overlook film fest

Sissy (2022)

/ swampflix / 2 Comments

I saw a good number of my favorite movies of the year (so far) at Overlook Film Fest in June, which is usually the case.  The programming at that annual horror festival is unmatched by any other local fest I can name, as long as you’re a fully committed genre nerd who doesn’t pay much attention to the Awards Prestige dramas of the fall.  It’s also condensed to a single weekend in early summer, which means it’s impossible for me to catch every movie I want to see in the program. So, I often spend the half-year after Overlook catching up with titles I missed during the festival (which almost invariably pop up on the streaming platform Shudder at one time or another).  Often, I feel validated in which movies I opted to skip at the fest (i.e., She Will), but every now and then there’s a fun little novelty like Sissy that I wish I had seen with a crowd.  It’s always hard to tell how much of an enthusiasm boost I’m giving to movies based on the horror-nerd fervor of the festival, but I do suspect that Sissy killed in the room at Overlook, and I would have loved to share in that joy.

In micro-subgenre terms, Sissy offers an Australian splatstick comedy version of the modern social media thriller. Let’s call it Heavenly Tweetures, Ingrid Goes Down Under, Aussies Aussies Aussies, whatever you like.  It references cult sitcom Kath & Kim in its opening minutes, so you immediately know that it’s filling an Australia-specific niche.  At the same time, its story of a “mental health” social media influencer who becomes a homicidal maniac when she reunites with her childhood bully is a fairly standard-issue template for its genre.  Sissy only Aussifies that template in its irreverent tone & practical-effects gore.  There’s a Dead Alive tinge to its head-crunching kills that makes for a good, goofy time even when the movie is at its most brutal.  That buoyancy seeps through its ironic Disney princess musical score, its Blood Brilliant Tampons™ visual jokes, and its adoring Love Island reality TV parodies; but it’s the gore gags I most would’ve wanted to experience with a crowd.  They’re delighfully vicious, and they’re ultimately what makes the movie special.

There really isn’t much to Sissy‘s social media satire that you can’t find elsewhere.  The titular killer’s addiction to the endorphin rush of notification chimes and her sociopathic ability to alternate between self-care rhetoric & spon-con abuse of her self-appointed position as a mental health authority are familiar to anyone who’s drawn to this kind of material.  I’d even argue that the other notable social media satire at this year’s Overlook, Deadstream, did a much better job of squeezing laughs out of that exact Youtuber brain-rot persona.  There’s a sincerity to Sissy‘s central drama that you won’t find in Deadstream, though, from its nostalgia for childhood BFF kinship to the anxiety-inducing horrors of joining an established adult friend group midstream.  If there’s any incisive social commentary to be found here, it might be in the #terminallyonline understanding of morality where everyone falls into one of two categories: “A Good Person” or “Cancelled.”  It’s when Sissy desperately, violently strikes out to avoid becoming “Cancelled” that the movie evolves into its ideal form: a flippantly funny slasher, not a thoughtful social treatise.

If watching a mental wellness YouTuber become Jokerfied at the first threat of getting cancelled appeals to you, Sissy is a hoot.  That premise is very appealing to me, so I’m not sure why I didn’t prioritize it at Overlook the way I did with Deadstream.  Frankly, I should be cancelled for the offense.

-Brandon Ledet

Lagniappe Podcast: Mad God (2022) & The Overlook Film Festival

/ swampflix / Leave a comment

For this lagniappe episode of the podcast, Boomer, Brandon, and guest Bill Arceneaux discuss a selection of high-style, high concept horror films that screened at this year’s Overlook Film Fest, starting with Phil Tippett’s psychedelic stop-motion nightmare Mad God (2022).

00:00 Welcome

01:50 Mad God (2022)

29:15 The Overlook Film Festival
35:20 Mona Lisa and the Blood Moon (2022)
44:05 Nosfera2 (2022)
1:01:31 Deadstream (2022)
1:15:22 Swallowed (2022)
1:27:57 Hypochondriac (2022)
1:33:22 Piggy (2022)
1:37:53 Flux Gourmet (2022)

You can stay up to date with our podcast through SoundCloud, Spotify, iTunes, Stitcher, TuneIn, or by following the links on this page.

– The Lagniappe Podcast Crew

The Overlook Film Festival 2022, Ranked & Reviewed

/ swampflix / 3 Comments

The sudden appearance of The Overlook Film Festival on the local scene in 2018 & 2019 was an unholy, unexpected blessing. There are only a few substantial film fests staged in New Orleans every year, so for an international festival with world premieres of Big Deal horror movies to land in our city was a major boon. It was almost too good to be true, so after a couple off years of COVID-related delays, I was worried The Overlook might not make it back to the city. But here we are again, praise the Dark Lord.

Two dozen features and just as many shorts screened at the festival over the course of a single weekend in early June. It was overwhelming. Self-described as “a summer camp for genre fans,” The Overlook was centrally located, corralling almost all of its screenings to the new Prytania Theatres location at Canal Place. It was wonderful to attend this unbelievably cool genre extravaganza again, especially after two years of seeing their incredibly sharp programming talents get absorbed by the online-only Nighstream festival.

Listed below are all nine features I caught at The Overlook Film Festival that weekend, ranked in the order that I most appreciated them, each with a blurb and a link to a corresponding review. For a more detailed recap of our festival experience beyond these reviews, check out the next Lagniappe episode of The Swampflix Podcast, where I will be discussing the fest in full with local critic Bill Arceneaux.

Mad God

Phil Tippett’s stop-motion passion project is both a for-its-own-sake immersion in scatological mayhem & an oddly touching reflection on the creative process, the indifference of time, and the cruelty of everything.  It’s meticulously designed to either delight or irritate, so count me among the awed freaks who never wanted the nightmare to end.

Flux Gourmet

David Cronenberg isn’t the only auteur fetishist who’s returned to his early works to construct a new fantasy world overrun by grotesque performance art.  This feels like Peter Strickland revising Berberian Sound Studio to bring it up to speed with the more free-flowing absurdism he’s achieved since.  The result is not quite as silly as In Fabric nor as sensual as The Duke of Burgundy, but it hits a nice sweet spot in-between.

Deadstream

A found footage horror comedy about an obnoxious social media influencer getting his cosmic comeuppance while livestreaming his overnight tour of a haunted house.  This was a constantly surprising delight, getting huge laughs out of supernaturally torturing a YouTuber smartass with a sub-Ryan Reynolds sense of humor.  It effectively does for Blair Witch what Host did for Unfriended, borrowing its basic outline to stage a chaotic assemblage of over-the-top, technically impressive horror gags.

Good Madam

I will be interested to compare this with Nanny once that makes its way to the general public, since both films revisit Ousmane Sembene’s Black Girl through a supernatural horror lens.  Considered on its own, this is perfectly chilling & sharply political, pushing past an easy metaphor about a house being haunted by apartheid to dig into some surprisingly complicated, heartbreaking familial drama.

Piggy

Not enough people have seen The Reflecting Skin for the comparison to mean anything, so let’s call this Welcome to the Dollhouse for the Instagram era.  A bullied outsider’s coming-of-age horror story accelerated by a cathartic, torturous team-up with the neighborhood serial killer.  It’s made entirely of pre-existing genre building blocks, but it still feels freshly upsetting & perversely fun in the moment.

Swallowed

Low-budget queer body horror about a drug deal gone horrifically wrong, featuring sharp supporting performances from Jena Malone & Mark Patton.  Has some great squirmy little practical gore gags that keep the tension high throughout, but I was most thrilled just to see a harrowing queer story that wasn’t about coming out or gaybashing.  Even more thrilled to see a movie where fisting (almost) saves the day.

Hypochondriac

Queer psych-horror about a potter who’s being hunted down by his childhood trauma, represented by a Halloween costume wolf (halfway between the Donnie Darko bunny & The Babadook, except the monster wolfs ass).  More charming than scary, but judging by the “Based on a real breakdown” title card it’s coming from such a personal place that it’s easy to root for.

Mona Lisa and the Blood Moon

What if Harmony Korine had to be less choosy with his projects and settled for making a straight-to-Shudder Gen-Z update of Carrie?  It’s certainly a step up from The Bad Batch, but I’m not convinced Ana Lily Amirpour has lived up to the potential of her debut yet.  Smart programming for the opening night of Overlook Film Fest either way, since it’s steeped in plenty of Nawlins Y’all flavor to acclimate the tourists.

Watcher

A little too lacking in scene-to-scene tension & overall novelty for the fourth Rear Window riff of the past year (bested by Kimi & The Voyeurs in those rankings, surpassing only The Woman in the Window).  Still, I appreciate the icy mood it echoes from post-Hitchcock Euro horrors of the 1970s, and the ending is almost enough of a shock to make up for the dead air. 

-Brandon Ledet

Mad God (2022)

/ swampflix / 15 Comments

By the time Phil Tippett’s stop-motion freak show Mad God closed this year’s Overlook Film Festival, it was up against a towering wall of anticipation – not just from over the weekend but from decades of production delay.  The finished product was very divisive in the room.   It was my favorite movie I saw all festival, while the lovely chap I was chatting with in line on the way in said it was his absolute worst.  Teasing out his reasons for despising it, it sounded like he experienced Mad God purely as a for-its-own sake immersion in scatological mayhem, with no meaning or emotion behind its non-stop, nonsensical gore gags.  He also had no idea what the movie was about or how it was made before the screening started, other than it was one of the more hyped titles on the program.  Knowing Mad God’s backstory as an abandoned project from the early 90s that was recently completed through horror nerd crowdfunding on Kickstarter, I found it to be an oddly touching reflection on the creative process, the indifference of time, and the cruelty of everything.  We’re probably both at least a little bit right.

There’s no spoken dialogue in Mad God, nor is there a discernible narrative.  It’s a movie built entirely on nightmare logic, where one bizarre event mutates into another with no strict reasoning behind the progression. It’s mostly an animated experiment in scale.  A faceless soldier with no discernible personality or inner life follows his mysterious master’s marching orders to explore a post-apocalyptic hellscape populated by specimen-jar freaks of all shapes & sizes.  It’s like the unexplained, awesomely scaled Space Jockey reveal in 1979’s Alien repeated over & over again as our faceless, soulless protagonist explores dank hellpits populated by grotesque monstrosities big & small.  The scale of these hideous creatures’ violence also varies wildly, from petty squabbles over who has to shovel the shit of the bigger monsters that tower above them to real-life footage of nuclear blasts.  Phil Tippett did not work on the special effects for Alien, but he did work on other beloved genre classics like Star Wars, Robocop, and Starship Troopers.  If Mad God is “about” anything in particular, it’s about displaying the full dark magic of what his stop-motion wizardry can do on-screen.  The clay soldier is more of a starting point than a proper protagonist, as the movie has more to say about Tippett’s adventures in the industry than it does that disposable, replaceable explorer.

The story goes that Tippett began working on Mad God while doing the animated effects for Robocop 2 in the early 90s.  When he was subsequently hired for special effects work on Jurassic Park, he was convinced that the stop-motion medium was an inevitable dead end, soon to be replaced by animatronic sculpture & CGI.  The project was then shelved for three decades until younger collaborators in love with his traditionalist techniques convinced Tippett to complete the abandoned project.  Smartly, he appears to have left the original, shot-on-film footage from the project’s early days mostly untouched.  The first half is like a lost artifact from an era when artists like Dave McKean, the Quay Brothers, and Jan Švankmajer ruled over a steampunk hellworld that’s since been paved over by brightly lit computer graphics.  The original footage ends with the clay explorer being decommissioned & dismantled, and we cut to modern digital footage of fellow genre filmmaker Alex Cox (as a wizardly Tippett surrogate) plucking an identical, soulless soldier from his vast, unanimated supply to send on another mission in new dank hellpits with new grotesque monsters haunting them – now in crisp HD.  Tippett marks the passage of time between these bifurcated segments with repeated images of clocks, candles, death, and rebirth.  In the tension between its two parts, it becomes a self-reflective story about the resilience of personal creativity.  As an artist he has no choice but to keep sending his little soldiers out into the cruel world, hoping one of them one day completes their mission.

Mad God is meticulously designed to either delight or irritate.  It’s especially grating in its soundtrack’s relentless use of crying babies & ticking clocks, making a large contingent of the audience wish the term “Silent Cinema” was literal.  You can count me among the awed freaks in the room who never wanted the nightmare to end, though, especially since I doubt I’ll ever have the chance to see it projected on the big screen again.  Catching Mad God at Overlook was vital, even though it will soon be streaming on Shudder in a more accessible, affordable presentation.  I don’t know that I’d have the mental willpower to watch the entire runtime without glancing at my phone when it’s available to stream at home, but in that theater I was outright mesmerized.  It’s a spell that doesn’t work on everyone, but it’s a powerful source of creative dark magic if you can open yourself up to it.  Knowing the backstory of how it was made might be an essential part of that receptiveness, but it’s a stunning work of visual art no matter the context.

-Brandon Ledet

The Overlook Film Festival 2019, Ranked & Reviewed

/ swampflix / 7 Comments

Last year’s sudden appearance of the Overlook Film Festival on the local calendar was an unholy, unexpected blessing. There are only a few substantial film fests that are staged in New Orleans every year, so for an international horror film festival with world premieres of Big Deal genre movies to land in our city was a major boon, almost too good to be true. I attended the festival as a volunteer, catching three artsy-fartsy creature features (all directed by women) and a couple live podcast recordings over the course of a few days, hungry (bloodthirsty?) for more. This year, Swampflix attended Overlook with legitimate press credentials, meaning we were able to cover even more films playing at the fest, which was majorly exciting.

There were 23 features and 18 shorts from 11 different countries screening at the festival over the course of a single weekend in early June. It was overwhelming. Self-described as “a summer camp for genre fans,” The Overlook was centrally located, corralling all of its movie screenings to just a few venues: Le Petit Theatre for its more prestigious premieres, the UNO Performing Arts Center for a repertory screening of The Faculty (with Robert Rodriguez in attendance), and what is now the ghost of the old Canal Place theater for the bulk of its heavy-lifting. It was wonderful to be able to take fuller advantage of this super cool genre film extravaganza, especially considering that Canal Place’s closure might persuade them to leave us for another city, which would be a total shame.

Listed below are all eleven features we were able to catch at The Overlook Film Festival that weekend ranked in the order that we most appreciated them, each with a blurb and a link to a corresponding review. For a more detailed recap of our festival experience beyond these reviews, check out our podcast discussion of the fest.

1. In Fabric – “Wholly committed to over-the-top excess in every frame & decision, whether it’s indulging in an artsy collage of vintage fashion catalog advertisements or deploying a killer dress to dispose of a goofball victim entirely unaware of the occultist backstory of their sartorial selections. It’s both funny and chilling, beautiful and ludicrous. It’s perfect, as long as you can tune into its left-of-the-dial demonic frequency.”

2. One Cut of the Dead – “So much of One Cut of the Dead is on shaky logical ground because of the limitation of its filmmaking resources, but horror fans who are inclined to watch low-budget, high-concept zombie movies in the first place should be used to making those allowances. What’s brilliant about the film is how it transforms those awkward low-budget details into something brilliantly executed & purposeful. Revealing how it performs that miracle in a review would be a crime that I’m not willing to commit. You just have to afford it your attention & trust long enough to see it for yourself.”

3. Ma – “It’s at first baffling to learn that Tate Taylor, the doofus responsible for The Help, also directed this deliciously over the-top schlock, but it gradually becomes obvious that the goon simply loves to watch Octavia Spencer devour the scenery and it just took him a while to find the proper context for that indulgence – the psychobiddy.”

4. Paradise Hills – “This is far from the first fairy tale to allure characters in with a bounty of sensual pleasures only for the fruits therein to be revealed as rotten, cursed, or poisonous. In that tradition, Paradise Hills presents a fairytale Eden that’s deadly dangerous precisely because the pleasures it offers on the surface are so tempting. It would be far too easy to lose yourself in this pleasure palace – both literally and figuratively.”

5. Come to Daddy – “As Elijah Wood’s cowardly protagonist sinks further in over his head in sinewy ultraviolence, the picture begins to play like a farcical mutation of a Jeremy Saulnier picture – not unlike Wood’s recent turn in I Don’t Feel at Home in this World Anymore, just creepier.”

6. Greener Grass – “Whether it’s grossing you out with the moist, passionless sex of its suburbanite goons or it’s breaking every known rule of logical storytelling to drive you into total delirium at a golf cart’s pace, the film is uniquely horrific & punishing – and hilarious. You should know approximately thirty seconds into its runtime whether or not its peculiarly antagonistic humor is something you’ll vibe with; there’s just very little that can prepare you for what it’s like to experience that aggressive irreverence for 100 consecutive minutes.”

7. Knives & Skin – “Filters the Lynch Lite teen melodrama of Riverdale through a hallucinatory overdose of cough medicine, so that it sticks with you only as a half-remembered dream. You can recall laughing, but you’re not entirely sure why, or whether that was even its desired effect.”

8. The Vast of Night – “The film chooses a very difficult path in distinguishing itself, relying more on the strength of its performances & written dialogue than its sci-fi chills & scares. It’s more akin to intimate walk & talk dramas like Dogfight, Before Sunrise, or My Dinner with Andre than the sci-fi horror tones you’d usually expect from an alien invasion story template.”

9. Gwen – “Gwen looks, sounds, and feels like Elevated Horror™. Its monochrome portrait of a family in crisis is illustrated mostly by the grey hues of soot & snow. There’s very little dialogue & no musical score to speak of, somewhat mistaking total quiet for atmospheric dread. Those drab, miserable textures lull the audience into a foggy calm, only to be shocked out of our seats by loud, violet stabs of lightning, medical fits, and nightmares of self-mutilation. This movie has genuine jump scares! But it’s not horror.”

10. Satanic Panic – “It may not be the pinnacle of joke writing or emotional drama, but it at least knows how to deliver the goods when it comes to over-the-top ultraviolence & softcore sexual mania.”

11. Porno – “When most comedies fail to make you laugh, they leave you very few opportunities to be entertained otherwise. To its credit, Porno entertains throughout by relying on the most tried & true attractions in the entertainment business: sex & violence. Even if you’re impervious to its proper Jokes, there’s still plenty of blood-soaked juvenilia to keep you occupied.”

-Brandon Ledet

Podcast Movie Report: The Overlook Film Festival 2019

/ swampflix / 10 Comments

For this week’s new-releases podcast report, Brandon and CC discuss all the films they caught at the 2019 Overlook Film Fest,  an international horror festival staged in downtown New Orleans, “The Most Haunted City in America.”

You can stay up to date with our podcast through SoundCloud, Spotify, iTunes, Stitcher, TuneIn, or by following the links on this page.

– CC Chapman & Brandon Ledet

Movies to See in New Orleans This Week: The Overlook Film Fest Edition

/ swampflix / Leave a comment

Last year’s sudden appearance of the Overlook Film Festival on the local calendar was an unholy, unexpected blessing. There are only a few substantial film fests that are staged in New Orleans every year, so for an international horror film festival with world premieres of Big Deal genre movies to land in our city was a major boon, almost too good to be true. I attended the festival as a volunteer, catching three artsy-fartsy creature features (all directed by women) and a couple live podcast recordings over the course of a few days, hungry (bloodthirsty?) for more. This year, Swampflix will be attending Overlook with legitimate press credentials, meaning we’ll be able to cover even more films playing at the fest – a prospect I’m incredibly excited about.

The trick is knowing what films to cover. There are 23 features and 18 shorts from 11 different countries screening at the festival over the course of a single weekend. It’s overwhelming. Self-described as “a summer camp for genre fans,” The Overlook is centrally located, corralling all of its movie screenings to just a few venues: Le Petit Theatre for its more prestigious premieres, the UNO Performing Arts Center for a repertory screening of The Faculty (with Robert Rodriguez in attendance), and what is now the ghost of the old Canal Place theater for the bulk of its heavy-lifting. That means you can pack in a lot of movies in a very short time. You just need to know how to narrow down your selections.

Personally, I like to use film fests as an opportunity to see smaller films that are unlikely to get wide theatrical distribution otherwise, as opposed to bigger movies I know I can see at a corporate multiplex just a few weeks later. It’s incredibly cool that The Overlook will be hosting early screenings of Jim Jarmusch’s The Dead Don’t Die, the follow-up to Goodnight Mommy (The Lodge), and the upcoming Octavia Spencer psychobiddy revival Ma, but I plan on catching those a little later down the line. Listed below are ten genre films I’m incredibly excited about that are screening at The Overlook Film Festival this weekend but most likely will not play in a proper New Orleans cinema otherwise. Take advantage of this super cool genre film extravaganza before they leave us for another city (which is entirely possible, given the recent death of the Canal Place theater) by catching something offbeat & adventurous that you wouldn’t be able to see projected large & loud in any other context.

In Fabric : “At the height of winter sales in a modern UK department stores, a cursed dress passes from owner to owner, leaving a path of destruction in its wake in this wry, visionary comedy from the director of Berberian Sound Studio and The Duke of Burgundy.” Friday, May 31st – 4:30 PM – Le Petit Theatre & Saturday, June 1st – 7:15 PM – Canal Place

Greener Grass : “Writers, directors and stars Jocelyn DeBooer and Dawn Luebbe create a hilariously deadpan hellscape of competitive suburbia with a boldly stylized absurdist chain of events that unfurls with increasing fervor after one soccer mom asks her best friend for her baby.” Friday, May 31st – 8:00 PM – Canal Place & Saturday, June 1st – 9:45 PM – Canal Place

One Cut of the Dead : “In one of the year’s most crowd-pleasing surprises, this twisty horror comedy sees chaos ensue when a low-budget film crew, hard at work on a zombie flick in a WWII bunker, comes face to face with real terror lurking outside.” Friday, May 31st – 3:30 PM – Canal Place & Sunday, June 2nd – 7:45 PM – Le Petit Theatre

Paradise Hills : “With razor-sharp artistic direction and searing wit, Alice Waddington’s directorial debut tells the story in which a young girl is sent to a mysterious reform school specializing in crafting ladies to be more ‘proper.'” Friday, May 31st – 12:30 PM – Canal Place & Sunday, June 2nd – 7:15 PM – Canal Place

Horror Noire : “A free community screening and panel discussion of this refreshing and incisive documentary tracing the history of Black Americans in Hollywood within the horror genre. Hear from Jordan Peele (Get Out), Tony Todd (Candyman), Rachel True (The Craft), Keith David (The Thing) and many more about representation in our favorite genre from the beginning of cinema to today.” Sunday, June 2nd – 2:45 PM – Le Petit Theatre

Come to Daddy : “Norval, a troubled young man travels to a small seaside town to answer a letter from his long-lost father. When he gets there, the two begin to reconnect, but Norval can’t shake the feeling that something is drastically off. Elijah Wood stars in this hilarious and terrifying twisty thrill ride, the directorial debut of lauded horror producer Ant Timpson.” Friday, May 31st – 7:00 PM – Le Petit Theatre

Knives and Skin : “Calling upon echoes of Twin Peaks, artist and filmmaker Jennifer Reeder serves up an eerie teen noir punctuated with haunting 80s covers and unforgettable imagery centering around the effects of one girls’ disappearance on a small town.” Saturday, June 1st – 2:45 PM – Canal Place & Sunday, June 2nd – 12:15 PM – Canal Place

Satanic Panic : “When a pizza delivery girls’ final order of the night turns out to be for a blood-hungry group of Satanists thirsting for a sacrifice, all hell breaks loose…literally. From the Overlook alum writers of We Are Still Here and Paperbacks from Hell, and director Chelsea Stardust comes the goriest of comedies.” Friday, May 31st – 9:30 PM – Le Petit Theatre & Sunday, June 2nd – 7:00 PM – Canal Place

Vast of Night : “First-time filmmaker Andrew Patterson smashes onto the scene with the elegant telling of a 1950s radio DJ and his switchboard operator companion, who stumble upon a strange frequency that may be carrying evidence of other-worldly life.” Saturday, June 1st – 12:00 PM – Canal Place & Sunday, June 2nd – 12:30 PM – Le Petit Theatre

Porno : “Equal parts hilarious and grotesque, this take-no-prisoners horror sex comedy sees a group of ultra-Christian movie theater employees face their worst fears when a mysterious set of pornographic reels releases a little more than their repressed desires.” Thursday, May 30th – 9:30 PM – Canal Place & Saturday, June 1st – 4:30 PM – Canal Place

-Brandon Ledet

Episode #56 of The Swampflix Podcast: New Orleans French & Overlook Film Fests 2018

/ swampflix / 4 Comments

Welcome to Episode #56 of The Swampflix Podcast. For our fifty-sixth episode, James & Brandon take care of some film festival-related Spring cleaning before the city hits its summer slump. They discuss the horror-themed Overlook Film Fest, which came through New Orleans for the first time this year, and then are joined by CC to discuss this year’s New Orleans French Film Fest (including in-depth discussions of the Agnès Varda oeuvre & last year’s arthouse thriller Nocturama). Enjoy!

You can stay up to date with our podcast through SoundCloud, iTunes, Stitcher, TuneIn, or by following the links on this page.

-James Cohn & Brandon Ledet