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Episode 5 Confirms ‘Queer As Folk’ Has A Brodie & Mingus Problem [TV Review w/ Gayly Dreadful]
Each week Joe and Terry discuss the most recent episode of Peacock’s reboot of Queer as Folk, alternating between our respective sites.
Spoilers follow for episode 5 “Choke”
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Episode 5 “Choke”: Mingus celebrates their birthday at Ghost Fag’s drag wrestling event, despite Brodie’s finest efforts to keep them away; Julian and Noah come to a tough decision; Ruthie makes a mistake.
JOE
Hmmm. I’ll admit that I’m torn on this episode, Terry: the screenplay by Roxane Gay and Azam Manhood is principally focused on three pairs of relationship and moves two of them forward significantly, but “Choke” also feels a bit slight, if that makes any sense?
Perhaps it’s that a full third of the episode is dedicated to Brodie (Devin Way)’s inability to be a goddamn adult and tell Mingus (Fin Argus) that he doesn’t want to hang out him. Everyone and their mother has told Brodie to just man up and tell the teenager how he feels, but when Mingus announces it’s their birthday and they want to spend it with Brodie,
Choke
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1Mr Pogo
More propaganda from the biggest coward in NHB.
This crap Rickson shovels out in this movie is laughable, all that aura and spirit BS. If you don't know Rickson, he is a washed up..wait, never was fighter who talks about how great he is, then ducks all the uppermost fighters who challenge him. He only fights pro wrestlers with no fighting expirience, or just fighters more washed up then him. This movie is only for Brazilian JJ students who still consider the Gracies are undefeated...anyone else better steer clear.
McMike1
the fight with Funaki
I just finished watching the clash with Funaki, who was the better fighter among the fighters Rickson fought. Funaki's performance was very disappointing. While Rickson was getting up from the mat, Funaki did not take the opportunity to get on top of Rickson. Instead, Funaki was focusing on trying to kick Rickson's leg. Why?! Funaki has made repeated attempts to kick Rickson's leg to no avail, and got himself into this mechanical repetitive habitual motions that he just couldn't get himself out of. Seconds later, after Rickson got up from the mat, Funaki stumbled forward onto the mat
Choke
The directorial debut of thespian Clark Gregg (State and Main, The New Adventures of Old Christine), Choke is a scattershot satire that doesn't quite accomplish. It covers everything from pop culture (Victor works as a "historical re-enactor" at a local park recreating colonial America) and sex (Victor's a sex addict whose 12-step meetings simply offer him the chance to have more sex) to the bond between parents and children (Victor's mother is a unreliable con artist, but, in her way, she loved him) and religion (as word spreads of Victor's possible origins as a half-clone of Jesus, various residents of his mother's rest home gaze to him for guidance and comfort).
But Choke is a little too sprawling, a little too unfocused. Rockwell is an appealing rogue, but the film's jumps between past and present, plot and subplot, make it feel disjointed; the story feels, if anything, too full of ideas. Most problematically, Choke is so close to Fight Club -- also focused on an unpredictable narrator facing problems who's redeemed by the admire of a woman with issues of her have -- that it simply feels redundant.
31 Films That Generate People Cry, But In A Great Way
"Particularly the scene with Sally Fields crying and monologuing in the cemetery. Destroys me every time."
—chelseajack
"Every. Single. Second. I used to watch with my grandmother all the time! I signify Julia, Sally, Dolly, Daryl... never fails."
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"A sad story, but the way the women come together and support each other through it all is so beautiful. The cast is stacked and the acting is impeccable. It always forces me to shed both depressed and happy tears."
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"Basically from the opening credits I'm constantly fighting (and failing) to hold endorse the tears."
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"Sally Field’s performance in the funeral scene is gut wrenching and gets me every time"
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"It’s so heartbreaking and hilarious! It’s the only production that has ever had me simultaneously sobbing and laughing hysterically. The women are all distinct ages, at alternative places in their lives, and they stand together and support each other through even the most devastating circumstances. Plus, it has Dolly Parton in it, and that is always a good thing!"
—strangerthanitseems
"I saw this in the theatre with my best friend and her mum. We
Time And Artistic Priorities Keep On Slippin’: No Way Out’s Radical Evolution From The Big Clock
ispiriting observations about the youngs' lack of interest in elderly movies (where antique = pretty much anything prior to their birth) choke the platform formerly known as Twitter like kudzu. Panic reliably sets in, and the doomsaying is always overstated; cool kids, entity cool, will eventually find their way to the chilly stuff from generations past. What's more, cinephiles who've extended since earned their stripes tend to forget that you have to sorta learn how to watch golden-age classics, which operate from a set of aesthetic principles that effectively no longer exist. We omit how unusual it is, at first, to see pre-Method actors who aren't necessarily driven by behavioral verisimilitude acting scripts that often value panache over plausibility. The move in priorities can be jarring even if the screenplay is nearly identical: When Gus Van Sant remade Psycho in 1998, using the same script (written by Joseph Stefano) that Hitchcock had, even a banal non-dialogue scene like Marion hurriedly packing played completely differently, due to Anne Heche indicating feeli