Fantasia in Best Show Minor is the first and only ever Best Show on WFMU DVD Release! It features stuff you’re never going to believe, puppets. animation, sketches, travelogues from callers, and guest appearances from Patton Oswalt, Ted Leo, Paul F. Tompkins, Zach Galifinakis, Fucked Up, Tim and Eric, John Hodgeman, Aimee Mann, Scharpling and Wurster, Yo La Tengo, Kurt Vile, Matt Fracton, Todd Barry, and Jason Woliner. The DVD was available exclusively during the 2010 WFMU pledge drive.

The focus of attention during the 10-day Bach festivities in the City of Leipzig, as well as of "24 hours Bach", was the live transmission of the Mass in B-minor from the Church of Saint Thomas. The performers include the Thomanerchor Leipzig and an ensemble of highly regarded soloists. Georg Christoph Biller, the cantor of Saint Thomas' Church and Bach's 16th successor conducts the Gewandhausorchester Leipzig.

Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the 　　narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically 　　no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life 　　itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe 　　it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been 　　perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a 　　Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We 　　2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just communist/grown-up enough!)? It is my belief 　　that whenever imagination and freedom stand as the core precepts of one's aesthetic, no intrusions (invited or repressed) of "political" or "social" "realities," either as plot-element, backdrop, or general 　　milieu, can grant Possession and Control of that work to the envious workaday critics, hack bloggers, or majordomo Ideologians. All great artists know, and from head to toe, that the big picture is the 　　Individual and his interior perceptions of the outside world — and that artistic generation is simply the mimetic representation, mise en abyme, of this graceful essence and its occasionally ancillary residue 　　(i.e., external action). For Rossellini, social realities exist in counterpoint to knowledge and fantasy, and Rossellini's Undersea Fantasy [Fantasia sottomarina, 1938] is an essay upon man's only material 　　reality: his origin, and the circumstances of his end.

Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the 　　narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically 　　no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life 　　itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe 　　it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been 　　perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a 　　Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We 　　2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just communist/grown-up enough!)? It is my belief 　　that whenever imagination and freedom stand as the core precepts of one's aesthetic, no intrusions (invited or repressed) of "political" or "social" "realities," either as plot-element, backdrop, or general 　　milieu, can grant Possession and Control of that work to the envious workaday critics, hack bloggers, or majordomo Ideologians. All great artists know, and from head to toe, that the big picture is the 　　Individual and his interior perceptions of the outside world — and that artistic generation is simply the mimetic representation, mise en abyme, of this graceful essence and its occasionally ancillary residue 　　(i.e., external action). For Rossellini, social realities exist in counterpoint to knowledge and fantasy, and Rossellini's Undersea Fantasy [Fantasia sottomarina, 1938] is an essay upon man's only material 　　reality: his origin, and the circumstances of his end.

Hajnal needs to get out of here. In this surrealist fantasy, they prepare to leave their home country for England.

A festive holiday special, hosted by Tituss Burgess, featuring teams from around the world transported to a magical snowy village, Snowdome, and thrown into a spirited competition to compete for the title of Best in Snow.

Follows pizza competitors from all walks of life to showcase their pizza slinging skills and battle it out for $10,000.

Follows pizza competitors from all walks of life to showcase their pizza slinging skills and battle it out for $10,000.