By Roy Mathur, on 2018-08-22, at 23:51:40 to 00:23:40 BST, for Roy's Rocket Radio, Listen
I get a prescription for an over-the-counter antacid. I need a prescription because I have to take so many and the non-prescription cost would be prohibitive. The point is, although I take a relatively benign one called Ranitidine (Zantac), there are still side effects and I have been taking them a long time.
I decided to try and wean myself off them, by changing my diet and slow reducing my daily dose. The pills come in 150mg, and I asked for the same amount, but in 75mg. Guess what? No, you'll need to see your doctor. What?! Seriously, are you scared of maths, or what, you pedantic twit! This isn't the first time he's gone weird on me. The last time was when I had the sheer temerity to ask about muscle relaxants for neck pain and he looked at me as if I was asking for heroin. Insult to injury, he ended up giving me the wrong prescription. Argh!
My rant isn't just about this moronic pharmacist, it's about the obsession for red-tape and the phobia of doing something even very slightly different. As usual, I blame this on the legacy of jobs-worth bloody-mindedness on the ancient Romans and their wonderful twin tradition of both violence and bureaucracy. Gits.
Let me know if you have your own example of this lunacy.
And... what a lovely segue to the next item. I finally watched the last few episodes of this Starz sword and sandals epic. It ends exactly how you think it ends. Romans... Pah!
Jessica Biel's The Sinner is back for season two with a completely new, and horrifying, story for Bill Pullman's shaky detective to solve. Jessica Biel isn't actually in this, she just produces this mystery about a kid who may have murdered his parents.
It is pretty good. Watch it if you have time and are into procedurals with a big spoonful of horror.
It's a good strong police procedural, with a few too many Brits trying to be gritty, tough Baltimorians. (Is that a proper word? No, but "Baltimoreans" apparently is. Good old spell checker).
It's good, but a bit too vanilla for me. I think my father would like this.
It's crap, I hated it. I hated it even more than the first.
The diversity seems utterly insincere. The Indian cab driver is actually lamer than bloody Apu.
Angry tangent: don't even get me started about Hank Azaria coming over all sorry for the offence of Apu AFTER he scored a part in another hit comedy; i.e. sounding like a good guy, but suffering no loss in the process; couldn't he have said something ten years go? I am sick to death of how brown people are still the hilarious butt of jokes. Nothing's really changed... in a hundred years. Fantastic.
The other diverse characters are no better: sassy black woman, giggly Japanese anime chick, a fat kid, a Bieber-esque lesbian (which was funny for five minutes a decade ago) and, of course, the sort of Leslie Philips-ish of Deadpool's half-arsed campy bisexuality.
Writing credits for this drivel go to clown car occupants Rhett Reese, Paul Wernick, and Ryan Reynolds. I think they thought that what they wrote was subversive and ironic and exploitative all at the same time. No, it was not. These guys just don't understand either irony or exploitation cinema and can ALL kiss my brown posterior.
Horror sci-fi where within the first 23 minutes, you know almost exactly what is going on (Stepford?), before it turns into a Triangle (2016) slaughter that is so complicated, it eventually needs about an hour of exposition---via the found diary trope---before going Ex-Machina (2015). Wait, what am I saying? The title actually gives it away, so you don't even have to wait that long.
It is very stylish, and I watched it shortly after seeing the equally beautifully shot Mario Bava's Danger Diabolik (1968).
This comic book adaptation was on the TV a few days ago. The comic book is about a ruthless supervillain; a modern day Fantomas, and it gave rise to other the giallo genre characters like Kriminal and Satanik. I've talked about this before in the podcast, so I won't repeat myself, except to reiterate how much I love this nasty, exploitative, though honest in its intentions, sub-genre of crime/horror fiction.
Back to the movie. It is wonderfully shot and acted. American John Phillip Law as Diabolik and Austrian Marisa Mell as Eva Kant are absolutely perfect casting, though the film does seem very derivate of Bond and Batman, which pre-date it by a few years.
Terry Thomas is also in it. Terry Thomas!
Or just Diablo. I played the isometric (2.5D) rogue-like from 1996 after the pub on Sunday.
Although the game is great, I forgot the one way in which it falls down, and that is mouse only movement. Sure, you could create a hacky keyboard macro, but it's really mouse driven and my phone-tired hands just can't deal with it. So, next is a blast on Hexen II when I get the time.
I finally decided to listen to Dani Filth's project and... it's not for me; particularly the vocals.
It almost seems like someone took the band from the film Deathgasm (2015) and made it real. (Actually, I'm sure that film borrowed heavily from Filth).
Despite my predilection for black clothes, the macabre, the occult, and l'horreur, I'm more into the Bauhaus side of the spectrum. Not for me. Maybe I'm just the wrong generation.
One bloody comment about the show in a very, very long time on my YouTube channel because RRR is also available there.
MrNewSLR says this is an interesting show (thanks) and suggests a couple of films I might want to talk about. Also, he/she asks why I'm not doing vodcasts.
That's mainly due to time for editing video rather than audio and my vanity because it is hard too look good on camera and, while an audience may listen for an hour, they probably won't watch for an hour. But Thanks MrNewSLR for your comments.
This again. If you are a podcaster thinking, "Hey Roy's using YouTube, so should I", good luck.
Since that last comment, I have lost one subscriber, so I'm down to 13; that's 13 exactly, not shorthand for 13 million, and dropped 19% in views. Most of my views are clips that have nothing to do with RRR, which proves that people are more interested in regurgitated crap than they are in original content, or, logically, that I'm just a crap podcaster.
What I'm saying is, transcoding your podcasts for YouTube is pointless if you just want more listeners. I do it for two reasons. One: I'm desperate for any listeners. Two: I'm using it to archive my content for posterity. Point two might also be useless as, can we really trust YouTube to be there forever? Eventually, I want go over to archive.org, but their editing tools for curating content are rubbish.
Went to the beach on Saturday. It was the first of any kind of holiday I have had in five years.
I survived the terrifying sea creatures of Southend-on-sea and, more importantly, stuffed my face with seaside chips and doughnuts.