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Welcome to Michael and us, I'm Will Sloan, here is always with.

Luke Savage, welcome back everyone.

So, you know, we're gonna be talking about Fritz Lang's metropolis on this episode

at long last, right?

Yeah, I mean, I think this is one of those, you know, long time coming kind of things.

I mean, because of the sort of remit that we've imposed on ourselves for the show,

sometimes we, I think we like to space out perhaps unconsciously the good films,

and this is certainly one of them, you know, so that they can be, you know, the diamonds

and the ruff among all of the, you know, liberal and conservative kitsch that we otherwise

consume for this show.

So, yes, this one has been a long time coming.

So, I was doing some sightseeing in Germany, and last week I saw two museums that might

be relevant as we gear up for this conversation.

A few days ago I went to the new National Gallery, which is an art museum that focuses

on Modern Art from 1900 to 1950, although with a few noble exceptions, I think it's fair

to say that Modern Art pretty much ceased in Germany starting in 1933 for a generation.

The stuff that was produced was produced pretty underground.

As I said on the last Patreon episode, in my old age I'm becoming the sort of person

who gets deeply emotional at art galleries, and this was no exception.

When you look at the German art from the 1920s, a lot of it suggests, and, you know, this

will not be a revolutionary insight, a lot of it suggests a country that was both deeply

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