For this Universal 1933 Studios Year by Year episode we commit the sacrilege of trashing a James Whale movie, The Invisible Man, which is also Claude Rains' first major screen role, albeit mainly as a voice. A ranting, irascible voice in a movie with very little evidence (in our irresponsible opinion) of Whale's voice. But then we turn to a movie bearing a strong directorial imprint, William Wyler's Counsellor at Law, which contains probably John Barrymore's best screen performance. We discuss Wyler's contested status among auteurists and the multiple layers of Elmer Rice's adaptation of his play about early 20th century American antisemitism and how to live with the knowledge of one's moral compromises. And in Fear and Moviegoing in Toronto, we took in a Valentine's weekend screening of Sternberg's The Devil Is a Woman at the TIFF Lightbox cinematheque, giving us another opportunity to grapple with its ironies and opacities.

Time Codes:

0h 00m 25s: 1933 and Universal

0h 03m 51s: THE INVISIBLE MAN (1933) [dir. James Whale]

0h 19m 21s: COUNSELLOR-AT-LAW (1933) [dir. William Wyler]

0h 48m 06s: Fear and Moviegoing in Toronto: Josef von Sternberg's The Devil is a Woman (1935) at TIFF Lightbox

Studio Film Capsules provided by The Universal Story by Clive Hirschhorn

Additional studio information from: The Hollywood Story by Joel W. Finler

1933 Information from Forgotten Films to Remember by John Springer

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* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

* Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

* Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating.

* Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

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Write to us at therebuggy@gmail.com

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We bid a fond farewell to our Acteurist Spotlight on Delphine Seyrig with the greatest movie of all-time (as of the most recent BFI critics' poll), Chantal Akerman's Jeanne Dielman, 23, quai de Commerce 1080 Bruxelles (1975) and its "sequel," Golden Eighties (1986), Akerman's retro-80s-while-it's -still-happening musical. We give our latest thoughts on anxiety, oppression, and orgasms in Jeanne Dielman before turning to a very different Jeanne played by Seyrig and a different aspect of Akerman's grappling with her family history. In Golden Eighties, Akerman takes a wistful snapshot of the moment when postwar capitalism was undeniably failing but denial hadn't yet failed, smuggling social commentary and emotive dramaturgy into goofy musical comedy.

Time Codes:

0h 00m 25s: JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (1975) [dir. Chantal Akerman]

0h 41m 06s: GOLDEN EIGHTIES (1986) [dir. Chantal Akerman]

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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring

* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

* Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

* Read Elise's piece on Gangs of New York – "Making America Strange Again"

* Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

Follow us on Twitter at @therebuggy

Write to us at therebuggy@gmail.com

We now have a Discord server - just drop us a line if you'd like to join!

Our 2026 Valentine's Day episode explores the romantic appeal of Adam Sandler through his first rom com pairing with Drew Barrymore, The Wedding Singer (1998), and his celebrated collaboration with Paul Thomas Anderson, Punch-Drunk Love (2002). While The Wedding Singer pursues a sweetness and sincerity alien to the studio-era romantic comedies it in some ways emulates, Anderson's enigmatic fairy tale riffs on the combination of terrifying vulnerability and terrifying rage in Sandler's persona, positioning him between the grace of romantic salvation and the gravity of a punitive superego (who owns a mattress store). May you say: "That's that!" to your superego this Valentine's Day.

Time Codes:

0h 00m 25s: THE WEDDING SINGER (1998) [dir. Frank Coraci]

0h 34m 05s: PUNCH-DRUNK LOVE (2002) [dir. Paul Thomas Anderson]

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* Listen to our guest episode on The Criterion Project – a discussion of Late Spring

* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

* Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive)

* Read Elise's piece on Gangs of New York – "Making America Strange Again"

* Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!

Follow us on Twitter at @therebuggy

Write to us at therebuggy@gmail.com

We now have a Discord server - just drop us a line if you'd like to join!