Death is a Photograph

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In the first of our solo episodes this season, the DPP boys sit down, shut their asses up, and listen to Gen X women in the workplace, specifically Toni Collette, Parker Posey, Lisa Kudrow and Alanna Ubach in Jill Sprecher's 1997 office comedy Clockwatchers.
If Office Space, Fight Club and Falling Down express a male rage at deindustrialisation, the meaninglessness of white collar work, and arbitrary hierarchies — that is very much still with us — what does Clockwatchers have to say about the first generation of women (1965-1980) partaking equally (at least formally and legally) in the professional labour market?
Interestingly, Sprecher's female leads couldn't be further from the 'Lean In' feminism of Sheryl Sandberg that came to dominate the 2010s — and in many ways they share more with their Gen X male analogues (Tyler Durden, Peter Gibbons) than might, at first, be expected. Because, of course, everyone (no matter your identity marker) can agree that "work sucks."
Find out in today's episode.

This week, the DPP lads are joined by David Jamieson, journalist and editor of Conter Scot to discuss Mel Gibson's 1995 epic Braveheart.
What does a botched historical drama about Scotland's First War of Independence (1296-1328) by an American-Australian traditionalist Catholic tell us about the political conscioussness of Gen X and the contemporary American right? What does, and did, freedom mean to those born in the 1960s and 1970s?
Find out in today's episode.
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This week on DPP the boys sit down with Eddie Averill, formerly of Extended Clip, now of Vintage Violence, to investigate Paul Thomas Anderson's LA epic Magnolia (1999). Is Hollywood an American virus? Is TV the Gen-X brain bug? Dig in with Chase, Sam, and Eddie to find out.

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This week, DPP is joined by poet, podcaster, author, and host of Varn Vlog — C. Derick Varn — to discuss Richard Linklater's non-linear, slice-of-a-generation classic, Slacker (1990).
Set in the suburbs of Austin, Texas, Slacker follows an interwoven set of 20 and 30-somethings, doing, well, not exactly much. This is pre-techlord and podcaster Austin. However, Linklater still captures glimmers of the hipster explosion that is to come in the characters of Slacker — conspiracy theorists, anarchists, conceptual artists, skaters, post-punk drummers, etc.
In 2026, we live in a world where Gen X's children across much of the western world, and increasingly the far east, are out of work, out of education and on the scrap heap (NEETs, lying flat etc). If Gen Z are structurally excluded from much of the work force, Gen X conciouslessly opted-out.
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This week, the DPP lads are joined by writer, critic and marketing director at publishing house Deep Vellum (and friend of the pod) Jon Repetti — to discuss Spike Lee's 1999 crime thriller Summer of Sam.
Summer of Sam revolves around the fallout from a real-life killing spree committed by David Berkowitz between 1975 and 1977.
Lee's 1999 feature is an odd combination of 1970s nostalgia aimed at a young Gen X, combined with subcultural analysis and crime thriller tropes. The film delves into the urban psychogeography of New York City's outer boroughs and ethnic neighbourhoods — at a time when NYC was widely considered to be in decline, yet also experiencing a huge cultural flourishing of underground scenes, musical creativity, and club life.
Does Gen X's childhood fear of the city and the urban, in the 1970s, translate into today's pervasive paranoia about large American cities? Find out in today's episode.
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