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Then there’s the advert selling lessons on the right way to construct a course for a sport that mixes Frisbee and golf, culminating in a Bruce Springsteen-style anthem. “Never needed to be well-known/simply wish to do one factor,” Duguay sings passionately in a raspy belt. “Bought that Frisbee on Monday/by Wednesday that Frisbee zings.”
The songs are comedian highlights. They’re refined sufficient to be a convincing re-creation of, say, the synth-heavy soundtrack of a misplaced Brian De Palma thriller (that’s parodied in a current episode), however a bent goofiness finally bursts by means of, stealing focus. That’s the core of one of the best jokes right here, the pingpong of mundane realism and the weird, working like setup and punchline.
It’s insanity to speak about foosball gamers as if they’re sociopathic mobsters, however this podcast commits to it. So a lot so that you just begin to get invested within the rivalry between Used Foosball Tables and its neighboring retailer, Karate Trophy City, residence of the biggest karate trophy in North America. (“Traditionally, karate and foosball individuals don’t get alongside.”)
There are moments within the podcast when you’ll be able to hear the comic voice intrude, like Doug quip about Psychology Today: “It’s created so therapists can have {a magazine} within the ready room.”
Or the type of totally imagined bits that would simply be a part of a John Mulaney set, just like the unpacking of the phrase “sleeps with the fishes” from “The Godfather.” Doug questions why Sonny Corleone’s affiliate would drop the seafood in his lap versus simply telling him, “Some fish got here and … it’s not good.” Adopting Sonny’s perspective, Doug asks, “Did I rent you for dramatic aptitude?”
These are humorous however sound extra like a stand-up than an insurance coverage agent. “Valley Heat” has all of the hallmarks of an auteur sensibility, together with a sure indulgence. There’s a story muddle and lack of polish on this podcast that comes from inventive freedom. That’s additionally a power: It sounds as if it may come solely from one distinct, uncompromising voice.
Kyle Chayka, in his current guide, “Filterworld,” argues persuasively (and darkly) that the artificial-intelligence-driven algorithms powering Netflix, YouTube and social media have had a flattening impact on artwork, producing feeds marked by sameness and mediocrity. But new applied sciences have additionally lowered the barrier for entry for artists and allowed new works like “Valley Heat” that would by no means have been produced a era in the past. It’s an optimistic signal that amid the glut of content material, formidable and eccentric various comedy continues to be being made. It simply could also be arduous to search out.
