A Degree Absolute!

Chris Klimek & Glen Weldon

Critics Chris Klimek and Glen Weldon both loved the late-60s British sci-fi series "The Prisoner" in their formative years, but they haven't seen it in a long time and they're not at all sure how it will play in a 21st century rife with with "alternative facts" and militant individualism at the expense of social responsibility. One thing is certain: Run-DMC were clearly influenced by the vocal patterns of Patrick McGoohan, and that malicious weather balloon is still eerie as hell. Wait, that's two things. Join them for this illuminating rewatch!

  1. EPISODE 2

    THE SCARECROW OF ROMNEY MARSH with Margaret H. Willison

    On February 9, 1964, Ed Sullivan introduced a band from Liverpool, England formerly known as The Quarrymen to an estimated 73 million viewers of his primetime CBS variety show. And down the dial on NBC, the anthology series Walt Disney's Wonderful World of Color drew an audience of something less than 73 million for the first installment of its three-part The Scarecrow of Romney Marsh, an adaptation of Russell Thorndike and William Buchanan's novel Christopher Syn starring our man Patty McG as an 18th century man of the cloth* by day/masked-smuggler-by-night who helps the common people by... paying their taxes, we think? Using the funds he earns from smuggling brandy and tobacco. He also helps them elude the pressgangs who roam the marsh looking for reasonably able-bodied youngish men to abduct into King George III's Royal Navy. *Specifically, a "fuckable vicar" in the estimation of our generously oversharing special guest Margaret H. "Hula Hoop" Willison, whose effervescent personality really ties the room together. (Dang. That's the wrong Coen Bros. reference.)  The Scarecrow of Romney Marsh Teleplay by Robert Westerby, from the novel Christopher Syn by Russell Thorndike and William Buchanan Directed by James Neilson Original airdates February 9, 16, and 23, 1964 Write to the Citizens Advice Bureau at adegreeabsolute dot gmail! Leave us a five-star review with your hottest Prisoner take on Apple Podcasts! Follow @NotaNumberPod! Our song: "A Degree Absolute!" Music and Lyrics by Chris Klimek Arranged by Casey Erin Clark and Jonathan Clark Vocals and Keyboards by Casey Erin Clark Guitar, Percussion, Mixing by Jonathan Clark Bass by Marcus Newstead

    1h 42m
  2. THE MOONSHINE WAR

    EPISODE 4

    THE MOONSHINE WAR

    Patty McG's first major project after The Prisoner wrapped up in early 1968 was The Moonshine War, for Sex and the Single Girl director (and title-song lyricist!) Richard Quine. Quine did not write this film's remarkably concise and descriptive title song, "The Ballad of Moonshine," leaving that to Hank Williams, Jr. The great crime writer Elmore Leonard adapted the screenplay of The Moonshine War from his own 1969 novel. No one will argue it's on the level of later, adapted-by-other-screenwriters Leonard translations like Get Shorty, Jackie Brown, Out of Sight, or the TV series Justified, but the seeds are here.  Also here: Richard Widmark! A pre-M.A.S.H. Alan Alda! A pre-fame Teri Garr and a pre-billing Tom Skerritt! A pre-The Waltons Will Geer! Lee Hazlewood of Lee Hazlewood Industries as gun thug Dual Metters! Plus the Patty McG bedroom scene you've been dreading. Here's the condescending and phony behind-the-scenes featurette we discuss on the episode. The Moonshine War Screenplay by Elmore Leonard, from his novel Directed by Richard Quine Released July 1970 Write to the Citizens Advice Bureau at adegreeabsolute dot gmail! Leave us a five-star review with your hottest Prisoner take on Apple Podcasts! Follow @NotaNumberPod! Our song: "A Degree Absolute!" Music and Lyrics by Chris Klimek Arranged by Casey Erin Clark and Jonathan Clark Vocals and Keyboards by Casey Erin Clark Guitar, Percussion, Mixing by Jonathan Clark Bass by Marcus Newstead

    1h 27m
  3. A TIME TO KILL with Linda Holmes

    EPISODE 8

    A TIME TO KILL with Linda Holmes

    Matty McC meets Patty McG in the battle you didn't know you wanted to McSee! Look, A Time to Kill, the fourth big-studio adaptation of a John Grisham legal thriller to hit theaters in a 37-month period during the first Clinton Administration, is not a great showcase for our man Patty McG. There are just too many high-caliber, high-profile, and high-maintenance players in its stacked cast, and probably too much studio pressure for him to get away with anything weird. (Braveheart, released 14 months earlier, was a long time ago.) Company-man director Joel Schumacher seems to have saved all his creative chits for putting nipples on Batsuits in this era, turning in a serviceable but unshowy piece of work the summer in between Batman Forever and Batman and Robin. He sure does like to spray his actors with baby oil, though. The good news is that our friend Linda Holmes is back this episode, lending her quadruple-threat expertise as (in increasing order of significance) a Sandra Bullock expert, and Grisham expert, an actual-albeit-no-longer-practicing lawyer, and of course as a world-class critic to our examination of the picture. Join us, won't you, on this jurisprudent journey back to nineteen-niner-six. A Time to Kill Screenplay by Akiva Goldsman, adapted from John Grisham's novel Directed by Joel Schumacher Released July 24, 1996 Write to the Citizens Advice Bureau at adegreeabsolute dot gmail! Leave us a five-star review with your hottest Prisoner take on Apple Podcasts! Follow @NotaNumberPod! Our song: "A Degree Absolute!" Music and Lyrics by Chris Klimek Arranged by Casey Erin Clark and Jonathan Clark Vocals and Keyboards by Casey Erin Clark Guitar, Percussion, Mixing by Jonathan Clark Bass by Marcus Newstead

    2h 5m
4.9
out of 5
72 Ratings

About

Critics Chris Klimek and Glen Weldon both loved the late-60s British sci-fi series "The Prisoner" in their formative years, but they haven't seen it in a long time and they're not at all sure how it will play in a 21st century rife with with "alternative facts" and militant individualism at the expense of social responsibility. One thing is certain: Run-DMC were clearly influenced by the vocal patterns of Patrick McGoohan, and that malicious weather balloon is still eerie as hell. Wait, that's two things. Join them for this illuminating rewatch!