Pop Screen

You can't stop the music, although a lot of people wanted to when The Village People's 1980 movie musical came out. Released in the wake of the infamous "Disco Demolition Night" in which rock fans burned disco albums, its appeal to its natural constituency was blunted by its strange tone. A film that is extremely squeamish around sexuality yet far freer with the drugs and nudity than a PG-certificate film ought to be, it's as mismatched as the band's famously eclectic stage outfits, though much less successful.

Join Graham and Film Stories's Mark Harrison as they explore Can't Stop the Music's part in the creation of the Golden Raspberry awards, the surprisingly heavily contested origin of the 'YMCA' dance, Caitlyn Jenner's acting abilities and the Village People's post-fame afterlife from bar mitzvahs to - oh yes - Presidential Inaugurations. Plus, find out which controversial film was shooting at the same time as this, and why Mark's tangents need to have a Burial soundtrack.

Look at our [stuff]! Yes, it's time for Pop Screen to don its neon balaclava and tackle one of the most iconic and divisive pop movies of the 2010s - Harmony Korine's Spring Breakers. With Selena Gomez and Gucci Mane in the cast, Skrillex on the soundtrack and James Franco playing a character who is legally distinct from Riff Raff, it has more showbiz connections than you'd expect from a director whose previous movie was shot on VHS and involved people in latex masks having sex with garbage bags.

Join Graham and Robyn as they discuss the film's value as a time capsule, the past and future of its mostly Disney Channel-drawn stars, Korine's journey from Kids screenwriter to EDGLRD (yes, that is the name of his streaming service) and so much more. We also hear a joke about John Landis that genuinely appalls Graham, and the police show up. Not a moment too soon.

One year ago, a very good boi and a steel-drum cover of 50 Cent became the most unexpected Oscar-season obsessions this side of Karla Sofia Gascon's tweets. It's Anatomy of a Fall, of course, and if you're thinking "Where's the Pop Screen connection?", look closer - you've got former Savages frontwoman turned "personal album"-maker and prolific collaborator Jehnny Beth playing the nanny, the real hero of the film. Real hero? Well, yeah - she saves the dog.

Join a flu-riddled Graham as he reteams with Film Stories's Mark Harrison to discover, once and for all, whether she did it or not, talk about Sandra Huller's incredible 2023, uncover what was originally going to replace that immortal Fiddy needle-drop, and discuss this thoughtful, grown-up hit in the only way men of their generation can: through Simpsons references and repurposed gags from The Day Today.

As soon as we heard the tragic news about David Lynch's death, we knew we had to do one of his films on Pop Screen. But which one? Most of Lynch's films feature some sort of musician cameo - and, to answer your next question, we've already done his version of Dune. But there's only one that caught the industrial, trip-hopping, nihilistic zeitgeist of the late '90s, and that's Lost Highway.

Join Graham and Rob as they discuss Lost Highway's iconic soundtrack, featuring Trent Reznor, Rammstein, David Bowie and Barry Adamson. We also talk about its on-screen cameos from Henry Rollins, Marilyn Manson - come back! - as well as the cut one from Scott Ian, and the movie's other cut scenes and multiple enigmas. Plus chat about Jack Nance, The Straight Story, and everything we'll miss about the unique Eagle Scout from Missoula, Montana. Like the Man From Another Place says, let's rock!

You've heard the first half of our retrospective of 2024's cinema on The Uncut Network, now Pop Screen takes over for an even more epic second half - and that's just the bit where we all argue about The Substance. Join Graham, Robyn, Rob, Kat, Simon, Mike, Faye, Aidan, Andy and - in spirit if not in person - Ygraine as they run down their favourite UK releases from July to September. Which one reminds Aidan of Robert Altman? Which one does Kat think sums up modern motherhood? And which one features hundreds - possibly thousands - of beavers?

From Oscar frontrunners like Anora to instant cult favourites like Strange Darling, from multiplex smashes like The Wild Robot to British debuts like Sky Peals, from the guts and gore of Terrifier 3 to the guts and glitz of, er, Guts and Glitz, this is your definitive guide to everything that mattered at the movies in the back end of 2024. And, at the end, our festival-going contingent give you some tips for what to look out for in 2025...

Marvin Gaye! Originator of conscious soul, Motown legend and surely the coolest man ever to be called "Marvin", he had the kind of raw charisma that you'd think the movies couldn't get enough of. In fact, his acting roles were few and far between, with this curious Vietnam-vets-versus-bikers B-movie the most prominent of them.

In Pop Screen's last show of 2024, Aidan returns to discuss with Graham the legacy of Roger Corman, the bitter glory of Here My Dear, director Lee Frost's super-sleazy entry onto the Video Nasties list, and why the discovery of unreleased tracks by Marvin Gaye could be bad news for a British sitcom legend. Also, after last week's cameo from Mark's dog, another animal makes an appearance...

Last Christmas, we gave you a Christmas special, and this year we're doing the same because we're not very imaginative. This year, to save you from tears, we're doing Paul Feig's Wham-inspired romantic comedy Last Christmas. It was poorly received on its 2019 release, but as was generally the case with 2019 we didn't know how good we all had it. Now, it's settling in to become a Christmas favourite, with all the cheesy appeal of a Netflix or Hallmark movie filtered through two key talents - Feig and screenwriter Emma Thompson - who actually know what they're doing.

Join Graham, Mark and show favourite Dexter (Mark's dog) as they discuss George Michael's legacy, the recent documentaries about him, the connection between the former Yugoslavia and the KLF, and how this film gets the most out of its often-miscast stars Emilia Clarke and Henry Golding. Plus appreciations of supporting player Ritu Arya and Jason Statham, the latter of whom isn't in this movie but I dunno, the conversation just went that way.

In all the annals of Hollywood flops, Heaven's Gate stands tall. Michael Cimino's follow-up to The Deep Hunter, a film beloved by seemingly everyone other than Jane Fonda at the time, it bankrupted its studio and became a byword for commercial failure. But what if we told you... it was good?

Admittedly you might not be as surprised as people once were. Since its 1980 release, Heaven's Gate has been restored and reassessed, and now Graham and Mark are teaming up to give it a few more flowers. We also pay tribute to its star, the late, lamented Kris Kristofferson, a man who practically exemplifies the concept of a solid dude. From a film about hate comes an episode about love.

Bow before the mighty Thor! That's Jon Mikl Thor, obviously, the musclebound Canadian hard rocker whose mix of riffs and strongman stunts never quite led him to rock Valhalla. Not that it stopped him trying, and Rock 'n' Roll Nightmare was his biggest swing at the big leagues. On paper, it's a canonical hard rock horror movie, right down to the not-exactly-a-stretch casting of Thor as the frontman of a rock band. In practice, it is far, far stranger than that.

Join Graham and Jeff as they discuss the film's alarmingly phallic puppets, its inexplicably long driving sequences and the insane third-act twist that seals its cult movie legend. We also discuss the twisty career of Thor himself, not least the time when he got a new manager who wanted to reshape his career path based on the channelled wisdom of the New Age entity "Seth". The '70s, everyone!

Phoebe Bridgers! Snail Mail! Fred Durst?! The list of Pop Screen-qualifying cast members is only the beginning of the weirdness in Jane Schoenbrun's sophomore film I Saw the TV Glow. Released in the UK after a wait almost as punishing as the film's devastating time-jumps, it's the story of two kids who really, really like a TV show. That is, if you're satisfied with a surface-level reading.

If you're not, allow Graham and Robyn to take you through the film's multitude of trans and queer readings, its nods to 1990s telefantasy classics from Buffy to Twin Peaks, its use of - and critique of the abuses of - nostalgia, its subtle coding of each time period it's set in, and of course its soundtrack, whose mix of modern artists and '90s vibes has already made it a cult classic independent of the film it's soundtracking. We also discuss Harmony Korine's short films, the weirdness of early internet video and so much more. It's for the ladies, the fellas and the people who don't give a [censored] - which, we now realise, is an acknowledgement of nonbinary identity. Who knew?

It's time for Pop Screen's Halloween month, and as luck would have it one of the biggest new horror films of the year has plenty of pop connections. The final instalment in a trilogy which started with X, MaXXXine takes the story of Maxine Minx through to the '80s, and finds Halsey and Moses Sumney waiting for her there.

Join Graham and Andrew from Behold! podcast as they dive into the film's period detail, which of its supporting actors get away with their outrageous accents, and the magic of Mia Goth. We also discuss Halsey's collaboration with Trent Reznor and Atticus Ross, Moses Sumney's enviable satellite connection, and that world-class Buster Keaton scene. It's a film with balls, alright.

On 13th September 1996, Tupac Shakur died in a still-unexplained killing (well, unless Eminem just blew the case wide open). It left a lot of things in limbo, including Vondie Curtis-Hall's spiky, charming directorial debut. Nobody wanted to see a crime comedy starring someone who'd just been the victim of a horrific crime, even if - as Graham and Mark unpack on this week's episode - the crime in Gridlock'd is rather more small-time than the web of corruption that got Tupac killed.

Twenty-seven years later, and Gridlock'd has a deserved cult following for its tricky but successful blend of caper comedy and angry commentary on American healthcare. Join our hosts as they explore this, plus the wonders of Thandiwe Newton's accent, the movies Tim Roth nearly starred in, the iconic '90s hits that made this risky film possible, and the timelessness of G-funk production. Plus, Graham explains Tupac's odd, involuntary role in the Kendrick-Drake feud to Mark. All eyez on this!

Outside of documentaries and one unforgettable appearance on The Simpsons, The Ramones only made one film appearance - but what an appearance! Allan Arkush's chaotic, Joe Dante-scripted Rock 'n' Roll High School wasn't even meant to star da brudders, with Todd Rundgren and Cheap Trick considered for the film's musical guests. Then, one of the film's stars told producer Roger Corman there was a much hipper band whose asking price was much lower - and Corman, as ever, was sold on the second part.

In the first of September's triple-headed shows, Graham is joined by Rob and Aidan to talk about that first wave of NY punk, as well as this film and The Ramones's unexpected connections with The Beatles, John Carpenter and Frank Sinatra. We also discuss why Joe Dante's films connect so well with da yoof, the experience of feeling old when you listen to Radio 1, bands who sell a lot of t-shirts and Rob's hatred of Blink-182. Hey! Ho! Let's go!

When David and Graham are on the show together, you should be on high alert for a camp catastrophe, and lord do we get it in the form of Ken Hughes's Sextette. An innuendo-stuffed sex farce starring Mae West, it could have been a smash hit if it was made in the 1930s, when she was in her forties. Instead, it was made in the 1970s, when she was 84, and the result is the vanity project to end all vanity projects.

Join us as we discuss the star-studded cast, including a relentlessly hammy Keith Moon, an unrecognisable Alice Cooper, and Ringo Starr; discuss ways in which an OAP sex comedy could actually have worked; catalogue the film's strange relationship to both Britain and the laws of physics; and talk about Sextette's unbelievable musical numbers. Plus, discover the secret of Mae West's shoes and find out how true love brought David to this highly special film. Aww.

What was the British pop movie like before The Beatles? They were quite a lot like What a Whopper, as Graham and Mark discover this week. A featherweight farce in which a struggling writer and his bohemian friends try to fake a Loch Ness Monster sighting - just go with it, OK - it features a plethora of British comedy legends, a script by Dalek creator Terry Nation, and, as its lead, one Adam Faith.

It's easy to forget what a massive name Faith was in his heyday, and our hosts examine every aspect of his wild career, from his other acting roles in Budgie and Beat Girl through his career in financial advice to his delightful last words. We also discuss the real-life Loch Ness Monster hoaxes that may have inspired Nation's script, the tragic life of female lead Carol Leslie, the film's not-wholly-unstereotypical vision of Scotland and the state of Michael Winner's finances. It's a monster of an episode!

Get your motor running, head out on the highway... wait, it's not that Peter Fonda-starring 1960s biker movie. No, The Wild Angels came a few years before Easy Rider, and it centres around a noticeably less idealistic group of bikers. Director Roger Corman hired several real Hell's Angels to serve as extras in his film, and if you're thinking there's probably stories from that set, you're right.

Let Ben and Graham tell you them: from Corman's sociological reasons for having Bruce Dern's character work at an oil refinery to the unexpected trouble he had involving a coffin and the letter "Z". And, because this is Pop Screen, we also talk about the film's musical legacy - Primal Scream are certainly fans - and its female lead Nancy Sinatra. whose career teaches us many valuable lessons. Here's one: if you're accused of being a nepo baby, why not get together with an incredibly rum country singer and release a series of duets that are so unwholesome as to sound actively diseased? All this and Frank Sinatra's prog album, discussed herein!

What do you get if you combine the most divisive woman in 1970s America, the least divisive woman in modern America, and a comedy legend? You get an absolute treat, at least if it goes as well as Nine to Five did. Colin Higgins's film brings together Jane Fonda, Dolly Parton and Lily Tomlin in a class-conscious romp about three women who kidnap their sexist pig of a boss and find the office runs a lot better without him. It's basically The Communist Manifesto with a thumping C&W theme song.

This week, Graham treats himself after self-harming with The Idol by getting back together with Jeff to talk about this lasting classic of early '80s Hollywood. Prepare for an in-depth comparison of the many beards of Sterling Hayden, an appreciation of Jane Fonda's shrewdly against-type performance, and our pitch for a Dolly Parton horror movie.

Ladies and gentlemen, The Weeknd. To celebrate - 'celebrate' - the first anniversary of one of the defining pop star ego trips of our age, Graham and Robyn have reconvened to look at all six - no, wait, all five - episodes of Sam Levinson's disasterpiece. If you're wondering why we won't get a third season of Euphoria until the cast are in a retirement home, forget the writer's strike - this is why.

From the twisted minds of Robyn and Graham, please enjoy discussion of: the Weeknd's remarkable anti-charisma and his future acting plans that will definitely, definitely happen, the troubled production of this show and the Amy Seimetz cut we'll never see, The Idol's strained relationship with queerness, its downright nonexistent relationship with modern pop, and much much more. Worth listening this week just for the Jojo Siwa joke, frankly.

Back with a vengeance! Yes, ahead of the release of Furiosa, we're looking at the Mad Max movie that features the most legendary pop star in the whole series (well, apart from the Doof Warrior): Mad Max Beyond Thunderdome. Initially reviled for its lighter tone and child sidekicks, the film now feels like a stepping stone to the operatic excesses George Miller has taken the franchise to in the 21st century - and Tina Turner as Aunty Entity is a piece of stunt-casting that truly works.

This week, Producer Rob rejoins the show to talk about all things Mad Max, including the series's fascinatingly improvisatory attitude towards continuity, the extent to which Max Rockatansky obeys Joseph Campbell's laws of heroism, and the absolute goldmine of memorable quotes this movie contains. It's two podcasters enter, and, er, two podcasters leave - but not before revealing this film's unexpected place in hip-hop history...

We've covered plenty of biopics of musical legends on this podcast, and one word has hovered unspoken in the background: Cox. Dewey Cox, that is, the legendary rocker played by John C Reilly in Jake Kasdan's Walk Hard: The Dewey Cox Story. A musical innovator, a tortured genius, a tireless advocate for small people's rights... he didn't exist, of course, but this spoof is so beautifully observed it doesn't really matter.

Let's duet! This week, Mark Harrison of Film Stories rejoins Graham to look at the film that makes it impossible to watch any other biopic without giggling inappropriately at all the sad parts. We discuss the cameos that were cut, the gruelling promotional tour Reilly embarked on in support of the film, and which of 2024's biopics include scenes from this film played dead straight. It's a beautiful ride, alright.

John Singleton was 21 - 21! - when he made one of the most acclaimed debuts of the 1990s, one which led to him becoming the first African-American to get a Best Director nomination at the Oscars. It would be the perfect punchline if it was bad, but annoyingly for this deeply unserious podcast it's great: a frontline dispatch from a world plagued by violence and poverty that still feels vital, and also finds room for more humour and tenderness than you might expect.

Sam Taylor-Johnson is about to release Back to Black, her second music biopic following 2009's Nowhere Boy. So naturally Pop Screen decided to review... her EL James adaptation? Yeah, why not, it's got Rita Ora in it. Returning co-host Joe did a lot of Ritasearch for this podcast and was delighted to remember that she only has about a minute of screentime.

Not that there's any shortage of other things to talk about when it comes to 50 Shades of Grey. Its status as a cultural phenomenon, its dubious sexual politics, its troubled production and long list of nearly-stars... all of this and more is covered in this dangerously erotic edition of Pop Screen. We also explain why Christian Grey's chauffeur is the secret hero of these movies, and reveal what the Frenchest film ever made is. It's not this one.

There are some pop movies that capture the appeal of an entire genre. Such was the case with Perry Henzell's The Harder They Come, a crime drama that was such a hit it essentially popularised reggae in the United States. Such things are possible only with a star of the calibre of Jimmy Cliff, plus soundtrack and screen appearances from the likes of Toots and the Maytals and Prince Buster.

This week, Aidan rejoins Graham to talk about Henzell's film, and uncover the reason why he might be the ultimate Pop Screen director. We also talk about Chris Blackwell's Island Records, whose film division was launched by this very movie. There's also discussion of the film's real-life inspiration, the "original rude boy" Ivanhoe Martin, its possible subtexts and the white-knuckle experience of watching that bus swerving all over the place during the opening credits.

In 2024, Pop Screen is spending a month in Jamaica, hailing the island's mighty presence in the field of music. And to kick off, we're talking about... er, 10cc? Yes, when they said they don't like reggae, they love it, few could have expected that love would manifest itself in multi-instrumentalist Lol Creme directing a 1991 Jamaican comedy about a small-town eccentric who thinks he can talk to trees, cows and cricket balls becoming involved with a lusty German photographer. As you do.

The Lunatic is, as you can probably tell from the above synopsis, a weird old thing. Fortunately Graham and Mark Cunliffe have re-teamed in order to make it even weirder, with digressions about the original TV version of The Hitchhiker's Guide to the Galaxy, how Small Axe got Graham through the first lockdown year, and the film's tonal similarity to the saucy seaside postcards of Donald McGill. We're not in love - but we did enjoy it.

In 2004, the veteran Welsh rock band The Alarm pulled off an audacious hoax, releasing their single '45 RPM' under the alias of The Poppy Fields. The Poppy Fields were supposedly a new band of teenage rock stars in skinny jeans, as was the style at the time. As the song ascended the charts, Alarm mainman Mike Peters revealed the deception, kicking off a debate about ageism in the music industry.

It's a fascinating story, so fascinating that Mick has dragged himself out of his sickbed to talk to Graham about Vinyl, the 2012 film loosely based on it. We discuss its many missed opportunities, its bizarre decision to make the Mike Peters analogue more or less totally unsympathetic, and the question of whether this con would work in 2012 - which is more of a cultural gap than the eight years it is on paper. We also discuss The Alarm's long career, the rock movie baggage of star Phil Daniels, and the irony that - these days - a middle-aged heritage act is a better money-spinner than a sexy young rock band.

Good vibes only this week, as Mark Cunliffe of We Are Cult rejoins the podcast to talk about Cyndi Lauper's lead role in the 1988 supernatural comedy Vibes. A film so inspired by Ghostbusters that Dan Aykroyd was briefly attached to star, it has an enviable cast fronted by Lauper, Jeff Goldblum and Peter Falk. And yet, somehow, it tanked.

On this episode of Pop Screen, then, we attempt to solve the timeless Fortean mystery of why people didn't watch this at the time, taking detours to talk about the career of supporting players Julian Sands (RIP) and Steve Buscemi, consider the odd self-seriousness with which 1980s family comedies treat their paranormal mythos, try to ascertain what the worst Dario Argento film is and talk about a Winnebago full of balloons, I guess. It's one of those weeks.

Memo to you: Pop Screen is back for 2024 and we're covering one of the wildest, most controversial and most ambitious rock movies of the 1970s. Starring Mick Jagger among a motley cast of models, gangsters, boxers and one father of a national embarrassment, Performance saw Nicolas Roeg and Donald Cammell join forces for a joint debut like no other.

On this episode, Rob and Graham reunite to talk about the film's turbulent production, its difficult journey into a form Warner Brothers - who thought this was going to be like A Hard Day's Night - found acceptable, and the short but eventful life of the mysterious Donald Cammell. If you want to hear us talk more about his co-director, Rob and Graham have also covered The Man Who Fell to Earth. If you want us to talk more about Mick Jagger, well...

Pop Screen finishes 2023 with a movie that could not be less stock to our ears - Joe Berlinger and Bruce Sinofsky's Metallica: Some Kind of Monster. Granted unprecedented levels of access to the world's biggest heavy metal band, the directors of the Paradise Lost trilogy made a raw documentary about a band somehow staying together and making an album despite unprecedented personal turmoil. The punchline: the album they make is St. Anger, perhaps the most reviled album in their back catalogue (or at least the most reviled one that doesn't feature Lou Reed).

Join Aidan and Graham for this exploration of the lifestyle and indeed deathstyle of the metal legends, including diversions to talk about Lars Ulrich's feud with Napster, which type of dad James Hetfield is and the vexed question of whether Metallica are actually good. We also discuss the band's history and former members, their decision to hire a group therapist to get them back together and, of course, that infernal snare drum sound.

All we want for Christmas is this: Mariah Carey's notorious film vehicle is the subject of Pop Screen's festive episode. Equally reviled and unfortunate, it's the tale of a foster child who grows up into an aspiring singer, and whose rise to fame is, shall we say, subtly patterned on Carey's own career. Its soundtrack album was released on 9/11, which stymied its commercial potential. That inspired a #JusticeforGlitter campaign many years later; the film was less fortunate.

On this year's Pop Screen Christmas special, David rejoins Graham to talk about the many unlikely couples in this film, the almost surreally undercharacterised friends of Carey's Billie, and how Carey's divorce from Tommy Mottola may have forced this film into its 1980s setting. We also discuss Carey's triple-threat legacy: her world-class voice, her current status as Queen of Christmas, and the "I don't know her" gif.

When we announced a month of Madonna-themed movies, we could have just looked at her acting performances, maybe a documentary or two. Instead, we felt like it was our journalistic duty to blow the lid off her steamy affair with 'Weird' Al Yankovic. That's just one of the extremely accurate facts contained in Weird: The Al Yankovic Story, a merciless lampoon of biopic cliches which Weird Al superfan Jeff is back on the podcast to discuss with Graham.

The film immediately received attention for Daniel Radcliffe's insanely committed lead performance, but there's more - and not just Evan Rachel Wood's superb turn as Madonna, either. Jeff and Graham discuss which of the film's cavalcade of cameos they'd like to see a full biopic about, the film's long gestation period and how the rock biopic changed (or didn't) during production, and the critical importance of preserving the Quibi archive for future generations.

This week, Pop Screen is showing you Dick. As part of our ce-e-le-bration of the fortieth anniversary of Madonna's breakthrough single Holiday, we're taking you back to 1990, when Warren Beatty became one of the few men to ever tell her what to do as he directed his then-partner in the comic book hit of the summer, Dick Tracy.

Obviously, the landscape of comic book adaptations has changed since the days when a 1930s detective strip was a box office smash and Captain America was the subject of a cheap B-movie. But has it changed for the better? This question can only be answered by bringing back Andrew of Behold! podcast, who revisits his childhood favourite film to ask: does it hold up, and why isn't it set on the moon? Plus vital detours to discuss the film's excellent make-up, Al Pacino's, uh, high-intensity villain performance, the documentary Six by Sondheim and the insane excess of a film that can afford to get Kathy Bates for, essentially, one great sight gag.

It's a story we keep running into here on Pop Screen: a band are so big, so acclaimed, that they think "We could make a film, how could that go wrong?" and the universe then demonstrates exactly how that could go wrong. Coming just one year after their worldwide smash The Joshua Tree,

Vampires! Undead creatures of the night who people also find really hot! If you think fancying a walking corpse is #problematic, wait until you see the actions of Vampire, the imaginatively-named vampire played by Martin Kemp in 1995's Embrace of the Vampire. In Anne Goursaud's film, he's looking to get his fangs on an underage girl before she's legal, just like [NAME REDACTED ON LEGAL ADVICE]

Pop Screen doesn't cover much metal, and a cynical listener might counter that we're not about to start now, as we look at the 2019 Netflix film The Dirt. A biopic of Motley Crue, it offers a visceral look at sex, drugs and rock and roll, but maybe not enough into why hair metal (the stuff Americans heretically call "glam rock") remains so divisive.

How do you weather the changes in a genre your band helped define? It's tricky. Run-DMC tried to rebrand with Tougher Than Leather, the title of both an album and a film directed by their producer Rick Rubin. A tough yet strangely naive premonition of the gangsta rap years to come, it also features one of Rubin's other proteges, The Beastie Boys, just as their career took off.

It's got serious time capsule value, then, so it's no wonder it prompts hosts Graham and Jeff to reflect on the odd experience of being a white hip-hop fan in the late 1980s and 90s, a time when the genre was subject to both fetishisation and moral panic from our fellow honkies. We also discuss the unexpected links this film has to movies by James Grey and Jonathan Demme, formative 'adult' cinema and the parallel universe where this film was directed by Spike Lee. Turns out we can, in fact, rock it like this.

If there's one thing pop music needs almost as much as it needs musicians, it's people who won't hear the words "Actually, that's a really bad idea". Terri Hooley was one such man. Record shop owner, record label owner and focal point for Belfast's punk scene, what he lacked in business sense he made up for in passion. Glenn Leyburn and Lisa Barros d'Sa's biopic Good Vibrations tells his unbelievable story.