In Minute 16 of The Whole Shebang, Mike and Jenny take a deeper look at Velvet Goldmine’s 1984 and how it differs from and resembles our own, the legacy of Brutalist architecture in both the UK and US, the conscious turn to global, via-satellite stadium rock bombast in the 1980s and its representation in the form of Velvet Goldmine’s Tommy Stone, sinister 1980s corporations, earnest-yet-tone deaf 1980s music fundraisers, post-punk as comment on punk, and meeting a familiar face on the subway stairs.

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In Minute 15 of The Whole Shebang, we fully enter Velvet Goldmine’s 1984 and discuss how it resembles our timeline’s 1984, Orwell’s, and Diamond Dogs’s, sneer at an unconvincing New York City, look at the possibly camp fascism of President Reynolds’s America and how it relates to the slightly embarrassing '90s direct-to-video version of Jesus Christ Superstar, and discuss the death of glam dreams through growing up and getting a good job.

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In Minute 14 of The Whole Shebang, Jenny and Mike look at Oscar Wilde’s short stories including “The Remarkable Rocket,” Todd Haynes’s deft use of film cliché, Velvet Goldmine’s grey dystopian 1984 for the very first time, and American actors who go over to England.

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In Minute 13 of The Whole Shebang, Jenny and Mike look at the importance of bisexuality to glam rock, rock and roll in general, and to Velvet Goldmine, the first appearance in this film of Ewan McGregor as Curt Wild, the performative queerness of David Bowie and the matter-of-fact queerness of Lou Reed, the hippie generation’s poetic sex theoretician Norman O. Brown, the liminality of queer history, and the Sun newspaper reporting on the Brian Slade hoax.

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In Minute 12 of The Whole Shebang, Jenny and Mike go deep into the sexy space-age camp lyrics of “Hot One,” the early years of glam, glam’s opposition to both hyper-masculine heavy rock and to political punk, the average man-or-woman-on-the-street’s opinion of glam, why British English has so many euphemisms for gay, video inspirations for Todd Haynes, the history of sailors in gay art and fashion, and Jonathan Rhys Meyers’s tightly-trousered and eminently pokeable crotch.

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In Minute 11 of The Whole Shebang, Jenny and Mike kick off The Week of Exposition with a look at the tricky and blasphemous goth aesthetics of Wilde’s Salome, the psychic backlash of celebrity deaths, Wilde’s letters to H.C. Marillier, a look at '90s glam-math rockers Shudder to Think and the genius of the achronistic Velvet Goldmine soundtrack, and a full accounting of both Jenny’s extensive role-playing game history and Michael Jackson fandom.

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In Minute 10 of The Whole Shebang, Mike and Jenny go deep, Zapruder-film-style, into the Assassination of Brian Slade and also talk about: the tragic end of Tommy Cooper, how bad we feel at missing out Queen’s contributions to glam in past episodes, a brief history of the Observer newspaper, and a much longer look at the front page of the Observer on the day Brian Slade was shot.

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In Minute 9 of The Whole Shebang, Mike and Jenny talk about our first listen to Maxwell Demon and the Venus in Furs, the alternately boring and gross literary origins of sadomasochism, Mick Ronson, the rest of the Spiders from Mars, and what happens when working-class glams up, more gig memories, VHS and CD packaging, and the majesty of Jonathan Rhys Meyers’s cheekbones.

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In Minute 8 of The Whole Shebang, Mike and Jenny talk about cigarettes and hairspray, Velvet Goldmine as tribute to the film Ziggy Stardust and the Spiders from Mars, rock ‘n’ roll premonitions and assassinations, the dangers of wearing feathers on stage, and speculations on Brian Slade’s backstage rider.

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In Minute 7 of The Whole Shebang, Mike and Jenny talk about the rest of the opening credits, more hot font action, comedy names from Carry On movies, Michael Stipe’s glam aesthetic, true stories from the queue of a Nine Inch Nails gig, the origins and patron saints of glam rock, the perfection of Jonathan Rhys Meyers’s brooding, and our love for Todd Haynes.

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In Minute 6 of The Whole Shebang, Mike and Jenny talk more about the technical credits of the movie, the alternately apple-cheeked and haggard-looking young Christian Bale, the history of experimental gay and rock 'n' roll film, Jenny's moody goth-girl love of Placebo and Gormenghast, the numerology of London bus stops, and the retrofuturistic genius of Eurostile Bold Extended.

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In Minute 5 of The Whole Shebang, Jenny and Mike talk about getting drunk on Malibu & Coke, which Brian is best Brian, the award-winning excellence of Velvet Goldmine's costuming, the naughtiness of the song "Velvet Goldmine," Estuary vs. Kentish accents, questions of motion picture top billing, and count 'em TWO nerdy stories from Mike's college years!

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In Minute 4 of The Whole Shebang, Jenny and Mike talk about the importance of formative traumas in constructing both rock star and gay identity.

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In Minute 3 of The Whole Shebang, Jenny and Mike talk more about changelings, Blackadder II, the fairy (and faerie) symbolism of the color green, proper jewelry nomenclature, quintessentially macho professions, the etymology of "pop idol," playground pummeling, and David Bowie's acquired heterochromia.

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In Minute 2 of The Whole Shebang, Jenny and Mike talk about the myths and realities of historiography, the attraction of a well-tended English garden, Mike's love of UFOs, Oscar Wilde: changeling rock star, the awesomeness of Lady Wilde and the magnificence of the space-age album art of Shusei Nagaoka.

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