The difference between magic and comedy.What the term "in-attentional blindness" means and how it applies to getting your watch stolen.Strap on your nerd helmet, fasten its padded chin-strap, and get ready to learn. The one and only guest on the show is Alex Stone, the author of Fooling Houdini : Magicians, Mentalists, Math Geeks & the Hidden Powers of the Mind. This week brings the return of the HOW WAS YOUR WEEK BOOK CLUB! Woo-hoo! YEAH! Books!!!!!!! and DAVE CULLEN, who has pearls of wisdom to dispense about Columbine and beyond.Īlso in this episode, Julie discusses an ambiguous and unusual experience she had on the subway with a guy who may have been a pick-up artist, shares a story about an upsetting thing she learned about a self-help author way too late into her book, threatens with something gross, ponders "Here Comes Honey Boo Boo" and the politically incorrect thing all TLC stars have in common, and reviews Hope Springs.Ī fun episode for fans of the show both new and old!Īhoy! And a robust August to you. SARA SCHAEFER, who has a disturbing story about an encounter with an actor whose work only children enjoy!
NATE HARRIS, who reminisces with Julie about the time they watched a video about female ejaculation together! EDDIE PEPITONE, who shares his ideas about a blue collar guy's acid trip! CAROLE RADZIWILL, who tells us about Sonja Morgan's Little Edie impression! PATTON OSWALT, who has things to say about THE GRADUATE! It's a clip show-palooza this week, also known as an outtakes or "lost footage" episode! The 76th episode of How Was Your Week features all-new content from Julie, and things that you loved from past episodes as well as things you never heard from these wonderful guests! Therefore enjoy.
This conversation will shake your core and change your worldview, and at the very least, the ASMR "whispering" stuff will straight-up give you the creeps!Īlso: Dad Broth! The ongoing digit-related saga of Honey Boo Boo! Paul Ryan's place in the Jonathan Franzen-verse! The world's dumbest idea for a tattoo! And a tender recollection of a perfectly-timed text from Julie's friend Nate during one dark night. Then, Gawker editor, Internet superstar and general goddamn delight MAX READ joins us to discuss a few online subcultures that desperately need your attention, including ASMR people! Otherkin! Wikipedia authoresses! The Illuminati! And those who are soul-bonded to dead grunge artists. Whilst these two changes mark a significant break with the continuities of context and styles of performance, the form itself remains remarkably resilient.This episode of How Was Your Week is edu-taining and enter-cational! First off, comedian KURT METZGER is here to talk to Julie about approaching Prince, how news people differentiate the Amish, what he believes to be the scariest scene in "The Shining," and whether Rogaine works. It is no longer to be found mainly at the seaside, but more typically at festivals which deliberately invoke a sense of the past. Secondly, there have been changes in the contexts, geographical and cultural, within which the form sits. They have set up organizations, instituted dedicated festivals and produced discourses about their traditions, practices and aspirations. Firstly, in the control of the tradition by performers themselves. The research has discovered that significant changes have occurred in Punch and Judy in the past 25 years, in two principal areas. Through participant-observation, the research seeks to get closer to understanding the dramaturgy, the material culture and the motivations of the performers themselves than previous studies have attempted to. More centrally, it is an ethnographic study of current practice undertaken in close association with many of the performers themselves, especially members of the Punch and Judy College of Professors who are collaborative partners in the project. The research relies on close comparison with previous studies it also investigates the approaches of earlier commentators. It is also concerned with how its reception is mediated by current preoccupations with nostalgia and the commodification of the historical. The research is particularly concerned to discover who is now performing the show, how it is performed and where it is performed. The research addresses the gaps in this knowledge and seeks to discover how production and reception of the form has changed in the last 25 years and how it is currently constituted. No sustained research has been done into the traditional British glove puppet form Punch and Judy since the 1980s no ethnographic research has ever been done on it.
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