Viewing posts by Daniel Harper

Salty Parabolas, Summer Jobs, and Steven Moffat

In what is as close to a hot take as Oi! Spaceman is ever likely to get, this week we actually covered a still-in-theaters film, rather than a sixty-five year old piece of film noir history. Shana was still out of town (but she'll be back next week), so I was joined by friend of the show Jessica from The Web of Queer (which is a show more people should know about, so go click that link) to discuss the Paul Feig re-imagining of Ghostbusters. The film is largely just a pleasing bit of comedy and eye candy, so Jessica and I mostly just had a fun conversation about the things the film does regarding representation of women, queer characters, and queer characters who happen to be women. Also, I make a firm anti-Nazi stance and swoon over Kate McKinnon. 

Over on They Must Be Destroyed on Sight, we're still doing sex comedies for another couple of weeks. This time we looked at one of the worst films of the genre, Summer Job (1989) and Bikini Drive-In (1995), which is one of Lee's favorites. I also happened to do a bit of research on ...

Fun With Dan and Jane (A Casual Chat About Steven Moffat)

I was supposed to write an essay for you guys this week, hypothetically on de-normalizing the nuclear family, but I sort of fell into the RNC k-hole for a couple of days and found myself much less productive while staring into the gaping maw of that Nuremberg Rally/reality show blend as put on by some third-rate high school AV Club. That's the official version I'm presenting to the public, at least. 

Anyway, Shana was out of town this week so I didn't get the chance to record anything with her, but when Jane co-hosted a couple of weeks back on The Time Monster, she and I had a couple of hours of chatting casually after the end of the official recording. Because I have a Nixon-like paranoia about keeping all my interpersonal conversations on public record, I had a tape, and with her permission (and some edits) I've decided to share that with you this week. 

Please note, neither of us prepared ahead of time to discuss these topics and so we both feel this doesn't quite get at the core of some issues, but I think Jane's going to come ...

Those Sexy Silurians

This week in the world of Oi! Spaceman Shana and I actually did a Classic Doctor Who story without a guest. Since she's been itching to get some more Liz Shaw love in her life, I showed her Doctor Who and the Silurians, to which she had a somewhat mixed reaction, due mostly to the Third-Doctor-era pacing of the thing. In addition to the pacing problems, we chatted about the general interpretation of this story as fundamentally a political narrative about genocide, in which the militaristic humans are acting imperialistically towards an indigenous population, and found that interpretation a bit wanting. I may work some of that into an essay down the line, but then again virtually all of our podcast episodes are becoming sort of scratch pads for essays we might write. So it goes. 

Lee and I also recorded a new They Must Be Destroyed on Sight, continuing on our sex comedy series (which will run another three weeks or so before we move on into spaghetti Westerns for a bit). This week we did 1984's Hardbodies and 1986's Perfect Timing, the first of which is well-known but the second is an almost ...

A Good Guy With a Gun

(Content Note: The following contains descriptions of racial injustice and violence, discussions of the author's own personal history with racism, and some use of the N-word. It is also written by a white man from the American South, and is an attempt to dicuss these issues with a presumed-majority-white audience, and as such is in no way intended to displace black voices on these issues. If you're looking for black authors on these topics, may I recommend Ijeoma Oluo's "Dallas is a tragedy for all of us – and shouldn't shut down calls for justice," Bianka Bell's "How Pseudo-Allies Enable the Killing of Black Bodies," and Messiah Rhodes's "Scary Negroes With Guns.")

"I tried to hold his right arm and use my left hand to get out to have some type of control and not be trapped in my car any more. And when I grabbed him, the only way I can describe it is I felt like a five-year-old holding onto Hulk Hogan.


"...he looked up at me and had the most intense aggressive face. The only way I can describe it, it looks like a demon, that's how angry he looked. [...] He turns ...

Jungian Archetypes and Accidental Art Films

I was supposed to produce an essay today. I had a whole plan and everything, which would have involved writing the first of no-doubt many essays discussing the intersection of polyamorous perspective and large-scale political movements. Then two black men were murdered on camera in less than twenty-four hours and that post felt, shall we say, less than perfectly empathetic. I have a very different post, looking at racialized violence and systemic racism coming up for Sunday, but instead of doing something serious today I figured I'd do the weekly Oi! Spaceman podcast post. I promise, we don't deal with any kind of serious or political issues on any of the Oi! Spaceman family. Honest.

Anyway, the big news is that Pex Lives' own James Murphy came onto Searching For Fuchal to chat about the fifth episode of Series One, "Confidence and Paranoia." James has been watching Red Dwarf about as long as he could talk, so this was a very fun (albeit relaxed) episode. Go check it out. 

Over on They Must Be Destroyed on Sight, we're even less on any kind of overt poltical move, chatting about sleazy sex comedies. We covered The Cheerleaders ...

Daniel & Shana & Jane & Lee

(Title given to this post with apologies to Jane and Lee, who to my knowledge are not in a relationship as would be implied by the inherent parallelism.)

This week over on Oi! Spaceman, Shana and I were joined by the wonderful Jane Campbell and chatted about The Time Monster in an episode called "Esoterica, Power, and Dick Jokes," and in which all three of that triptych make an appearance. Jane has already shared that with the Eruditorum Press audience in the link above (and had a brief digression about hooting owls in the process), so I'm assuming most of you have already seen it, but if not you the link above will send you right there.

Title and header image are actually from this week's They Must Be Destroyed on Sight, in which Lee and I kick off this year's sex comedy series with a look at the 1969 counterculture/open relationship classic Bob & Carol & Ted & Alice. (Link goes to the podcast episode page.) Lee is monogamous (while, if you hadn't heard already, I am polyamorous), so there was an interesting back and forth on the different character interactions and the overall ...

God and Monsters

Sorry for the slightly belated update, but this week has been busy. This week in Oi! Spaceman, we put out the next episode of Searching For Fuchal, discussing Series One, Episode 4: "Waiting For God." The episode is very much about the search for meaning in a vast and uncaring universe, and our podcast attempts to connect Lister's rejection of his own godhood with his essential goodness, and Rimmer's finding patterns that aren't there with the Quagaars with the Cats coming to worship Lister's laundry list. "Waiting For God" is probably the most on-point to the central message of Red Dwarf we've seen yet, and it was actually a joy to revisit for the podcast. Download it here

Over on They Must Be Destroyed on Sight, we welcomed the triumphant (half) return of our old co-host Paul by discussing two sci-fi action films from 1990: Robocop 2 and Predator 2. Highbrow choices, I know. We had a great time chatting about the plundering of public resources by private enterprises, the birth of the neoliberal agenda, and the terribly racist idea of what drug cartels actually did. Also: why Robocop should really be the ...

Pulp Frission

(Content Note: This piece contains descriptions of fictionalized violence against women of a possibly sexual nature and descriptions of bodily objectification through male gaze. It also contains some mention of foot fetishism and uses an extended metaphor around piss play. Consider yourself warned.)

Quentin Tarantino's Death Proof is generally considered to be the least impressive of his filmography, even by Tarantino himself. It's a film obviously constructed around a car chase sequence and as the second half of a double bill whose lead-in is a mildly diverting action-horror-comedy; it's none-too-surprising that few critics were all that kind upon release. I haven't seen anyone on Eruditorum Press beat up on the Guardian lately, so let's let Peter Bradshaw stand in for the critical consensus:

...Tarantino has had to pad this film with stuff that would hardly make the DVD's "deleted scenes" section: long, long, long stretches of bizarrely inconsequential conversation between the babe avengers which are a big comedown from the glorious riffs from Reservoir Dogs and Pulp Fiction. Tarantino appears himself in a wooden acting role (a real downer) and awards an unlovely cameo to his friend Eli Roth. But check out that head-on ...

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