t remember the details, but I assume he needed a break, as anyone would. So my sister and I split the weekend between ourselves, and I looked after my mum for the first part of it. This meant that I prepared dinner for the two of us – pasta, predictably – and, just as predictably, I brought along a film we could both watch together. The film: The Life and Death of Peter Sellers, in which Geoffrey Rush played the iconic English comedian and actor.

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I’ll be in my trailer… watching trailers: Life, death, and everything in between

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.

Our Six Damn Fine Degrees feature has taken us to so many places – and some of these have been Peter Sellers-adjacent. The closest we’ve come was with Alan’s look at the Pink Panther franchise. This week, though, Sam dedicated his Six Degrees instalment to Sellers and his marriage to Britt Ekland, a story that’s a far cry from Seller’s often funny films.

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A Damn Fine Cup of Culture Podcast #95: Lost Summer – Films from the Poison Cabinet

Some things are sadly lost: rolls of film crumble, TV programmes are never recorded, studios choose not to distribute a film. And then there are the cultural artefacts that come from a context so toxic, they are consigned to the poison cabinet, where people have to make an effort to seek them out. The films made during the Third Reich, under the control of Joseph Goebbels’ Reich Ministry of Public Enlightenment and Propaganda, are such artefacts. There are the famous propaganda films, such as those made by Leni Riefenstahl (if you get a chance, watch the 2024 documentary on her by Andres Veiel!), but there are many others that are barely known, except to film historians. In the third episode of our Lost Summer, and inspired by Rüdiger Suchsland’s 2017 documentary Hitler’s Hollywood, Sam, Julie and Matt look at two of those films: Wolfgang Liebeneier’s big city comedy Grossstadtmelodie (1943) and Opfergang (1944), a strange, lurid melodrama by Veit Harlan (often translated as The Great Sacrifice or Rite of Sacrifice) that was sometimes called the ‘Nazi Vertigo‘. Neither film may correspond entirely to what present-day viewers may imagine Nazi propaganda to look like – but both, made by directors loyal to Hitler’s regime, were very much made to convey propagandistic messages to their audience. What is it like to revisit these films 80 years later? What have they left behind? And should they, and other films of their kind, remain locked up in the poison cabinet, or is there an argument for making them available, fully knowing what they were made to do?

P.S.: Make sure to check out the other entries in our Lost Summer, running from June to September!

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Six Damn Fine Degrees #245: The Peter Sellers and Britt Ekland Story

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!

Sellers and Ekland as happy newlyweds? Not exactly, with Sellers recovering from his recent heart attack only months after their marriage.

Despite not ending up as the lead in Billy Wilder’s Kiss Me Stupid, 1964 really was Peter Sellers’ seminal year: not only was he following up the success of his most popular role as Inspector Clouseau in the Pink Panther series’ second (many say even better) instalment, A Shot in the Dark. He also starred in Stanley Kubrick’s darkly satirical Dr Strangelove in no less than three separate roles, for which he would garner a Golden Globe and an Oscar nomination.

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