Done in collabration with Red Ribbon Reviewers, Oancitizen takes a very poignant look at the TV adaptation of Angels in America, a story about how several peoples lives are affected by being gay and having AIDS in the early eighties. He ends the review by quoting the final lines of the play:
"For World's AIDS Day, we have to remember those who have fallen. The world only spins forward, and they will be citizens. The time has come. Bye, now. You are fabulous each and every one of you and I bless you. More life. The great work begins."
During Harmony Korine's Trash Humpers when they show a dead body... That Kyle thinks might actually be the genuine article.note Thankfully it isn't, but the fact it was so lifelike that Kyle thought otherwise really says something
Oancitizen: You're probably wondering why there isn't any image here. You see, I removed the image for this review. Why? Well, that's because in this scene, the cameraman starts singing this little song... yeah, that. 'Three Little Devils' and such, and the image that Korine decides to show is a naked, dead body in a ditch. And as far as I can tell, it doesn't look fake. Now, I may subject you to all kinds of cruel images, but I promise you, I will never show you a real dead body, because I love you, and Harmony Korine doesn't.
After a big blowout concerning a line in "Shit TGWTG Fans Say", Kyle was a brave enough guy to give a humble apology on twitter.
His humble, humble apology for the Girlfriend Experience video in his commentary. You can sense his shame and how he is truly sorry for it, almost to the point of being saddening.
Oan's reaction to "Pretension Nirvana" is kinda heartwarming. It's not overplayed or overacted, he seems really, genuinely relieved and grateful and totally sells the idea that it made him feel better.
The ending to the Melancholia review, which has Kyle's ever-worsening depression finally lifted by his fans, who call him en masse when Diamanda Hagan puts Kyle's cell number on Twitter. He ends the episode with an uplifting speech about how the human condition isn't and shouldn't be defined by depression.
Depression is a disease, make no mistake. Von Trier can romanticize it all he wants, but depression is a stasis, it’s a dead end. Succumbing to it is to surrender to death. And he can go on and on about how hollow our culture is and how shallow life is, but, what of it? I’m alive. And I can experience the new and share it. Here, now, I’m alive. And what happier thing can be said? And we should all keep creating and sharing. Because, in the words of a better filmmaker: “Our songs will all be silenced, but what of it? Go on singing.”
And redeeming his depression-induced awfulness to them (comparing them all to muppets, acting like every video's joke is "THIS RAPED MY CHILDHOOD", his cruelty to JO) by instantly hanging up on a guy who called his friends losers.
A random caller says he likes Kyle's stuff, but asks why he hangs around with all those other losers. Kyle's response? "Fuck you, they're my friends."
He even says the anime sounds interesting and wonders somewhat abashedly if JO would ever talk to him again.
Among some of Kyle's first callers isThe Nostalgia Chick, whose voice is laced with genuine confusion as well as concern. Who would've thought that the emotionally repressed Chick from long ago would even attempt that?
The end of his review of Mister Lonely. After going into detail about some of the actors and people working on the film, he explains that he believes that Korine made a film that demonstrated what was happening in the movie- many of the actors and others working on the film have made amazing things and worked with genii, but are not known to many. In turn, the film is about a group of impersonators who are trying to be someone else, someone they deem to be better than themselves, and so they rarely act like themselves. In short, Korine is trying to show the world what it's like to try and be greater than yourself, only to have an audience of few, no matter how skilled you are. And because of that, Kyle just can't hate it, since he knows exactly what it's like.
At the end of his review of Room in Rome, after going into great detail of the problems and controversies of a straight man attempting to depict a serious romance between two lesbians, Kyle is finally shoved aside by his cover artist/BFF Ven who is himself LGBT in order to give his opinion on the film. And it turns out he connected with it and stated that it accurately portrayed a relationship based on impulse and pure emotional connection. The type of relationship he experienced with a woman who later became his wife. Aww!
The ending of the Anonymous review: taking a mocking line by Derek Jacobi from the film's introduction about "Our Shakespeare", Kyle explains, in detail, how the idea of "Our Shakespeare" is completely accurate, and how the phrase sums up why the Bard has continued to influence people for going on five centuries.
Kyle and Tony dancing, mimicking the ballroom scene in Beauty and the Beast during the credits of the Beauty and the Beast/La Belle et la Bette review is quite sweet.
As is the two of them concluding the compare and contrast by realizing they've both been "each other's Beasts, and our own Beauties", and complimenting each other's film of choice.
Kyle: Hey. Disney's version has heart, in all the right places.
Tony: And Cocteau's version is creative in all the right ways.
Kyle: Agree to disagree?
Their realization in the end that both films are valid interpretations of the material since the story belongs to everyone, followed by the last song (which Ven gets to sing) that celebrates the various adaptations of Beauty And The Beast.
Kyle:(imitating iguana) I use my claws to show my loooooooooove...
In his Between The Lines on Inception, Kyle points out that the dream sequences and the shots used to illustrate them are all references to famous films, such as Man with a Movie Camera. He points out that not only are movies themselves a type of dreamworld— a perspective stated in his Beauty and The Beast project— but that this indicates that when Christopher Nolan sleeps, he dreams of movies. He doesn't flee from his work, like most people, but dives further into it. How many people love what they do that much?
The opening of "William Shakespeare’s Star Wars and the Power of Iambic Pentameter." Kyle reads from the book, as usual, and when he finishes, he just giggles, clearly already enjoying himself.
At the beginning of "Jiri Trnka's A Midsummer Night's Dream," Kyle just shows off the tiny pocketbook A Midsummer Night's Dream his best friend got him for his birthday. It's adorable.
And he ends the review asking The Criterion Collection to get to work on distributing Trnka's films in the U.S., because "as lovely as this ripped laserdisc edition is, I want to see it in its original beauty."
After delving into the darkness of Merry Christmas, Mr. Lawrence explaining the pointlessly brutal sensibilities of war, as well as the destructively normal actions justified by codes of honor, as well as how everybody in the world can fall down that same path, Kyle ends with explaining how Celliers beats Yonoi: by breaking those mutual taboos.