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Fridge / Brows Held High

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Fridge Brilliance

  • In the Trash Humpers episode, Oancitizen declares that "our words are backed with nuclear weapons!" Of course, this is a quote from Civilization, but keep in mind what happened at the end of the Ken Park review.
  • Note Kyle averts having a Gag Censor during the "moonlight bathing" scene of Melancholia. Obviously the scene would be impossible to take seriously if it had still been covered that way, as he was taking it seriously.
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  • He notes in Anonymous that everything directed by Roland Emmerich has one unifying theme: Roland doesn't like facts, but he loves theories and every one of his movies is basically an actionized "what if this crazy theory was true" what-if scenario. (He then regretfully notes that The Day After Tomorrow is the only one based on a theory that was actually correct and says "YOU ARE NOT HELPING!")
  • One can read a thematic arc into Kyle's videos from late 2014, discussing film-making, surrealism and what exactly is a movie:
    • First, the Beauty and the Beast three-parter which contrasts the artsy, surrealist form with the conventional, popularly beloved form of the story. The major theme of this one is intertextuality: how works play off and refer to one another, and provide very different perspectives on the same basic plot, as shown through the many adaptations of Beauty and the Beast, and works inspired by it.
    • Second, Blue: a movie that consciously rejects other movies, and that it is a movie, by abandoning the uniting factor between seemingly all movies: that they are moving images.
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    • Third, the Inception Between the Lines video: again exploring the differences between 'conventional' movies and 'artistic' films, comparing a popular movie often described as surreal and the films accepted in a surreal canon. However, Kyle examines the connections and similarities between these brands of film-making (see again, intertextuality), and also the inherent surreality of films: that they are all dream-like.
    • Fourth, Gerry (Redux). Another movie that not trying to be a movie, like Blue (although unlike Blue, it definitely counts as a moving image) — however Gerry is trying to be something else in particular, a video game. Gerry can easily be seen as the counterpoint to Inception: it's a movie that often doesn't make those dream-like leaps in time, logic and location.
    • Fifth, and obviously, This is Not a Film, another movie that's not a movie, but this time, it's because it's forbidden by law to be so. Unlike Blue and Gerry, which reject the film and imitate another form of art respectively, This is Not a Film has to imitate a film, keeping just on the edge of what is legally defined as film-making — until the end, where that boundary is transgressed. As such, it examines where that boundary is, especially given how easy video recording has become: that there is a thriving community of cheap and quick film-making that often wouldn't be considered as such, and This is Not a Film falls somewhere between that and 'proper' films.

Fridge Logic

  • At the end of the Melancholia review Ven sounds surprised that Kyle was watching that movie and asks him why; he explains it was for the show. But shouldn't he (Ven) already know that? He was seen earlier in the episode drawing the review's bumper art.

Fridge Horror


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