Editing is a true passion for Dominick Nero. As a contributor to such powerhouses as Super Deluxe and A.V. Club, it’s only natural that he understands its power. Because of that very fact, his work has seen enormous success and respect. While many artists approach the internet with intense cynicism, Nero embraces its stage wholeheartedly. His editing has become just another way for him to express his drives. He’s someone who sees the potential in social media, using it every step of the way as a tool for development. A master of comic timing and editing techniques, Nero has his finger resoundingly on the pulse.… [continue reading]
As the first official episode of the new season, Lee thought it best that we open with something ridiculously divisive and offensive. He’s still not sure why.
Anyway, we have a protracted discussion about the use of the word “Gay” and terminology in general. We also spiral off and talk about drugs, and have an argument about numbers. Lee introduces our new segment, “Show and Tell”, where we each bring in one talking point and have an argument.
- On the new format for season two
- A discussion on using the word “gay”
- The schoolyard origins of “gay”, and its implications
- What it means as slang in Northern England
- The history and different connotations of “gay”
- On the reappropriation of negative terms
- Arguments about terminology in To Pimp a Butterfly
- When slurs are and aren’t shocking
- Does “gay” have an actual homophobic connotation in America vs.
Gregg Turkington‘s Our Cinema Oscar Special should have been a triumph. Instead, Tim Heidecker found a way to derail proceedings regardless of his absence. It could have been an evening of insightful movie expertise; as we’ve come to expect from its host. What we ended up with was a travesty. Of course, Heidecker has a history of live meltdowns. I had deep hopes that his personal issues wouldn’t fringe on another Oscar Special. Unfortunately, On Cinema has become nothing more than a kind of therapy for Heidecker. That his chaos can extend to the cool waters of Turkington’s winning criticism should be a concern for us all.… [continue reading]
Yep, I’ll admit with my hands in the air that this is hardly an original idea. Radiohead have been doing office charts for years, and I can only assume that thousands of hip blogs and magazines have adopted it. Of course, it doesn’t really matter. I just thought it would be a fun monthly thing to do. Besides, I’ve got a High Fidelity-esque predilection for making playlists anyway. Neither of the Bens have anything to do with this, in case they get ashamed by the choices. This is just my own personal “writing an article for Secret Cave” playlist. … [continue reading]
Anyone who puts their work in the public eye — whether it’s writers, actors, musicians or directors — is torn between one main motivation and one main fear:
On one side, there’s the overwhelming desire to take the risk to show your work to other people. Go to an audition, pitch an article, send out demo tapes.
At the same time, there’s the crippling fear that you’re not worth anyone’s time. The fear you’re doomed to fail, living in perpetual obscurity, always looking for the one big break.
There’s no better setting to encapsulate this duality than Hollywood — the grim stage for nightmarish, disastrous satire like Mulholland Drive, Sunset Boulevard, Maps to the Stars, and now 555.… [continue reading]
Hear the writers discuss this subject on the Secret Cave Podcast!
When Entertainment premiered at 2015’s Sundance Film Festival, the response it garnered was somewhat predictable. Numerous walkouts peppered its first showing, indicative of its uncomfortable confrontation. Certainly a test of patience, it’s a work that demands significant effort on the part of the audience. However, this is a recurring feature of the creatives involved: director and writer Rick Alverson, star and writer Gregg Turkington and writer Tim Heidecker. It’s easy to take against their approach, labelling it as pretentious and lazy. The sad truth is, that would be all too often accurate of others. … [continue reading]
In many ways American comedy has always lagged behind the British when it comes to pushing the medium forward. I needn’t even give examples to prove my point, considering the ubiquity of influential British comedy. Indeed, even the subversive duo of Tim and Eric (who I choose to spotlight today) have much in common with Vic Reeves and Bob Mortimer – not even mentioning the clear parallels between their work on Check it Out with Dr. Steve Brule and the output of Chris Morris (particularly The Day Today and Brass Eye). The Americans however, despite the obvious lines of influence that can be drawn, tend to take different spins on our attempts. … [continue reading]