Queer and What's Making Us Happy

Summary

Pop Culture Happy Hour: “Queer and What’s Making Us Happy” Summary

Released on December 13, 2024 | Hosted by NPR’s Pop Culture Happy Hour Team

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Episode Overview

In the December 13, 2024 episode of NPR's Pop Culture Happy Hour titled “Queer and What’s Making Us Happy,” host Glenn Weldon engages in an in-depth conversation about the film Queer, directed by Luca Guadagnino. Joined by NPR film critic Bob Mondello, journalist and author Treyvell Anderson, and entertainment host Ryan Mitchell, the panel delves into their varied perspectives on the movie, exploring its themes, performances, and cultural significance. The episode also features the beloved “What’s Making Us Happy” segment, where each host shares personal sources of joy.

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Discussion on Queer

[02:37] Introduction to Queer

Glenn Weldon opens the discussion by summarizing Queer, a film based on an unfinished short story by William S. Burroughs. The narrative centers on Daniel Craig’s character, Lee, a troubled expatriate in 1950s Mexico City, whose quest for a profound spiritual connection with another expatriate, Allerton (played by Drew Starkey), leads them into the jungle in search of a unifying drug.

[03:52] Bob Mondello’s Perspective

Bob Mondello expresses a nuanced appreciation for Queer, noting its intricate portrayal of self-loathing and discomfort within one's identity:

“It was really intriguing for me to see that period replayed in this way and the self loathing of the main character, which is prevalent.” ([03:52])

Mondello highlights Daniel Craig’s performance, appreciating the outdated yet authentic portrayal reminiscent of 1960s gay bar behaviors:

“I thought it was really interesting because Craig was doing a lot of, I guess today you'd almost call them swishy, but they were stereotyped movements and stereotyped ways of speaking...” ([04:57])

[04:58] Treyvell Anderson’s Viewpoint

Treyvell Anderson offers a critical take, feeling that the story of Queer lacks depth and fails to connect meaningfully with its 1950s Mexico City setting:

“I found the story quite light and thin and it didn't feel connected to the place and the space that we're said to be in in 1950s Mexico City.” ([04:58])

He echoes Mondello’s sentiments, expressing a desire for more substantial storytelling:

“I completely agree with you. And I think for those reasons, it's why I'm kind of ambivalent about the final product. Because so much of it feels like it should have already existed...” ([05:00])

[06:07] Ryan Mitchell’s Critique

Ryan Mitchell shares a contrasting opinion, openly critiquing Queer for its pacing and narrative direction:

“I absolutely wanted less of it... It honestly left me feeling like hungover with exhaustion because I did not know where he wanted me to go.” ([06:10])

Mitchell criticizes the film’s seeming lack of purpose and emotional resonance, questioning its impact compared to previous works by Guadagnino.

[07:04] Glenn Weldon’s Analysis

Glenn Weldon synthesizes the panel’s viewpoints, acknowledging the film’s self-indulgent qualities while defending its thematic intentions:

“This is a film about addiction. And to ding a film about addiction as being self indulgent isn't really fair...” ([07:05])

He praises Daniel Craig’s fearless performance, emphasizing the character’s deep longing and complex portrayal.

[08:57] Daniel Craig’s Performance

Mondello challenges the notion that Craig’s performance is inherently fearless, arguing that acting a same-sex relationship is not inherently groundbreaking:

“It's called acting. Right. It's not a complicated thing to pretend to be in love with someone you're not actually in love with.” ([10:02])

[10:02] Treyvell Anderson on Representation

Anderson delves deeper into the generational and cultural reception of Craig’s performance, critiquing the external validation it receives from non-queer critics:

“But if we were talking about two openly queer men, right, engaging in this role, I wonder if folks would also be saying... fearlessness...” ([12:17])

He emphasizes the importance of nuanced representation beyond performative acts.

[16:32] Glenn Weldon on Character Dynamics

Weldon explores the power dynamics between Lee (Craig) and Allerton (Starkey), highlighting how Allerton’s withholding nature shapes the relationship and affects the audience’s engagement.

[20:45] Final Thoughts and Historical Responsibility

Weldon confronts the film’s deviations from Burroughs’ original narrative, criticizing its romanticization of a character steeped in self-loathing:

“But turning Burroughs into a gay romance... that would just set this man's teeth on edge... But it doesn't need to be, damn it.” ([19:23])

Mondello reminds listeners that the characters are fictionalized, suggesting that Guadagnino’s artistic liberties, while noticeable, are part of the storytelling process.

[23:42] Concluding the Queer Discussion

As the discussion wraps up, Weldon underscores the personal connections each panelist feels with the film, acknowledging that while Queer may resonate deeply for some, it presents challenges in broad audience reception.

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What’s Making Us Happy This Week

Following the film discussion, the hosts transition to their favorite segment, “What’s Making Us Happy,” where each shares personal delights:

• Bob Mondello ([26:01]): Finds joy in making bourbon balls, reminiscing about childhood memories with his mother and the amusing aftermath of tasting them as a child.

  “Bourbon balls are just amazing. They're just little delicious brownie-like things...” ([26:01])

• Ryan Mitchell ([27:05]): Expresses obsession with HBO’s Somebody Somewhere, praising its portrayal of outsiders in a small rural town and its comforting narrative.

  “It's this exploration of being an outsider in a small rural town... it really hits in all the best ways.” ([27:05])

• Treyvell Anderson ([27:49]): Recommends rewatching The Amazing Race, appreciating its depiction of everyday people overcoming fears and embracing adventure.

  “It is so beautiful just to see regular people traversing the world and many of their fears.” ([27:58])

• Glenn Weldon ([28:05]): Shares his happiness in engaging with Tim Curry’s rendition of A Christmas Carol on Audible, appreciating its humorous and authentic take on the classic tale.

  “Tim Curry in the mix, he cuts through the treacle... What’s making me happy this week is... A Christmas Carol.” ([28:22])

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Conclusion

The episode concludes with heartfelt thanks to the guests and producers, reiterating the show's commitment to exploring diverse perspectives in pop culture. Listeners are encouraged to engage with the hosts on social media and subscribe for more insightful discussions.

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Notable Quotes with Timestamps:

• Glenn Weldon: “...Daniel Craig, this is a fearless performance, whatever you think of it.” ([07:46])

• Bob Mondello: “It was really intriguing for me to see that period replayed in this way and the self loathing of the main character...” ([03:52])

• Treyvell Anderson: “I found the story quite light and thin and it didn't feel connected to the place and the space...” ([04:58])

• Ryan Mitchell: “I absolutely wanted less of it... It honestly left me feeling like hungover with exhaustion...” ([06:10])

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Note: This summary excludes advertisement segments and focuses solely on the substantive discussions and personal anecdotes shared by the hosts and guests.

Transcript

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[Glenn Weldon]

This message comes from St. Jude Children's Research Hospital. Active and retired federal employees and military staff can support St. Jude during the 2024 Combined Federal Campaign. Visit saintjude.org cfc and donate now using the code 10560 hi, it's Glenn Weldon. Before we start the show, we're closing in on the end of another year and our team is looking back at all the great conversations we've been able to bring you in 2024 because of your support. We dove into the sleeper hits and the shows you shouldn't sleep on, the sequels and the prequels and our favorite binge watches. We stayed up all night to catch you up on the Oscars and the Emmys, and we debated the best fictional bands and the pop culture hills will die on. And it's all because listeners like you step up to support our work, either by giving to your local station or by joining npr. NPR has grown a lot this year and we want to say an extra special thank you to those supporters right now. You know who you are, and if you don't know what I'm talking about, NPR is a sweet way to support the independent public media you rely on from NPR when you sign up for a simple recurring donation. You support our mission of creating a more informed public and get special perks for more than 25 NPR podcasts like sponsor free listening, bonus episodes, and even exclusive and discounted items from the NPR Shop and the NPR Wine Club. By donating now, you'll fund not only NPR's award winning journalism across the country and around the world, but also the stories that make you laugh out loud, the ones that make you cry because they resonate so deeply, and the quirky ones that can only come from the wonderful, wacky world of public radio. Join us on the plus side [e-mail] thanks. Queer stars Daniel Craig as you've never seen him as a junkie prowling the streets, hooking up, shooting up and guzzling tequila. He meets a handsome young man he longs to connect with, and they embark upon a quest into the jungle in search of a drug that will unite them on a deep spiritual level. At least that's the idea. I'm Glen Weldon and we're talking about Queer on this episode of Pop Culture Happy Hour from npr. Joining me today is NPR film critic Bob Mondello. Hey, Bob.

[Bob Mondello]

Hey. Good to be here.

[Glenn Weldon]

Good to have you. Also with us is journalist and author of We See Each Other A Black Trans Journey Through TV and Film, Treyvell Anderson. Hey, Trey Vel.

[Treyvell Anderson]

Hello. Hello.

[Glenn Weldon]

Hello. Hello. Also with us is entertainment host and culture commentator Ryan Mitchell. Welcome back, Ryan.

[Ryan Mitchell]

Everybody, buckle up. We got a movie to talk about.

[Glenn Weldon]

We got something to talk about indeed. And that is Queer, which is based on an unfinished short story by William S. Burroughs. It's a fictionalized account of his life in Mexico, Mexico city in the 1950s. Daniel Craig plays Lee, a dissolute expatriate American in a wrinkly white suit who spends his days and nights looking for sex and drugs and booze. One night he meets the young, aloof Allerton, another expat American, and becomes infatuated. Allerton is played with patrician reserve by Drew Starkey. Lee's longing for Allerton gets rejected, but only sort of and only intermittently, which just drives Lee even further into horny despair. He convinces Allerton to accompany him to the deepest jungle in the hopes of finding a powerful drug that could connect their minds and their souls for good. Queer is the latest film by Luca Guadagnino, the director behind Call Me by youy Name and Challengers. And for this film he re teamed with Challengers screenwriter Justin Karitskis. It is in theaters now. And I have so many thoughts, deeply conflicted and complicated and layered and tangled thoughts about this. So help me, Bob, kick us off. What'd you think of Queer?

[Bob Mondello]

Well, I kind of liked it. I assume you're coming to me first because I am almost old enough to have lived it. Not quite. I would have had to be born about 10 years earlier. But it was really intriguing for me to see that period replayed in this way and the self loathing of the main character, which is prevalent. Yes, he's really uncomfortable within his skin. And to watch Daniel Craig playing with that I thought was really interesting because Craig was doing a lot of, I guess today you'd almost call them swishy, but they were stereotyped movements and stereotyped ways of speaking and being cute or what he thought was cute in a way that wasn't necessarily effeminate. It was a really interesting thing to see because I remember seeing it in gay bars back in the late 60s so that it's outdated. A lot of what you're looking at on screen is of another era. All of what you're looking on screen is of another era. And I thought it was really interesting to see it play out.

[Glenn Weldon]

How about you, Treville?

[Treyvell Anderson]

You know, beautiful gowns. Right. Like, it looks wonderful. I should note, I saw it with, you know, regular folks in a theater. Right. And so I have a little bit of that kind of feeding into my experience. Sure. But I found the story quite light and thin and it didn't feel connected to the place and the space that, you know, we're said to be in in 1950s Mexico City. I deeply hear exactly what you say, Bob. I completely agree with you. And I think for those reasons, it's why I'm kind of ambivalent about the final product. Because so much of it feels like it should have already existed and be up on the shelf with a Merchant Ivory production. Sure, right. And yet I felt I wanted more. I just wanted more.

[Glenn Weldon]

Okay, that's fair.

[Bob Mondello]

You know, I was probably bringing a lot to it. Right. I will concede that I probably did that.

[Glenn Weldon]

Okay, Ryan, did you want more or did you want less? What'd you think of this movie?

[Ryan Mitchell]

I absolutely wanted less of it. I think I love to bring in cultural iconic references in the wonderful Nene Leakes said, whatever that means. And that's how I felt when I left the theater. I felt it was one long winded and very Guadagnino fashion. And it honestly left me feeling like hungover with exhaustion because I did not know where he wanted me to go. I think Treville is completely correct when they're saying that the story is thin. It just felt like, why am I sitting through this? And I kind of got that from the general consensus with the people that I saw it with. It felt like, what was the point? And for me, Luca sits at this intersection of loving to have a one sided conversation with himself.

[Glenn Weldon]

That's interesting.

[Bob Mondello]

That's nice.

[Glenn Weldon]

That's a good one. Because again, I ended up admiring this film even when I thought it was being self indulgent. And then I kind of caught myself, as soon as I came up with that word self indulgent, I was like, well, this is a film about addiction. And to ding a film about addiction as being self indulgent isn't really fair, you know? Right. I mean, or is it because it did feel like if I was calling this film self indulgent, it's kind of like going to the opera and being like, what's with all the singing? Why are people singing? You know what I mean? It's kind of the project. It's kind of what this is about. And this is told from the point of view of the addict, which means we have to get some sense for it to work at all. We have to get some sense of that need, that longing. Right. That yearning. And that's what I credit Daniel Craig in a big way for doing here. This is a fearless performance, whatever you think of it.

[Treyvell Anderson]

Absolutely.

[Glenn Weldon]

It's a pretty fearless performance.

[Ryan Mitchell]

I agree. Daniel's the best.

[Glenn Weldon]

And what I got from it was mostly a very complicated portrait of that longing. Because, as Bob said, this thing is so shot through with self loathing, which is Burroughs. Like, if you want to do Burroughs, you got to get that self hatred because that's there. And this version of Burroughs, this Lee, to Bob's point, he wants people to think he is taking a kind of pride. He's preening in his. What he would consider his degeneracy. Right. He's proud of his drugs and his drinking and his homosexual acts. He doesn't consider himself gay. We'll get into that. But like, he's proud of that, all in a perverse way. Because it's exactly what you said, Bob. He wants to be perceived as in control. And of course, the film makes very clear that everybody around him sees him as a drunk junkie fool who is also. One way that manifests, that performative quality manifests in Lee is he is performatively disgusted by other queer folk he sees as more effeminate than he is. That's fair, right? Cause that's something that still poisons the queer community. That is accurate. I didn't see a lie in that. I also like that this film doesn't really let Lee off the hook. Right. Cause he's not. We see his flaws. Talk to me more about Daniel Craig in this role.

[Bob Mondello]

Well, I think the thing that I'm hearing the most about his performance is that it's what you said, fearless. And I'm curious about that because I think a lot of people seem to think that this is his step away from James Bond, as if he had never done anything before. James Bond, for instance. And the weirdness about that, for me, I mean, him playing a closeted gay man doesn't seem like it should be in this day and age, all that shocking. Right. And people keep talking about it as if it's fearless because he's smooching with another man on screen, which is like. Yeah. And I mean, it's called acting. Right. It's not a complicated thing to pretend to be in love with someone you're not actually in love with. And the gender of that person shouldn't make very much difference. And apparently it does to an awful lot of critics who are writing about it. I love what you said about it ought to have been a Merchant Ivory film. That was really a lovely observation. That did not occur to me at all. And that, in retrospect, strikes me as absolutely right.

[Treyvell Anderson]

Yeah. So about 30 to 45 minutes into this two hour picture. Jeez, okay, two hour plus. I just felt like we were getting very quotidian, right? Like we were getting very regular degular. Like no story, no the plot is not moving forward in any particular way. And for me, a lot of those old school pictures, such as, you know, Maurice, right, have these really great. We regard them as great now, right? Scenes of these closeted, right. Queer folks just existing, just like, you know, being in love in their own world. And it is quite basic and unremarkable because it should be right in its normalcy. But it felt to me a little kind of like the soundtrack of the film. Anachronistic, right. For what we were taking in, or the broader world, right. That we find ourselves taking it in. But I also wanted to say, to your point, Bob, in terms of some of the reaction to Daniel Craig's performance and how people are defining it as fearless, I think you're right. Some people are looking at the fearlessness as this straight man baring it all going there, right? And I think a lot of people look at that as like, oh, my God, versus if we were talking about two openly queer men, right, engaging in this role. I wonder if folks would also be saying, right, and framing the fearlessness of Daniel Craig's performance in particular, in that way. And so to your point, Glenn, I think it's important, right, that we reframe it and we say that Daniel Craig, it's more than just him, you know, doing the gay thing, right? It is him building in and adding nuance to this character that so many of us are actually familiar with, regardless of what generations we come from.

[Glenn Weldon]

Interesting.

[Ryan Mitchell]

You know, the really interesting thing about Daniel's performance is his ability to make not only Starkey's character, but the audience feel suffocated. I was kind of enamored by that. I felt myself kind of like cringing at the moments that felt like love bombing. And the moments that felt like a whiff of daddy issues were all kind of happening in this mixture of moments where I was like, why is Starkey going through this? Why hasn't he left and completely left him Alone. Is he also an agent of chaos? Does he? And what is Daniel's kind of moment of, like, not being able to read the Room, which I think we mentioned before. In the ways that he maneuvered in these kind of queer spaces. Or showed up in queerness? It was very interesting to, like, witness these moments through Daniel's performance. But I think to kind of wrap it all together what you all are saying. It reminds me of such a dated moment of like a Brokeback Mountain. Where you're getting these actors who are getting praise for doing this simple thing. Right. Sure. In it does feel like, are we really looking at this film. And the nuances of how we should kind of be viewing this work? Right. It hasn't really been there in most of the reviews that I've seen. I've been looking for, like, queer critics who are actually looking at this. And queer critics are actually hating it. Versus what our counterparts are actually really praising and enjoying this film. And I think that's very interesting to see.

[Treyvell Anderson]

There is also, though, a generational divide I've seen. Right.

[Bob Mondello]

To your point, Bob, this queer critic.

[Treyvell Anderson]

See, yeah. I have seen older, you know, more seasoned critics who are queer, who are members of community. Being able to articulate. Right. Something that we can't. Right. Because we didn't live it.

[Ryan Mitchell]

Right.

[Bob Mondello]

I remember the period, it was still kind of frightening to go to a gay bar. And this novel was Burroughs going to Mexico. Where he could be safe from that in a way that as an expat, he could live a different life. And I think I was seeing all of that through my own perceptions back in the 60s of older men who appeared to me to be queer. And my father worked in the Department of Justice. And was dealing with Frank Kameny and people like that. These are legendary figures in the gay community now. But at the time, he was in an irritation for my father. Who we sort of had to deal with. And all of that is sort of informing my view of this. I think because I knew that the novel was unfinished. I wasn't expecting it to go someplace I figured it wouldn't get there. Right. So that even if it had a sort of a revved up start. It wasn't going to end up someplace. So I wasn't as bothered by the fact that it wasn't really traveling as you folks were. My problem is that I had a very personal reaction to this. I hear myself saying it, and it's personal. And I'm not sure that it applies to how most people will see the film.

[Glenn Weldon]

I think one of the strengths of the film is that we all see pieces that are gonna be personal to us. I mean, for me, it was Drew. Drew Starkey's Allerton, I think, is perfect because he's so withholding. He wants to be the object of lust. He gets off on being the object of lust, but refuses to give back anything. So you do. We do in the audience what Lee's doing. You lean in. You keep projecting. You fall into him because he's such a blank slate. And it's a power dynamic. He's in control of this relationship. And when he does show physical affection, he makes it seem like it's a favor to Lee. Like it's a grudging decision that he makes. And I think a lot of queer folk, especially this queer folk, is going to recognize that. And this is a tangent. It'll get cut. But, like, in college, I went to a nerd school. We didn't have any sports teams, but we did have an ultimate Frisbee team. And period, everybody else was poindexters on the campus. The Frisbee players were the hot ones. And the amount of nights I spent in the dorm room of this or that Frisbee player just hanging out, right. Being buddies, and nothing would happen. And nothing would happen. And nothing would happen. And something would happen. And then for weeks, nothing would happen. Then nothing would happen like that. It's not a happy memory, but it's something that Starkey embodies completely. That's where it finds this film.

[Treyvell Anderson]

Yeah. You know, it's. Oh, yes. Both of you just said really great things to me. Right. Bob, thank you so much for sharing all of that.

[Ryan Mitchell]

Seriously.

[Treyvell Anderson]

Because I think it also reminds us that sometimes films don't have to go anywhere. Right? Like, sometimes we can just sit in.

[Glenn Weldon]

A moment or sit in a ayahuasca trip that lasts almost as long as a real ayahuasca trip.

[Treyvell Anderson]

And I do have to say, because of the length of the film, because of its pacing, and because it doesn't go anywhere, it is, in a really interesting way, this, you know, case study, if you will, of a particular time period. And I do think that that has utility and that is important. Now, is Cousin Pookie and Auntie Bam Bam going to enjoy themselves and find that to be a worthy $25 ticket? You know, thank you so much. When they leave, because we're gonna stay there. Sure. Right. Because the people around me, when I saw it, right. They were checking their phones multiple times. Right. And so I think that's the important difference to note and I think others who might be more detached from some of those communities or some of those interest areas, I think they might find it a little bit more, you know, I don't want to say challenging, but you know, will it be worth it?

[Bob Mondello]

Actually challenging would be generous.

[Ryan Mitchell]

I think challenging works because when I think of this, a lot of people are probably got the excitement around this film is coming from a post challengers world, right, where everyone was obsessed with challengers. It was a part of popular culture in a really meaningful way. And so they're going into this thinking like, oh, there's Omar Apollo, who's a Grammy nominated artist. We're so excited. All I'm seeing online is about the sex scenes and how this is going to be a completely different take from call me by your name. And there's actually. We're gonna see something really revolutionary here. But if you're not bringing anyone in, it's kind of like what's the point? You could have just had a backyard viewing and showed this film to them. That's perfect. And for me, I think I am coming into this not knowing about Burrow's life, not understanding that context until I did research in preparation for the show. But regular folks aren't doing that. They're going into this film thinking it's going to be the next meme able, Internet worthy like film. And how are we gonna talk about this? And if you can't even understand all the dream sequences or any of the context that's surrounding this, it's like, did the film do its job? Yes, we can sit with something that just can be. But did. Did it actually result in anything? Did it create feelings? Did it really manifest in the ways that I think these creators wanted it to? And I'm not necessarily sure it did.

[Glenn Weldon]

I feel, Bob, like I need to take over. The old man yells at cloud mantle from you because you're not rising to it. And I will. I feel like somebody has to let people know that this is a radical interpretation of the book. A book that I have never read as about love, but that book is about lust. It is a good deal gnarlier and grittier and filthier and dirtier than this movie is. And that's because Guadagnino and I did not read the same book. In the press notes, he says the novel revealed a truly romantic character who was yearning for love. To which I say, no, it effing didn't. I don't know what book you read. He goes on to say, to make a movie from Burroughs about Burroughs that is a touching, moving and emotional experience is something that has not been done before. And the tone of the entire book is just shot through with this twisted, screwed up self loathing. So, like, the entire tone of that book is like, well, of course this beautiful boy wouldn't want any part of this drunk, junky, queer, pathetic person that I was. And that's not empowering, right? That's not a moment of representation. But it doesn't need to be, damn it. I mean, like, it's true. It's what this guy was feeling and what we're getting here. I mean, the last moment in this movie is a moment of tenderness and love, which is just not the guy. And I know we're getting into Dead Arthur territory and we talk many times about it. Your intent doesn't matter. What you wanted the movie to be about doesn't matter. What matters is what you made.

[Bob Mondello]

Yeah, that's fair.

[Glenn Weldon]

But. But turning Burroughs into a gay romance, even one that says layered and screwed up as this one, I mean, that would just set this man's teeth on edge. And I don't care, because he was screwed up. But he didn't consider himself gay because at his time, gay was a word for a political movement, a community, an identity that he did not want any part of. He was only too happy to engage in gay acts. He loved gay sex. He did not like gay identity, homosexual identity, queer identity. And I think that is very hypocritical on his part. It's reductive on his part. But don't you have a historical responsibility to reflect that in this movie? I mean, I don't read Burroughs to come away with empowering thoughts about queer love.

[Bob Mondello]

Now, fair, fair, fair, fair. Except, remember, these are made up characters, right? I mean, granted, they are. It's semi autobiographical, but it's still made up characters. So he softened it that he prettifies things. I mean, Guadagnino prettifies things always, right.

[Ryan Mitchell]

I feel like some of that condescension or disgust kind of culture did kind of come up when Daniel's character was in conversation with Jason Schwartzman's character.

[Glenn Weldon]

Jason Schwartzman, of course, playing a version of Allen Ginsburg in this film.

[Ryan Mitchell]

And you kind of see that kind of play out in a big way. And so I wonder if that's a subtle way of him kind of doing this and adding in that texture there. That's something that I thought about because Jason, for me, was a highlight of the film. I thought that it was the comedy moments I was like, if we can have more Jason on this screen, please. I always wonder how these films work when it is like, about like a cisgendered gay man going to, like, Mexico City and exploring this and like, kind of like seeing this very through like a white lens and not really through kind of anything that is of culture. And the one times that we are seeing people of color in this film is either through sex acts or service. And it always, it makes it a little bit more complicated for me as someone who is sitting in the space of these identities and at these intersections. And so for me, it's like I sometimes my disgust of it. Kind of like you're running away clearly from your life, so now you're going to kind of impose on other people's lives and become this hot mess. And it just, I don't know. It's complicated for me. And when I think about it, overall.

[Glenn Weldon]

Yeah, I mean, the prettified Mexico City seems endemic of something that is the project of this film. And it's the. Of this film that I'm struggling with. It's not the performances at all. It's what's behind it.

[Ryan Mitchell]

Yeah, I agree.

[Glenn Weldon]

I. We are struggling. We're piecing over everything. But I don't. Who's the target again? Who is this for? This is the question we ask on the show all the time. Who is this for? It's for me so I can get angry about it. It's for Bob so we can see something reflected. It's for y'all, so that y'all can articulate as well as you did here.

[Treyvell Anderson]

There you go.

[Glenn Weldon]

Your struggles with it. But for most people, it's just a weird movie that has a very long ayahuasca trip that lasts longer than a real one. Tell us what you think about queer. Find us on [e-mail] PCHH and on [e-mail] NPRpopculture. We'll have a link in our episode description up next, what is making us happy this week?

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[Glenn Weldon]

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[Glenn Weldon]

Time for our favorite segment of this week and every week. What is making us happy this week? Bob, kick us off. What's making you happy this week?

[Bob Mondello]

Feeling nostalgic? The thing I always used to do with my mom when I was a kid at this time of year was make bourbon balls. This is when I was five or six years old and I have the recipe still that she had in her little box of cards and I made bourbon balls the other day. I've got a picture of it. I will put it up on the web. You guys will be able to see me in my craziness. Bourbon balls are just amazing. They're just just little delicious brownie like things and I make them every year and I make way too many and it's just fun. What I remember most about them was two weeks later when we finally ate them and me at five or six years old would have a little bit of one of them and make a terrible face cause it tasted like alcohol and then pretend to be drunk for the next five minutes and everybody at whatever party would just think that was adorable. And anyway that's what I'm going for.

[Glenn Weldon]

Thank you very much Bob Ryan, what is making you happy this week?

[Ryan Mitchell]

Oh my God, can we please talk about how I'm obsessed with somebody somewhere on Max?

[Glenn Weldon]

Oh my God, what a great choice.

[Ryan Mitchell]

It has been a show that it took me a minute to get into. I remember watching the first season, like the first episode and was like, okay, this moves really slow. But for some reason it just clicked for me recently and I've binged it and I'm so sad that it's in its third and final season. Bridget Everett and that entire cast is absolutely incredible. And it's actually become like a comfort show for me. It's this exploration of being an outsider in a small rural town. And as someone who grew up in the south and in a small suburban rural town, it really hits in all the best ways. So if you haven't watched, I totally recommend it.

[Glenn Weldon]

That is somebody somewhere on hbo, a show that we love here on this show. Thank you very much, Ryan. Treyvell, what is making you happy this week?

[Treyvell Anderson]

I have another TV show recommendation, but it's a throwback. I recently started a rewatch of the Amazing Race.

[Glenn Weldon]

Another bchch favorite.

[Treyvell Anderson]

Listen, a throwback from another time. Okay. We were a different world back then.

[Glenn Weldon]

Oh, yeah.

[Treyvell Anderson]

But it is so beautiful just to see regular Degla people, you know, traversing the world and many of their fears. I find it quite entertaining and quite calming. So check it out.

[Glenn Weldon]

So that's great. We love that show. Where are you watching it on?

[Treyvell Anderson]

I'm watching it on Paramount.

[Glenn Weldon]

Plus that is the Amazing Race. Thank you very much. Trey Bell. What's making me happy? Look, it's the holiday season. That's not what's making me happy. Because whether you like it or not, at some point every year the culture just gets seized by this collective fever and I see it as a biological process. You'll get through it. You just gotta drink fluids and get plenty of bedrest because if you don't, you're just gonna exhaust yourself. It'll last even longer. The way I get through it is not by fighting it, but by engaging with it on my own terms, which is by listening to the great Tim Curry reading a story that has been co opted by Big Christmas for far too long. That is A Christmas Carol, a signature performance by Tim Curry. It's on audible. I know what you're saying. La Christmas Carol. It's sappy. That's sentimental. It's treacly. Yes, that's why you need it. Tim Curry in the mix, he cuts through the treacle. He does not milk the sentiment. What he leans into is the language and the voice of the narration, which if you forget and it's been a long time since you actually read it. It's my favorite thing. I just started my annual listening this morning. And I always forget how much very funny throat clearing there is in those opening pages where Dickens is just, you know, he's like, why is it dead as a doornail and not dead as a coffin nail? And he goes into this tangent about Hamlet's father's ghost. It's just the best. That is a Christmas Carol, a signature performance by Tim Curry. It's on Audible. Audible, of course, is owned by Amazon, which supports NPR and pays to distribute some of our content. And that is what's making me happy this week. And if you want links for what we recommended, plus some more recommendations, sign up for our [e-mail] popculture newsletter and that brings us to the end of our show. Bob Mondello, Trey Bel Anderson, Ryan Mitchell, thank you so much for being here.

[Treyvell Anderson]

Thank you.

[Ryan Mitchell]

Thank you for having me.

[Glenn Weldon]

This was a very fun discussion. This episode was produced by Lennon Sherburne and edited by Jessica Reedy and Mike Katzeff. And hello. Come in provides our theme music. Thanks for listening to Pop Culture Happy Hour from npr. I'm Glenn Weldon, and we'll see you all next week.

[NPR Sponsor]

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