When we started friendly fire we naively assumed our audience would dutifully

watch the movies along with us every week. We only started adding intros

once we realized that a majority of our listeners weren't watching the films before they listened to the show and might have needed a little synopsis before we just dove right in.

The intro's gradually expanded to include some additional context to films that may have been unfamiliar.

And we added some color commentary and some thematic backstory maybe a little sassafras, a little little banjo-picken, a little rhetorical fallacy,

and eventually they morphed into a pitch reel for an animated comedy series we're making for History

Channel After Dark, called Dank Skipper and his two woke Gilligans.

But Inglorious Bastards doesn't need any thematic backstory or rhetorical fallacy.

It has all that and more contained within.

In fact, to try to set the stage for this movie would be like sweeping the sidewalk in advance

of a major sewage explosion.

Tarantino alternate universe World War II doesn't bear any resemblance to actual World War II.

In fact, he had no reason to set this movie in World War II at all, except that's where Hitler lives.

And Hitler has become a kind of fictional character for most people,

embodying evil, and he's got that funny mustache.

And it's easier to put all the things you hate inside Hitler than it is to lay them out on the table and look at them.

Tarantino could have used his prodigious imagination like he did in the old days when Mr. Pink didn't tip and the Gimp lived in a footlocker.

And he could have made a movie about a really bad contemporary guy who does unspeakable things and gets revenge killed by his victims.

And maybe that would have been actually interesting and made us reflect on our morals and

think hard about human nature.

But that would have been challenging.

So rather than write a whole interesting script he chose to kill

...