Archive | September, 2012

Marcus Reviews Dredd

29 Sep


The future America is an irradiated waste land. On its East Coast, running from Boston to Washington DC, lies Mega City One- a vast, violent metropolis where criminals rule the chaotic streets. The only force of order lies with the urban cops called “Judges” who possess the combined powers of judge, jury and instant executioner. Known and feared throughout the city, Dredd (Karl Urban) is the ultimate Judge, challenged with ridding the city of its latest scourge – a dangerous drug epidemic that has users of “Slo-Mo” experiencing reality at a fraction of its normal speed

What I Liked:

For those that don’t know, Judge Dredd is a character from a semi popular ultra violent 90s comic where a police task force known as Judges exact justice in a war ravaged post apocalyptic world. The biggest credit that I can give this movie is that it’s a movie that fully understands the material that it’s working with and plays it completely straight. Director Pete Travis doesn’t try and make it bigger/more cerebral than it needs to be nor does he undercut it and turn it into a parody of itself which is what makes it so effective.

The three lead actors in this (Urban, Thirlby & Headey) deserve just as much credit for making this work as the director. Unlike Stallone before him, Urban seems to truly understand the character that he’s playing and truly chews up the scenery when he comes on screen (which was impressive considering you never see the top half of his face) further showcasing that he’s one of Hollywood’s most valuable & consistently strong actors. Headey’s turn as the movie’s scorned hooker turned violent drug lord villain, Ma Ma, was almost equally as strong. There was this calmness to her character’s demeanor that combined with her unexpectedly soft voice really made her for more unsettling then I would’ve imagined just by looking at her. It’s Thirlby that truly owns the movie though as the young psychic recruit Cassandra Anderson who right along with the audience gets a crash course in the environment that Dredd thrives in. Thirlby does a great job showcasing her characters journey from naive new recruit to a hardened and more mature young woman worthy of the Judge title. From the moment that she’s introduced we see her body movements and facial expressions become more and more like Dredd’s. It also helped that Thirlby & Urban had great chemistry on screen and were able to successfully make the teacher/student relationship work without any needless sexual undertones.

Alot of times movies are ultra violent for the sake of pushing the limits, but in this case the violence & the gore feel totally necessary to really drive him the fact that this is a world that has fully fallen into chaos where the only way people will learn is through sheer brute force.

This marks one of the few times where the popular slo-mo effect has been used as an actual plot device in a movie which only makes the scenes when it’s used even more impactful. One of the coolest & most beautiful death sequences that I’ve ever seen take place as a result of this.

Paul Leonard-Morgan provided a great industrial score which was pitch perfect for this film and really added more grit to the world that was created for the movie.

There was some great deadpan humor and snark throughout the movie thanks to Alex Garland & Andrew MacDonald’s script and even when some of the dialogue got cheesy and derivative the actors still somehow made it work.

What I Didn’t Like:

There were a couple of moments where the slow-mo sequences dragged on a little long

After all the work it took to get there, the final act of the film was a tad bit anti-climactic when you think about who showed up towards the end. Due to that I was left wanting a bit more.


Dredd is one of those movies that you go into already knowing what you’re going to get and end up getting rewarded with a little extra bang for your buck. Unlike the the 1995 Stallone helmed adaption, this film is able to come off as a legitimately serious action/thriller while still taking a few jabs at itself without it feeling forced. Thanks to it’s visceral action, strong turns from it’s leads, a mostly tight script chock full of deadpan humor, a pitch perfect score, impressive visuals and confident direction, Dredd is a rare remake that not only works but ends up being much better than the original. This movie demands your respect and much like it’s main character, it’s not afraid to beat it into you.

Rating: B


PCP Episode 086: Kevin Smith

26 Sep

We like profiling people that give us mixed feelings because it’s just more interesting to talk about. After all, agreeing about how great or awful someone is is about as pointless as reading these descriptions. The title is right there! If that’s not reason enough for you to listen, what can we say here to convince you? Anyway, you know the routine: we profile the man, his works, highlights, low lights and talking about Dogma a lot.

Marcus Reviews Lupe Fiasco’s Food & Liquor II: The Great American Rap Album Pt. 1

20 Sep

Strange Fruition feat Casey Benjamin: After a poem by Ayesha; the album starts off with a thumping piano laden beat (reminiscent of Dr. Dre’s production) from longtime collaborator, Soundtrakk, where Lupe opens with the bar “Now I can’t pledge allegiance to your flag, cause I can’t find no reconciliation with your past/When there was nothing equal for my people in your math, you forced us in the ghetto and you took away our dads” which soundly sets the tone for an album that is supposed to deconstruct “The American Dream”. This track not only sets the tone but also serves as a lyrical warm up of sorts for Lupe as the witty wordplay that made him a mainstay in the “Best Living MC’s” conversation is on full display here. With a dope voicebox chorus from Casey Benjamin (from The Robert Glasper Experiment) as the cherry on top, Strange Fruition continues Lupe’s track record for strong opening tracks for his albums. (5/5)

ITAL (Roses): Backed by a triumphant horn heavy beat by 1500 or Nothin, Lupe encourages to the streets (most significantly the youth) to rise above the stereotypes that society has put upon them on this optimistic yet honest track. Lupe even busts out the distortion voice effect that he’s become fond of as of late for part of the chorus. This song would’ve been right at home on Lasers and I could definitely see it being a single in the future. (4.5/5)

Around My Way (Freedom Ain’t Free): The first single of the album that lead to an brief and unnecessary beef between Lupe & hip-hop legend Pete Rock over the T.R.O.Y. sample that takes up most of the beat. We’ve all heard this one by now so I don’t need to tell you what it’s about or explain it. It’s classic Lupe and still holds up well months after its release. (5/5)

Audubon Ballroom: On this appropriately named track; Lupe reawakens Chitown Guevara, whips out his marching boots and stands on his soapbox with his megaphone (the vocal distortion makes it’s return on the track which I’d like to think was intentional) as he continues the theme of two previous tracks and attempts to elevate the hood (most effectively in the uplifting third verse) while simultaneously revoking white people’s ability to say “Nigga” (Overachiever much?). Fatimes & Bullit supply Lupe with a suitably Cool & Dre-esque epic beat to properly get his revolution on without ever upstaging the MC. The chorus of this song is sure to ruffle plenty jimmies once the masses hear it and I’m sure that’s what Lupe wanted in the first place. Some men just want to watch the world burn. (4.5/5)

Bitch Bad: Now if you haven’t heard Around My Way, you’ve DEFINITELY heard this song by now due to both how relevant and controversial the subject matter is. It’s quite possibly Lupe’s most polarizing song as its garnered very strong positive and negative responses and led to Lupe being referred to as “too preachy” by the unwashed masses. Lupe said that he made this song with the intention of starting a conversation and he did that and then some. Mission accomplished Mr. Fiasco, Mission accomplished. (5/5)

Lamborghini Angels: On the third official single of the album, Lupe goes into full on storyteller mode as he tackles the heavy issues of Materialism, Racism, Women’s Independence, Child Molestation, War Crimes & Untrustworthy Politicians in the form of a 3 part story told from the perspective of 5 different characters over an uptempo and surprisingly danceable beat from Mr. Inkredible (which I definitely freestyled to lol) that samples a section of Lupe’s “Angels (Remix)” from the Enemy of the State mixtape. Lupe Fiasco has been known as a rapper whose songs you have to listen to multiple times to fully understand and this is no different as you won’t fully grasp the concept if you don’t listen closely which I found myself not doing a few times because I was too busy rocking to the beat. This is one of my personal favorite cuts from the album and a great example of balancing style and substance. (5/5)

Put Em Up: Every now and then Lupe will take a break from spreading the gospel and simply remind everyone who might’ve forgotten how ill he is on the mic and that’s exactly what he does on this track. Over a dirty 1500 or Nothin beat, Lupe gets his dragon breath on and precedes to defecate on 95% of the rap game simply because he can. The chorus is a bit weak but I overlook it because of I’m too busy trying to make my way through the Inception level lyrical mazes that Lupe conjured up here. Any claims that Lupe has fallen off lyrical should officially be deaded after this. (4.75/5)

Heart Donor feat Poo Bear: Lupe links up with frequent collaborator Poo Bear (formally known as MDMA who was formally known as Pooh Bear who was formally known as The Artist formally known as Prince) on this track where he compares himself to a heart donor because of how he puts his heart and soul into spreading knowledge & positivity to those who will listen. It’s a nice concept and all but I admittedly find this song to be extremely corny and not in the so corny its awesome kind of way like “Go Baby” or “I Don’t Wanna Care Right Now”. The frolic worthy fairy dust beat by The Runners doesn’t really help matters either. While it’s not a bad song, I consider it to be the first real misstep of the album. (3/5)

How Dare You feat Bilal: I wouldn’t be a Lupe Fiasco album without song for the ladies now would it? Now to be perfectly honest judging from the track title and the Bilal feature I wasn’t expecting it to be this one (I thought it was gonna be Heart Donor) but low and behold here it is. Over a beat from Severe that’s extremely similar to “That’s That Shit” by Snoop Dogg (excuse me Snoop Lion) & R. Kelly, Lupe kicks his special brand of totally inoffensive and slightly cheesy women worship while Bilal berates the unnamed female for being so damn amazing. Yes it’s as corny as it sounds but I’ll give it the benefit of the doubt due to the subject matter unlike the previous track. The women folk will probably eat this one up but it’s not my thing. (3.25/5)

Battle Scars with Guy Sebastian: The fourth single of the album that was originally just a Lupe feature until he jacked it for his album and turned it into a duet is yet another song that most of us have probably heard by now so I don’t need to say much. This one has chart topping single written all over it but due to its’ genuine lyrics and universal subject matter it doesn’t feel like one that you have to “sell out” to make. I personally really like the song and while it’s been done before, appreciate how it compares emotional wounds to war wounds. Guy Sebastian can sing his ass off and I wouldn’t mind seeing them work together again as he’s the only singer that Lupe’s worked with so far that’s held a candle to Matthew Santos and all his glory. (5/5)

Brave Heart feat Poo Bear: After taking a brief detour over to his sensitive side, Lupe roars back in full on gladiator armor ready to overthrow an empire. Lupe hasn’t raged against the machine this hard since Words I Never Said and it’s nice to hear the fire back in his heart as he raps like a man possessed. Obviously looking to redeem themselves for their tomfoolery on Heart Donor, The Runners come back with a beat tailor made for the Coliseum (would also make a dope WWE/Boxing/UFC theme) and thanks to a war ready chant provided by Poo Bear (also seeking redemption) this song becomes Lupe’s equivalent to “The Spiteful Chant” by Kendrick Lamar (who I lowkey wish was on this song). (5/5)

Form Follows Function: Remember how I said Lupe got his dragonbreath on on “Put Em Up”? Well consider this a brigade of dragons conjuring up a goddamn flaming tornado of lyrical doom and double entendres. Over a slick jazz infused classic hip-hop beat by Infamous that was tailor made for this type of lyrical slaughter, Lupe proceeds to re-enforce his unf*ckwitableness (that’s a word now, don’t argue with it just accept it) in such a calm manner that it’s almost smug. I actually visually him smirking in the booth thinking about how rappers are gonna have re-evaluate their careers after he drops this on them. There’s no overarching thing here, just Lupe being rude to the less lyrically gifted. Don’t be a bully, Be A Star Lupe. (5/5)

Cold War feat Jane $$$: Lupe calls this “That Esco Music” in reference to Nas but this song is so Houston that you would’ve thought that Pimp C was gonna raise up from the dead just to jump on this. Lupe sounds like a Southern OG over this syrupy beat by 1500 or Nothin as he gets a bit personal rapping about the death of his brother and how cold it out there in the world when you’re alone. He also throws a clever nod to his Michael Young History character from his earlier mixtapes and first two albums. I’m not sure who Jane $$$ (there’s speculation that it’s either Sarah Green or Janelle Monae) but her chorus only adds to the overall feel of the song. This track MUST be listened to in a car with a great sound system, with your seat leaned back and one hand up on the wheel as you drive slow as hell gritting on everyone you pass (preferably in suburban neighborhoods). Thank me later. (5/5)

Unforgivable Youth feat Jason Evigan: Back in storyteller mode, Lupe drop 3 verses spanning thousands of years chronicling the rise and hypothetical fall of the United States of America as well as how we as a society grossly misuse our resources for selfish & often times destructive gain over rock infused King David beat. To cap it all of it ends with a twist that would make Pierre Boulle (The author of The Planet of the Apes) grin from ear to ear. The only thing keeping this song away from being perfect in my eyes is the underwhelming chorus from Jason Evigan who doesn’t have the vocal presence or power to really make it as impactful as it needed to be. If Chester Bennington, Matthew Santos or Guy Sebastian had been on the chorus then it would’ve pushed the track to another level. Nonetheless this is still a very strong track. (4.75/5)

Hood Now (Outro): On the album closer Lupe has some lighthearted fun as he satirically (and quite hilariously at times) talks about hood life, stereotypes & the members of the African-American community that have risen above them over the years while ending each bar with “It’s Hood Now!” (I guarantee people are going to be saying that by next month) over a breezy, Neptunes-esque beat by Poo Bear. It’s basically “All Black Everything” without the “What If?” scenarios. Lupe seems fully aware of how intense his subject matter can get sometimes throughout his albums so he always closes out things on a lighter note which is a smart move on his part to prevent listeners from walking into oncoming traffic due Lupe’s “This country is shit” raps. This is a cool track, full of quotables, that is guaranteed to leaving you smiling as The Great American Rap Album comes to a close.


First off let me start by saying this album should be renamed Food & Liquor II: The Black Plight In America or Food & Liqour II: The Hood Is A Terrible Place or even Lasers 2: This Is What Should’ve Happened The First Time Atlantic Records, these (aside for the last one obviously) more accurately match the overarching message on this album than The Great American Rap Album. This album feels very “Pro-Black” (so much so that I bet the Deluxe Edition comes with a Black Power Fist hair pick, a black beret & a Black Panther sign-up sheet) and really speaks to the hood/breaks down society’s impact on the hood more than it does America’s problem as a whole. But then again Lupe could be trying to convey the message that the existence of hoods & projects is America’s biggest “f*ck up” if you will. Nevertheless, no matter how you interpret it’s overarching message, the fact remains that this is a great rap album and the album that Lupe fans have been waiting to hear from him since The Cool. Like the phoenix raising from the ashes, Lupe returns with a vengeance from the doldrums of the Lasers-era fully rejuvenated with a lot to say and more times than not it hits the mark. From Lasers up until now Lupe’s gained a valuable skill, the ability to rap over expensive mainstream sounding beats without sacrificing any of his lyrical content or “dumbing down” his message. This basically feels like the album that Lupe wished Lasers could’ve been as it features the best/most polished production that he’s ever worked with (The Cool is in second place) and at the same time he was able to say everything that he wanted to say with having to worry about being censored by Atlantic. It’s not without its’ hiccups and it does lose steam in the middle of the album, but it’s still a substantial upgrade from his last effort (if you wanna call it that). While it’s not as strong as a cohesive album as it’s predecessor or The Cool, it’s a large step in the right direction. Jolly good show Mr. Fiasco, jolly good show indeed.

Rating: 4.5/5

PCP Episode 085: Lupe Fiasco

19 Sep

We have not had a full episode covering music in quite some time. We hope to address this by profiling one of the most controversial in the industry: Lupe Fiasco. We have not always been kind on the works of Mr. FNF, but we always respected if not nearly gushed all over the quality of the music he created. It’s a lot to cover hip-hopers as we anticipate Food & Liquor II. We cover his rise, previous works, highlights, lowlights and the future for rap’s ambassador to nerds.

Marcus Reviews Cruel Summer

15 Sep

To The World feat R. Kelly: We start out this highly anticipated album with R. Kelly singing like his life depended on his vocal performance for the first half of the track before Kanye comes in and delivers one of his better verses in recent memory (even switches up his flow and uses a rhyme scheme that I’ve never heard him use before). The people that have heard this track have been split on Kelly’s presence on the track but I for one actually really dug him on it and really felt like he matched the triumphant beat, produced by Hudson Mohawke & Ye, really well. Ye’s known for having great intro tracks to his albums and this one is no different. (4.5/5)


 Clique feat Jay-Z: Since this is one of the 4 singles off of the album released for mass consumption, by now a majority of you have already heard this but I’ll give my two cents anyway. From the get go we’re greeted by the extremely talented & criminally underrated, James Fauntleroy, who gets his Justin Vernon on and does a small but dope intro which sets the stage for Sean, Jay & Kanye to effectly “stunt on these niggas” if you will over Hit-Boy’s minimalistic groove. All of them come correct but if I had to say who stood out most it was definitely Kanye who mixes braggadocio & honest emotion like only he can in his second consecutive strong verse on the album. This track is a certifiable banger and is best heard in a car with good speakers, you’ll be feeling like a million dollars in a hoopty. (4/5)


Mercy: We’ve all heard it, it’s dope as hell and I still haven’t gotten tired of it. If it’s not the catchiest hook of 2012 then it’s definitely in the top 5. (4.25/5)


New God Flow feat Ghostface Killah: The 3rd single that was released off of the album but with last minute but welcomed addition for the album. We’ve all heard the original with Pusha T & Kanye rapping like men possessed over one of Kanye’s rawest beats in recent memory but then instead of the awkward outro on the original the beat changes The God MC, Ghostface Killah aka Mr. Tony Stark comes in and proceeds to body both Kanye & Pusha on the track! I, for one, have always loved it when Ye collabs with the Wu and I really hope they continue because they haven’t done a whack track together yet. Definitely in the top 3 tracks on the album. (5/5)

The Morning feat Raekwon: In my personal opinion this is the coldest track in the album and easily one of the illest hip-hop cuts to drop this year. Over a grimey, bass heavy instrumental by Kanye & !Illmind; Raekwon, Common, Pusha, Cyhi & even 2 Chainz spit flames cypher style with an equally grimey chorus that I believe is provided by D’Banj. This is my most replayed track on the album & the only real flaw is Ye’s half-assed verse at the end where he reuses some of his bars from New God Flow. If Big Sean & Kid Cudi would’ve hopped on it and Kanye would’ve brought a legit verse this could’ve been the posse cut of the album. Nonetheless this track is a heatrock. (4.75/5)


Cold: Ironically the next track after the coldest song on the album happens to literally be “Cold”. Once again this is a track that we’ve all heard and personally it’s a song that I’ve never really liked much. While I dig Kanye’s intensity & reckless abandon on the track, the bars are subpar and the beat is kind of annoying. It always felt like a bonus cut at best and so to see it on the album, especially when it’s supposed to be a group album, is upsetting to say the least. It’s the first completely skippable song on the album in my eyes. I’d probably still get hype if I heard it in a club though. (2.5/5)


Higher feat The-Dream, Ma$e & James Fauntleroy: Over a sinister Hit-Boy beat reminiscent of Jay-Z’s “Justify My Thug”, Push brings out the cocaine bars that he became famous for while Ma$e mumbles his way through a forgettable verse, The-Dream handles the chorus & James Fauntleroy comes in for the outro. This was a song that I didn’t vibe with much at first because I’m not really a fan of The-Dream’s voice & I frankly could’ve done without Ma$e being on the track but after a while the track grew on me. The beat, the outro & Pusha’s presence saved this track for me. I can’t help but feel as if this should’ve been saved for Pusha’s solo album though. (3.5/5)

Sin City feat Travi$ Scott & Malik Yusef: In a display of smart track placement, Higher seamlessly transitions into this next track as if they were two parts of one long song. Up-and-coming Rapper/Producer Travi$ Scott comes through and provides another fittingly sinister beat, that would’ve fit perfectly on MBDTF, as well as the solid first verse. Teyana Taylor lays down some nice vocals on the chorus of the song while longtime G.O.O.D. affiliate, Rapper/Poet Malik Yusef does some spoken word in between verse. Ultimately Cyhi The Prynce owns the track as he brings out his signature blend of wit & wordplay and drops one of the strongest verses of the album. While the spoken word sections are a tad bit corny to me, this is a solid track overall that really serves it’s purpose of showcasing a young newcomer & G.O.O.D.’s most underutilized rapper well. (3.75/5)


The One feat Marsha Ambrosius & James Fauntleroy: This track debuted months ago in the form of one of four snippets that were leaked from the Cruel Summer film that was made to accompany the album. Marsha Ambrosius opens the track with a rousing chorus as snare drums out of a college band drum line & epic synths explode in the background and turn this track into a militant war cry of sorts. Big Sean, 2 Chainz & Kanye drop some solid verses with a mixture of uplifting, braggadocious and at times funny (Kanye’s Scott Disick line made me chuckle) lyrics but it’s the beat & Marsha’s epic chorus that shine her. If I could compare this track to anything it’d be Lift Off from Watch The Throne except the verses on this weren’t utterly terrible. One of the stronger tracks of the album and I wouldn’t be the least bit surprised if it ended up being the next single. This is one for the stadiums. (3.75/5)


Creepers: Over a atmospheric beat by Dan Black, Cudi raps/rambles/mumbles about…well nothing at all. He just kind of goes off on this melodic rant about seemingly whatever comes to his mind in the moment. It’s really erractic, jarring & a tad bit uncomfortable to listen to (Though he does drop a hilarious line about his only wish would be to have more wishes). It’s grown on me a tad bit with multiple listen but it’s still an extremely strange song that really has no business being on this album because it’s totally out of place. If not for the beat this would be a total mess. (2/5)


Bliss: *Kat Williams voice* Now this song right here! THIS SONG RIGHT HERE NIGGA! This is that top down in the summer, driving down the coast type music. Over a sweeping synth heavy beat straight out of the early 80s (once again provided by Hudson Mohawke), Teyana Taylor & John Legend get their R&B on and bring some elegance to this album when it greatly needs it. There were moments where I kind of wished there was a rap verse on it but it does just fine on it’s own. John Legend was criminally underused on this album and this song almost makes up for his absence. Definitely in the top 3 strongest songs on the album. (5/5)

I Don’t Like (Remix) feat Chief Keef & Jadakiss: Another song that we’ve all heard but a song that has no business being on this album at all, let alone being the album closer. Now when this song was released for G.O.O.D. Friday I was fine with it. It’s a fun track and did a good job at building hype for the album but I always viewed as a giveaway and nothing more so it’s placement on the album puzzles & honestly frustrates me. By putting this song on the album it almost makes it feel a bit like a mixtape because it’s not like they were sampling the song, it’s a full out remix of a song that wasn’t even done by someone on the label. This is by far worst album closer that’s ever been on an album that Kanye’s been associated with. (2.5/5)


Overall/Closing Statements:


Cruel Summer is a frustrating album. Frustrating not because it’s bad, but because it should’ve been so much better than it actually turned out to be. While there were some moments of sheer brilliance on this album there were also moments that baffled me and left me wondering if they even tried. For every moment where this album rises to the occasion, there are others where it feels more like an expensive mixtape than a group album. The production is fantastic for the most part (which is to be expected at this point) but lyrically it’s hit & miss throughout and the album is severely lacking in subject matter, which for an group the caliber of GOOD Music, is kind of unacceptable. For a man who’s notorious for being a perfectionist, I’m honestly shocked at how Kanye let this album seem so thrown together for the most part. Also this album says it’s a GOOD Music album but aside from Big Sean, Pusha T & Kanye, all of the other members are either on one song or not on the album at all (where’s Mr. Hudson, Mos Def & Q-Tip in all of this?). Say what you will about Maybach Music Group but they know how to utilize all of their artists properly, which is a notion that GOOD seems to still be figuring out how to do. I’m not saying this to say that it’s a terrible album because it’s solid, but after all of the hype, speculation & mystery surrounding this highly anticipated project the payoff left me as a fan feeling jipped. I really wish I could give this album the benefit of the doubt but when I really think about it, I just can’t because at this point I expect the better from Kanye and his label mates (especially from Ye). The only thing truly cruel about this album is the bittersweet taste it leaves in your mouth. Nevertheless I’m sure that the masses will eat this album up when it drops but I for one will be sitting here waiting for Kanye’s 6th solo album so he can silence any doubts in my head about him getting a little too comfortable at the top.


Rating: 3.5/5

PCP’s Weekly Dose: Solve for JLA

14 Sep

It’s the return of everyone’s favorite radio game show where the rules are made up and the points don’t matter. But that’s not all! We touch on the recent passing of Michael Clarke Duncan, the VMAs, more on comics, metrosexuality and then get to our game. The magic here lies partially in playing along, but mostly in the chicanery surrounding the game. We can make anything sophomoric and in poor taste around here.

PCP Episode 084: Pixar

11 Sep

Why mix words here? We love Pixar. We love Pixar a lot. The movies they’ve made are an integral part of who we are and we spend a good while recounting them. Toy Story, A Bug’s Life, Monster’s Inc, Finding Nemo, The Incredibles, Cars, Ratatouille, WALL-E, Up. It’s not a long list, but it sure is sweet.

PCP Episode 083: Scooby-Doo

6 Sep

Scooby…Dooby..Doo…where are you? We’ve got some work to do now. After all, it’s not so easy to rundown a franchise that has existed for over 40 years. Yes, it’s the heartwarming, yet seldom funny antics of Mystery Inc this week as we discuss the many series, movies, a predecessor to memes and have a remarkably challenging debate on whether or not reefer was an intended aspect of the original show. Just gonna point out that the word “dooby” was in the freaking theme song!

PCP’s Weekly Dose: Josie and the Pussycats

4 Sep

We enjoy a romp down memory lane as we recount cherished memories of our favorite toys, retouch on the process of games being adapted into movies now that Metal Gear is getting the treatment, Rob Liefeld and go in-depth on raising and disciplining kids. Yes, there is a reason why this episode is titled the way that it is. Listen to find out.

PCP’s Weekly Dose: Marvel NOW!

1 Sep

You thought we’d let you guys go without a Weekly Dose, didn’t ya? Never that (except for those weeks when it is exactly that). This week we talk Marvel NOW!: the reboot, relaunch, New 52 response or whatever you want to call it and that’s it. Nothing else. We don’t open with any silly conspiracy theories, no tangents into dark territory or closing silliness. Not at all.