Stay ConnectedTripp has rejected mainstream comedies for most of his life.
Now, Ross is taking him film by film through the movies he sadly missed (or smartly avoided) until now.
Join us as we look at studio comedies from the late 90s and early 2000s. Week by week, we will tackle one (or two) films as Tripp tries to figure out what made them so funny and Ross explains the context Tripp avoided.
This week, Tripp and Ross take the stage in a small-town beauty pageant for a movie they see in wildly different ways. It's Drop Dead Gorgeous, and of course involves discussions of COPS, Cheers, inappropriate language, and Allison Janney's amazing 1999.
Tripp and Ross on The Director's Club
Theme Song: Jonworthymusic
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Another episode, another high school adventure. This time, Tripp and Ross are in Englewood with The Wood. While time hopping between flashbacks to the 80s and a 1999 wedding, they manage to discuss not only the film, but also RENT, accent work, Tripp's 17th birthday celebration, and a lot of unplanned comparisons to last week's film, American Pie. Plus, Tripp gives Ross a hard time for his extended introductions to games, and Ross gives Tripp a hard time for his embarrassing preview of next week's episode!
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Once again, Tripp and Ross are back in high school. This time, though, it is with the almost-X-rated American Pie, a film that Tripp said last week he had fond memories of. Do they hold up two decades later?
Along the way, they discuss the all-star cast of up-and-comers, the films frankness, and a few other podcasts you might hear them on soon.
The Great American Pop Culture Quiz Show, Season 10, Episode 1 (with Tripp "Pooh Bear" Burton)
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This week, Tripp and Ross adopt/babysit/kidnap a child as they talk about Big Daddy and the work of Adam Sandler. And because Ross needed help convincing Tripp of the genius of the Sandman, they welcome their first guest: the much more eloquent Mitchell Beaupre (Letterboxd). Along the way, they talk New York apartments, Hooters, Happy Madison productions, some very uncomfortable jokes, and then try to top each other with some high falutin' recommendations. The true suspense of the episode, however: will Ross ever be able to pronounce the last name of screenwriter Tim Herlihy.
Mitchell's essay on 4:44: The Last Day on Earth.
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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This week, Tripp and Ross wage war with Canada (or maybe with Trey Parker and Matt Stone) as they revisit South Park: Bigger, Longer, and Uncut. Along the way, they bring out their love for musical theatre and question what the line is between funny and insulting. But the most pressing question is whether they can talk about the movie for 50 minutes without getting the Explicit tag! Roger Ebert's review. Intro and Outro Music: So Alive (Instrumental) by Jon Worthy Powered by Riverside.FM
This week, Tripp and Ross battle through some late summer colds (sorry for the stuffy voices) and come face to face with Dr. Evil, Mini-Me, and Austin Powers: The Spy Who Shagged Me. And along with some mini-tangents about obscure Broadway musicals and HBO movies, they have finally found the movie that makes Tripp really angry!
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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This week, Tripp and Ross go long for one of their favorites: Julia Roberts. 1999 was the summer of Julia, and they discuss both Notting Hill and Runaway Bride, along with throwing some shade at USA Today and Ross trying to give a "Tripp-esque" recommendation.
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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This week, Tripp and Ross go deep into post-Columbine America and the controversial release of Idle Hands. Along the way, they talk a lot about the career path of Jessica Alba, the various influences on this film, Disney Channel Original Movies, and Ross shames Tripp about a few classic movies that he hasn't caught up with yet.
The original ending of Idle Hands.
Tasha Robinson's interview with Seth Green in The AV Club.
Best. Movie. Year. Ever. by Brian Raftery.
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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This week, Tripp and Ross tackle some uncomfortable pre-9/11 imagery when they hit the friendly skies with Pushing Tin. Along the way, Tripp rambles on about classic sitcoms, while Ross gets overly excited about Cate Blanchett's 1999 filmography and making sound effects noises.
"Somethings Got to Give" by Darcy Frey (the article Pushing Tin is based on)
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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This week, Tripp and Ross share their anti-dognapping sentiments in regards to David Spade's "Lost and Found." Somehow, this movie also brings out Tripp's love of both Nick-at-Nite and French cinema, the size of dressing rooms at strip clubs, and the question of how low you can fate a film on Letterboxd.
Intro and Outro Music: So Alive (Instrumental) by Jon Worthy
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