Mismatched Texts: Recent Episodes
Justice Hagan & Andrew Hoffmann
Hosted by two popular culture superfan-scholars, Mismatched Texts is a show that brings together novels, films, games, and narratives of all kinds into seemingly odd pairings and reveals the ways in which they address similar themes.
Wherein Justice and Andy preemtively mourn the loss of physical media following Sony's annoucement that PlayStation games will no longer have discs in the next two years. Why are we being pushed exclusively into the digital age? Someone must be benefitting from this. Granted, Steam has been exclusively digital for a generation and many people appreciate that convenience. But when you couple this with the recent publishing announcement to end the mass market paperback, the threat to knowledge preservation seems unaffordable.
Wherein Andy and Justice court disappointment in their rewatch of Star Trek: The Next Generation season two episode ten, "The Dauphin." This is among the most forgettable episodes of the series. Case in point: we forgot that we recorded this review and moved on to "Contagion." Why do the writers continually pitch Wesley's personal life as something interesting? Why does he seek romantic advice from Geordi, who has even less game than him? Why would a Klingon mating ritual help a teenage human? And finally, why does the Enterprise have no interest in learning about the seemingly remarkable species that they are transporting to a diplomatic event? This one's a stinker.
Wherein Justice and Andy bludgeon their way through the uneven final season of the uneven series run of The Boys. What started off so promising simply took too long to produce and became a pastiche of itself. If the attitude or tone of the show didn't change, why did our reception of it? How did what was once shocking become routine? And even expected and boring? It's so dreadfully disappointing that it's difficult to encapsulate in a single joke. At least it's over.
Wherein Andy and Justice flunk the class of 3196 and pick through the carcass of an unfinished yet canceled show, Star Trek: Starfleet Academy. This show is terrible all around: plot, check - setting, check - tone, check - theme, check. Why did the studio greenlight a show they had no confidence in? Is this the end of the Kurtzman era Star Trek? Will this finally make them put the franchise on ice for a generation? If Discovery was bad, and Section 31 was worse, then this one reads like fan fiction.
Wherein Justice and Andy amuse themselves with an investigation into the comedic impulses and necessities of televised or filmed representations of the popular tabletop rpg Dungeons & Dragons. Which mediums demand more humor to be successful and why? How low can humor go before it turns off an adult audience? Why does humor seem to be more important when introducing new audiences to the setting and genre? We discuss the idea of how laughter and play are essential to childrens' games and remind ourselves that these media installments are another version of that.
Wherein Andy and Justice debride the eleventh episode of Star Trek: The Next Generation season two. The initial introduction to the Iconian race, the episode captures some of the same ominous energy of season one's "Conspiracy." This one continues in the tradition of "A Matter of Honor" and "The Child" as episodes where the character development seems out of place. Why does Picard leave the ship in a time of peril? Why is diplomacy immediately thrown out of the airlock? Why can't Riker manage his temper on the bridge? Why does the consummate archaeologist Picard decide to destroy the Iconion remnants rather than find a way to preserve and study them? Because we're still in season two!
Wherein Justice and Andy pass judgement on "The Measure of a Man," the ninth episode of Star Trek: The Next Generation season two. In this episode, Data is on trial for his rights and existence, with Picard acting as his defense and Riker as (forced) prosecution. This episode is an analog for many of the differnet kinds of rights under threat today, such as civil rights, trans rights, and the rights of the differently abled. All can be read at least partially through Starfleet's pursecution of Data. Why does Riker feel the need to so flagrantly violate Data's person in his prosecution? Why is this an exclusively military matter rather than a civil one? Why does Picard act like a quitter so early? And why is Captain Louvois stupified by everything that happens in her courtroom?
Wherein Andy and Justice exchange ideas about the events of the eighth episode of Star Trek: The Next Generation season two. An exchange program in Starfleet sounds like a positive thing, however, it takes a special kind of confused writing to muddle things up this badly. Why does Riker choose to participate in the program? Why does Worf have so little screen time in a Klingon-centric episode? Who nominated Wesley to be part of the welcoming committee? Why is it okay for Worf to openly bully subordinates? Why does Riker imply that Earth's cultural values are superior? Unfortunately, none of the answers to these questions will satisfy. But listen anyway!
Wherein Justice and Andy hunt down the impact of Predator: Badlands, the newest entry in the Predator franchise from Dan Trachtenberg. As the first film in the franchise to feature the Predator as the protagonist, how does it shift the narrative direction for the franchise for the future? And as the first PG-13 film in the franchise, does it imply a softening or Disneyfication for the films foing forward? Are we about to see plush Predator toys? Are we about to see Yautja halloween costumes for young children? We understand the tensions between a monster film and the need to market it, but at what cost?
Wherein Andy and Justice innoculate the wider Trek fandom against the notion that the seventh episode of the second season of Star Trek: The Next Generation consulted with any medical professional in the screenplay's assessment of how to properly handle an unknown pathogen. Not only do we get more of Pulaski's bigotry in this episode, but we learn that her academic experience as a virologist has zero bearing on the decisions she makes for the wellbeing of the crew. From usurping the chain of command to not understanding how either a shuttle or a force field work, we question her enrollment and graduation from Starfleet Academy. But hey, the makeup and special effects team really pulled off a stunner here.
Wherein Justice and Andy hijack the discussion of Ira Graves and his violation of Data's body and mind. In this review of Star Trek: The Next Generation's sixth episode of the second season, we encounter the man described by Dr. Pulaski as "the greatest human mind in the universe." He does not live up to this description. What is the nature of bodily autonomy and does Data have the right to his own body and mind? And how do we account for the godlike levels of tolerance the crew affords Graves? Is to know him to love him? It is not.
Wherein Andy and Justice interpret the events of "Loud as a Whisper" in their review of the fifth episode of Star Trek: The Next Generation's second season. In an episode produced and aired during the debate around the Americans With Disabilities Act, Star Trek portrayes a protagonist with different abilities. How is the deafness of Riva shown on screen? How does the crew react to his unique form of telepathic communication? And what happens when those lines of communication break down? First, Riva flips over the chessboard and then, as usual, it's Data to the rescue.
Wherein Justice and Andy swoop into the fray of the controversial new Superman film. It's the first of James Gunn's new DCU and takes a very different approach than the MCU's established pattern of success. How believable does a Superman movie have to be? Why is this movie so crowded? Will there ever be standalone origin stories in this new DCU? And will we ever see a mature Lex Luthor again? Leaping over narratives in a single bound, it's a bird, its a plane, its James Gunn's first bad movie.
Wherein Andy and Justice rake "The Outrageous Okona" over the coals in their review of this fourth episode of the second season of Star Trek: The Next Generation. The main issue with this episode is not only that Okona himself is not outrageous, but that the episode does not fit narratively in season two, nor does it contribute to character development and growth as we've come to expect following the last episode. Because of these qualities, we argue that it's quite possible that this is a holdover in some form from season one. Also, Joe Piscopo? WTF?
Wherein Justice and Andy investigate the events of the third episode of Star Trek: The Next Generation's second season, "Elementary, Dear Data." Who wouldn't love seeing Data as Sherlock Holmes? Well, Katherine Pulaski, for one. This episode continues to explore her technophobic bigotry, while at the same time expanding the character of Data and the wondrous capabilities of the holodeck. We also meet a recurring "villain" in the character of Professor Moriarty, whose fate remains a stain on the record of Captain Picard with it's staggeringly cruel and unusual punishment. Also, Geordie goes AWOL while on duty to cosplay.
Wherein Andy and Justice intentionally slip into the snare of the second episode of season two of Star Trek: The Next Generation, "Where Silence Has Lease." As season two starts to find its footing, we still face some strange developmental choices for the characters and the space. Having encountered another all-powerful entity, the crew confounds expectations by reacting to all of the events in the episode without a shred of professionalism or discipline. Even Data seems unable to form a hypothesis, stuck in the exhausting discurvise patterns of a freshmen physics student. Nevertheless, the episode does mark another step forward in quality for the series as we see glimpses of what the show will become.
Wherein Justice and Andy embark on their analysis of the first episode of season two of Star Trek: The Next Generation, "The Child" as the first entry in their full season two analysis. Season two is critical because it is a pivotal time in the establishment of Star Trek: The Next Generation as the preeminent entry in the Second Age of Star Trek. While season one was imporant but clumsy, season two helps the series to find narrative stability and character position. In this first episode of the second season, several new characters and spaces are introduced that mark critical - and occasionally temporary - changes in series.
Wherein Andy and Justice ressurect the conversation of immortality by looking at the the 1986 film Highlander and the China Miéville and Keanu Reeves 2024 novel The Book of Elsewhere. What is the psychological nature of being an immortal? It seems to be something people wish for, and yet it is often depicted as something that inevitably leads to severe depression and a desire for death. We also discuss the curious situation of a China Miéville co-authorship and his recyclying of the transporter problem from Star Trek. Topics range from Christopher Lambert's bizzare acting choices to the 1980s' fascination with lightning and sparks to Keanu Reeves' refusal to shed the John Wick appearance. Will every character he plays from now on look the same?
Wherein Justice and Andy launch themselves into the conversation about the recently released trailer for The Fantastic Four: First Steps. What does the retro-futuristic setting imply for its space in the MCU? Has anybody ever thought the powers of Marvel's First Family were cool? We sure don't, and we know you don't either. Ultimately, we wonder if this film can redeem the MCU or the failed Fantastic Four adaptations of the past. It probably won't.
Wherein Andy and Justice bemoan the horrifying experience of subjecting themselves to the new film Star Trek: Section 31. This marks the 14th Star Trek film and, given its quality, possibly the last for the foreseeable future. Why does this film exist? How could Michelle Yeoh (an outstanding artist) consent to this film's release? There is no one to blame but Alex Kurtzman.
Wherein Justice and Andy compute the outcome of the first season of Dune: Prophecy on HBO. In these final three episodes, we see even more of a departure from Frank Herbert's Dune lore while at the same time an almost slavish adherence to the original novel. If those things seem in conflict, you're not wrong. And yet, somehow the show remains a compelling experience. More Dune is always good, especially when it's this well-made.
Wherein Andy and Justice slither through a reading of How the Grinch Stole Christmas, a 1957 Dr. Suess classic. Many Marxists see the Grinch as abandoning his Marxist principles, but that is not supported by the text. So what happens instead? What does the Grinch really embrace? Who are the Whos, really? And ultimately, what is the reason the Grinch returns from Mt. Crumpet with myocarditis? Happy holidays Karl!
Wherein Justice and Andy map out the DNA of the new Dune: Prophecy series from HBO. At this halfway point of the series' release, we already see a departure from the style of Frank Herbert and notice some inconsistencies in the source material. While this is clearly meant to be tied to the larger franchise of Villeneuve's Dune parts 1&2 and it matches very well aesthetically, we have some questions about the nature of the prequel texts. What is Desmond Hart? How do the characters know about the connection between worms and the spice ten millenia before the events of Dune? And why can Brian Herbert and Kevin J. Anderson only imagine three families over 15,000 years of human history?
Wherein Andy and Justice examine the "stakes" of remaking old films and stories. Both Salem's Lot and Roadhouse have been remade this year and we're curious to know why. Given their relative success, what does this mean for all of the other shitty movies we wish we could forget? We look at the idea of nostalgia and while we understand why these stories were popular (except for Roadhouse), we marvel at how bankrupt the creative Hollywood industry has become. With Roadhouse 2 just over the horizon, it's difficult to conceive of where rock bottom truly is.
Wherein Justice and Andy punch their way into the celebration of Fight Club's 25th anniversary. Can you believe it's already that old? For us, where Fight Club is part of our history, this anniversary marks a reevaluation of the film and its personal and cultural impacts. What did we use to love about it? Do we still feel the same way? Hint: we do not. It isn't about the message behind it; its about our evolving ideas as we age. (And maybe a bit of the message behind it). Do we need Fight Club at age 40 or 50? Or do we just need parts of it? Or none of it at all?
Wherein Andy and Justice exhume Captain Kirk because of William Shatner's recently proclaimed dissatisfaction with the legendary figure's death. We revisit that scene in Star Trek: Generations and discuss whether or not his opinion holds up. Would Kirk have appeared in NuTrek if he had not died? Would we have even wanted that? Was this an apporpriate end for him and a way to effectively pass the torch to Picard?
Wherein Justice and Andy run screaming from the theater to produce this review of the newest entry in the Aliens franchise, Alien: Romulus. Fede Alvarez daringly returns to the original films' timeline and style, setting it between the first and second films. What do we see in this new entry that distinguishes it from the others? Where does this film hit, and where does it miss? What did you think of the Ian Holmes digital recreation as Rook? (we did not care for it). As a mostly impressive film, we discuss the possible implications for the future of the franchise.
Wherein Andy and Justice slice into the question of whether or not Deadpool & Wolverine and Kingdom of the Planet of the Apes can or have revitalized their respective franchises. TLDL: No. But seriously, both movies are worthwhile and Deadpool & Wolverine borders on excellence. Fight us. While Kingdom of the Planet of the Apes made some questionable narrative decisions and Deadpool & Wolverine purposefully criticized and tried to reboot the MCU, neither accomplished their goal of franchise revitalization. In the end, more attention is clearly needed to resuscitate these narrative universes.
Wherein Justice and Andy burn down the final season and really the entire series Star Trek: Discovery. What once sounded promising turned into a catastrophe. From initially placing it just before the original series time and then spore-driving it nearly a millenium into the future where the Federation no longer existed, this show has made an unprecedented series of mistakes in the franchise: focusing too heavily on inner turmoil and questions of trauma, foreclosing on any other possible additions to the intervening time , and basically making pointless the contributions of TOS, TNG, DS9, VOY, and ENT. Needless to say, we're glad it's finally over. And we're dreading Star Trek: Academy.
Wherein Andy and Justice run the guantlet of Supergiant's Hades franchise of games. While this episode mostly looks at The Hugo Award winning first game, we also talk about Hades 2 which is currently in early access. What makes these games so compelling, even for newcomers to the rougelike genre? For starters, its engagement with Greek mythology makes it attractive to those who encountered those stories early in life. Secondly, this isn't a traditional rougelike, but one that unfolds its story even through failure. Have a listen and get ready to die a thousand horrible deaths.
Wherein Justice and Andy dust themselves off after a trip through the wasteland in the new Amazon Prime series Fallout. How does the franchise adapt itself to this new medium? What is familiar from the games and what is original to the show? Where do we see this series going? And who keeps hiring Kyle MacLachlan?
Wherein Andy and Justice welcome Tony Hoffmann, the man responsible for forcing us to watch Zack Snyder's Rebel Moon (2023) from beginning to end. Together we complain about Snyder's professional cannibalization of Star Wars, Dune, The Lord of the Rings, and so many more superior texts into the cinematic casserole that is Rebel Moon. By way of comparison, we also look at Dan Simmons' novel Hyperion (1989), which pays proper homage to literary texts of the past in a way that results in a science fiction masterpiece. What constitutes copyright violation? We get it, we've all seen 300. How does Snyder keep getting work?
Wherein Justice and Andy lament the news of Larian Studios decision to not pursue a sequel to Baldur's Gate 3. And futher, that they have decided to leave the Dungeons & Dragons setting entirely. Is this a good business decision for the studio? Why leave when you've perfected the formula for a D&D rpg? We're sure their next project will meet the same standard of quality, but why don't they love us anymore?
Wherein Andy and Justice memorialize Akira Toriyama, best known as the creator of the Dragonball franchise. One of his other masterworks is the video game Chrono Trigger, the SNES RPG from 1995. We also mention the recently deceased musical genius Neil Peart, drummer and lyricist from Rush and accomplished author. We look back with some nostalgia on their works and what their deaths mean for their art.
Wherein Justice and Andy draft a roster of monsters to pit against one another. The rules: Only two titans and the human-sized-ish monsters must have a semi-Earth origin. Crystal clear. We each pick five and debate their battles. Come and see who wins!
Wherein Andy and Justice bite into the drama surrounding the cancellation of the Dark Universe franchise and the monstrous success of the Monsterverse franchise. What makes Godzilla and King Kong compelling both individually and together? At the same time, what makes Dracula compelling by himself but not when paired with the wolf man, Frankenstein's monster, or other Victorian/Romantic horrors? Why was the Dark Universe unable to replicate the success of the early MCU when they had at least as many bankable stars already signed? How is it that Tom Cruise signed on to The Mummy and turned down the role of Tony Stark?
Wherein Justice and Andy get turned around in their attempts to define what distinguishes a spinoff from a reboot and whether or not such things are worth the risk to the original work. As ubiquitous as spinoffs have been, how many can compare to the source material? And why do we think of spinoffs mostly in terms of television and not other textual forms? After Mash? Who greenlit that?
Wherein Andy and Justice aim their sights on the right-wing talking point that the upcoming GTA 6 game from Rockstar has "gone woke." That was an excruciating sentence for the two of us to write because the very idea of it is ridiculous. What does the GTA franchise seek to accomplish beyond making money? What do its many entries say about the American story? And wouldn't gendered and racial diversity be expected in a game set in 2025 Miami? Of course it would!
Wherein Justice and Andy endure the agony of the Very Short Treks series on YouTube. Why do these exist? What niche are they trying to fill? Clearly they shouldn't exist and aren't filling any niche. I mean, these are just an embarassment to the Star Trek franchise, and a slap in the face to all True Trek fans. Actors from previous and current shows are participating in this travesty. How could they?
Wherein Andy and Justice embark on a discussion of worldbuilding across the genres of written and nonwritten texts. What is the difference between a top-down and bottom-up approach to worldbuilding and what makes each world feel alive and complete? Is it the landscape? Is it the history? Is it the characters? Who is the player or the audience in the world? Topics range from J. R. R. Tolkien to China Mieville to Stephen R. Donaldson (perhaps the most underrated SF author) to Bethesda's latest miserable failure, Starfield.
Wherein Justice and Andy sneak into the scuttlebut about the end of the Mission Impossible franchise. Is it in fact coming to an end? The lead actor and the studio seem to have different plans in mind. What do you think about a secret agent who can almost collect social security? Does the agency supplement Medicare... or provide supplements? But seriously, what do we think about Tom Cruise as an action star in his 60s? Should the series come to an end or should they James Bond it?
Wherein Andy and Justice harmonize in opposition to the Strange New Worlds episode "Subspace Rhapsody." The first Star Trek episode in history to be framed as a musical, fans around the world were devastated by its departure from fifty-eight years of their expectations. Why was this done? Why such a marked departure from a proven formula? And can we expect more episodes that abandon a serious exploration of cultural issues?
Wherein Justice and Andy stroll into the recent controversy in country music with the release of Jason Aldean's "Try That In a Small Town." Pulled from circulation on CMT, it has ignited a veritable molotov cocktail of protest. What is this song about, really? Do political messages deserve to be treated politically? And does the small town that he imagines in the song really exist?
Wherein Andy and Justice call into question the wisdom and timeliness of continuing the seemingly unending Avatar franchise. Given that there was 14 years between the first and second film, we were hoping that it was finished. Why does there need to be more when the first film told a complete story? And will the next three entries be as predictable as the second film was? Yes they will be. Please make it stop.
Wherein Justice and Andy drill into the anthropocene by way of 2003's The Core and the 1993 episode "Forces of Nature" from Star Trek: The Next Generation. Given that we're confronted with the awesome problem of the climate crisis, we've decided to rewind the clock to look at two early versions of impending ecological disaster. Despite the radically different solutions in each of these stories, both demonstrate a shocking amount of American military hubris. How do these texts envision solutions and have we reimagined those solutions in the last thirty years? And what the hell is a laser impeller?
Wherein Andy and Justice navigate the uneven chracter arc of Star Trek: The Next Generation's Wesley Crusher. From a whining beneficiary of nepotism to a valuable member of the bridge crew to an interdimensional cosmic entity and winding up as Wil Wheaton playing himself, we chart the many successes and failures of this character. If the enire bridge crew can endlessly play themselves in the franchise, why can't Wil Wheaton?
Wherein Justice and Andy shuffle into the disappointing realization that there is no history of or cultural references to zombies in the universe of The Walking Dead. And why have the creators of the franchise chosen to do this? For the least interesting reason possible. With centuries of zombie and other undead stories woven into human culture and history and religion, are we supposed to believe that the rest of popular literature and fine arts are exactly the same as ours? I guess so...
Wherein Andy and Justice stomp into the world of Nintendo's Mario. The success of the recent film got us thinking about Mario's character arc, such as it is. Why is he popularly understood to be a plumber when he has never plumbed anything in any game? Isn't he rather an exterminator of various pests and populations? Topics range from the Mario films to the recent open world entries to Hernán Cortés. Why is this man a hero?
Wherein Justice and Andy mosey down the trail of the western genre in film and television. We look at Taylor Sheridan's Yellowstone franchise alongside the 1963 John Wayne film McLintock! How has the westen genre evolved in the last sixty years and why have we seen a sudden resurgence of it in popular television? Given that Yellowstone has taken the screen by storm, it seems appropriate to discuss what it's achieving, if anything at all. Topics range from land ownership to settler colonialism to the unfortunate permanence of Westen masculinity. Also, it seems like there's a whole lot of spanking going on...
Wherein Andy and Justice turn back the clock to 2014's Edge of Tomorrow and 1993's Groundhog Day. Why do we keep watching timeloop movies over and over again? What is compelling about the opportunity - or the curse - to relive the same day for years, decades, or centuries? How long could you do it before losing your mind, or is there something to be learned from the journey? Topics range from eastern religions to alien invasions to screaming into the void at the end of your experience. Also, is this Bill Murray's best film?
Wherein Justice and Andy creep into the conversation of the antihero in popular culture. What do you think accounts for the recent explosion of the antihero in film and television? Why are we drawn to characters of evil and violence? Does it reflect our own anxieties of morality, or is the depravity real? Subjects range from The Joker to Superman to Deadpool and Wolverine, and of course The Boys.
Wherein Andy and Justice sketch out a short discussion of the pulling of Scott Adams' Dilbert comic strip from newspapers across the country. This happened as a result of Adams' recent podcast episode in which he ranted about a Rasmussen poll that asked the question "Do you agree with this statement: 'It's OK to be white.'" Following Adams' misunderstanding of the question, he commenced a racist self-immolation that ended his professional career as he knew it. Topics range from how unfunny Dilbert is to the level of racism inherent in the former author's remarks.
Wherein Justice and Andy create a new conversation around the ideas of recycled and fresh intellectual property. We take a look at the (hopefully) final Jurassic World film and the Apple TV series See in an effort to demonstrate that there are still fresh ideas out there. Why are the legacy characters present in Dominion other than to enrich the production company? Meanwhile, in See, we are being introduced to new archetypes of characters in each season. From the cramped velociraptor chase scene in Malta to the wide vistas of northwest Pennslyvania, this episode seeks to suggest that a new way of exploring things can be more substantive than returning again and again to the same tired world.
Wherein Andy and Justice march through a conversation about race, urban spaces, and violence in 1993's Falling Down and Rockstar's 2013 modern classic Grand Theft Auto 5. In this second look at GTA5, we focus more on a racialized breakdown of the fictional version of Los Angeles, Los Santos, and read that against "D-Fens" journey through Los Angeles. Why does "D-Fens" think of himself as the victim when he is the agent of violence? What are the racial representations depicted in Los Santos and how do they compare to director Joel Schumacher's version of Los Angeles? How do we identify as the characters from these stories and how are we implicated in their narratives?
Wherein Justice and Andy ambush the argument about who would win in a fight between two of the best sneak attackers in comic books, The Punisher or Batman. While Batman is probably the most popular character in DC comics and Marvel's The Punisher flies mostly under the radar, they have remarkably similar styles (and costumes). It's in their methodology and intent where things get a little different. Who wins? Listen and see.
Wherein Andy and Justice scheme their way into a discussion about Rockstar Games' 2013 masterpiece Grand Theft Auto V and the ensemble heist films of the Ocean's Eleven franchise. Which is more enjoyable: the murdeous mayhem of GTAV's heists or the casual elegance of the heists of the new Rat Pack? Topics range from a total lack of anxiety within the Ocean's criminal enterprise to the constant paranoia and infighting between Michael, Franklin, and Trevor. Also, it took Andy three months to beat GTAV.
Wherein Justice and Andy capitalize on the news of the Daily Wire's acquisition of the unadaptable Atlas Shrugged. Is there any way at all that this could possibly be a wise financial move for erstwhile conservative "news" organization? Could you imagine how many seasons this monstrosity would need? Topics range from Rand's bloated writing style to the Bioshock video game series to how the Daily Wire could rationalize portraying this explicit novel in its full form. Why do people continually try to ressurect this swollen attempt at legitimizing capitalist exploitation? Please let this be the final, failed attempt.
Wherein Andy and Justice conjure up a discussion of the Netflix original series Stranger Things and Stephen King's IT. The orignal novel and both adaptations of King's horrying nightmare all present us with a version of victimized or marginalized children who are able to collectively overcome supernatural terrors. The kids in Stranger Things accomplish similar feats to The Loser's Club, and both take place in small town America. On the surface, one might think that the similarities end there, but do they? Upon futher reflection, the hypertext of Stranger Things purposefully includes IT. Topics range from the ethical considerations of presenting traumatized children as characters to Andy's recurring nightmares from reading IT at far too young an age.
Wherein Justice and Andy interrupt both the micro - and macro aggressions of Dr. Kathryn Pulaski on Star Trek: The Next Generation to talk about her flawed character. After Dr. Crusher's temporary departure, the showrunners made a terrible blunder by replacing her comradery with a character whose disdain and bigotry for one of Star Trek's most beloved characters - Data - was distasteful and distracting. Also, how could someone from the 24th century be leery of technology?
Wherein Justice and Andy interrupt both the micro - and macro aggressions of Dr. Kathryn Pulaski on Star Trek: The Next Generation to talk about her flawed character. After Dr. Crusher's temporary departure, the showrunners made a terrible blunder by replacing her comradery with a character whose disdain and bigotry for one of Star Trek's most beloved characters - Data - was distasteful and distracting. Also, how could someone from the 24th century be leery of technology?
Wherein Andy and Justice are dying to understand the many representations of a personified death in film and literature. We look at the 2022 Hugo Award-winning short story Mr. Death and the 1957 Ingmar Bergman film The Seventh Seal. Given its inevitablity, death is typically represented as terrifying; however, recent depictions show a more compassionate idea of the figure. Also, why does Death need to cheat at chess?
We dedicate this episode to Alan A. Hoffmann. (1954-2022)
Wherein Justice and Andy return to the arena of pop culture and literary studies after an overwhelming August and September. We share some of our hardships and personal reasons for having had to take a break from working on the show. We missed you and we missed each other. Glad to be back!
Wherein Andy and Justice track the development of the Predator franchise and mark the successes of its newest entry, Prey. How have the films changed over time? What is the difference between typical action films and those that focus on hunting? Are the Predators that come to Earth the losers? We hope not!
Wherein Andy and Justice track the development of the Predator franchise and mark the successes of its newest entry, Prey. How have the films changed over time? What is the difference between typical action films and those that focus on hunting? Are the Predators that come to Earth the losers? We hope not!
Wherein Justice and Andy conjure up a discussion of the 1992 Disney film Aladdin and The Daevabad Trilogy by S. A. Chakraborty. How are Middle Eastern and North African cultures depicted in these works? In what ways do they employ myth and the supernatural? Given the 24 years between them, do we see a growth in the way that MENA cultures are represented in narrative? Does Jafar deserve eternal slavery as a djinn for forcing the sultan to eat crackers?
Wherein Andy and Justice challenge each other's readings of Ted Chiang's The Truth of Fact, the Truth of Feeling. How do we trust our memories? Should we trust them? What effect would memories based on perfect recall have on our development? Would you commit your whole life to a recording? We wouldn't!
Wherein Justice and Andy hammer out the impact of the third season of The Boys and where the series might go next. Who's the real villain here and what's with the short-lived redemptive arcs? Is Butcher going to go full-supe? How will the show maintain its Homelander-focused anxiety over two more seasons (or more)? And is Frenchie the funniest character on tv? Our editorial choices point to yes.
Wherein Andy and Justice welcome Dr. Jackielee Derks, longtime friend and colleague, to a remix of Helen Oyeyemi's Mr. Fox and Star Wars: The Force Awakens. Why do authors and production companies keep retelling the same stories? Is it to address contemporary issues or to enrich the almighty corporation? Topics range from J. J. Abrams' time-honored practice of mere enhancement to Oyeyemi's impressive confrontation of the long history of writing violence onto women. How does Rey fit into the Star Wars retelling? Given Abrams' history, in the worst way possible.
Wherein Justice and Andy pause their reading to rant about the increasingly common practice of television series to take mid-season breaks. What is the point of making viewers wait when the content is already finished? Are you doing this to extend our subscriptions? Are you trying to drag out award seasons? Do you consider the stars of your shows contracted property? The most egregious example: Stranger Things season 4.
Wherein Andy and Justice profile the interview style of Terry Gross, legendary host of Fresh Air on National Public Radio. Why does Terry skip the pleasantries in her guest introductions? And why does she begin with a seemingly off-topic and ultra-specific question? Also, Conan O'Brien likes tapdancing.
Wherein Justice and Andy welcome Dr. Brian Kenna to the show. The three of us chronicle the myths, gods, and the supernatural present in Neil Gaiman's American Gods and Richard Adams' Watership Down. What is the function of myth in these stories? How do deities operate as representations of belief and models created by contemporary human cultures? What does Jesus have to do with chocolate rabbits and eggs? Nothing whatsoever. But also, maybe something? It depends on who is telling the story.
Wherein Andy and Justice infiltrate the legacy of James Bond's many representations throughout the decades. If James Bond is a reflection of his culture, which era has spoken to you and why? Has Daniel Craig changed our ideas of who Bond can be? Is there a Bond that stands above the rest? It can't possibly be Roger Moore.
Wherein Justice and Andy welcome guest Nicole Hoffmann to the show to groove on the Highwomen's 2019 remake of the 1985 "Highwayman" song. How do the Highwomen recast the "Highwayman" song from a female perspective? What are the different approaches that each takes to individual and collective endeavors? Topics range from outlaw identity to the Combahee River Collective to female empowerment. Also, why does the original feel silly and childish now?
Wherein Andy and Justice dive into the conversation about the representation of female characters in film. In The Little Mermaid(1989) and Spider-Man(2002) we find two women initially thought to be positive portrayals of strong female identity. Yet, looking back, both fail to meet even basic modern standards for gender equity and female independence. With more than a decade between the texts, how is it possible that Ariel and Mary Jane can't find their own voices?
Wherein Justice and Andy construct their reading of Ted Chiang's Nebula award-winning short story "Tower of Babylon." While building a tower to heaven, Ted Chiang follows the experiences of a miner, Hillalum, as he prepares to chisel his way into paradise. Let's just say, things get turned upside-down. What's the point of all of this effort? And can Hillalum find the face of God in a closed system?
Wherein Andy and Justice investigate the new DC Comics film The Batman. How does Batman's depiction in this work measure up against past iterations of the hero? The Batman films seem to be getting darker and more grim with each reboot. Is the next one going to be just a black screen with the sounds of punching? Despite this darkness, Matt Reeves give us a compelling Batman story.
Wherein Justice and Andy stake out their claims on undead origins in the AMC's The Walking Dead and the film adaptation of Anne Rice's Interview With The Vampire. Why are zombie stories more up front with the origin of the undead than vampire stories? Is it because zombie stories are typically hyper-contemporary? Is it because zombie are a threat to civilization while vampire are threats to individuals? Which would you rather fight: an army of zombies or a single vampire?
Wherein Andy and Justice labor to understand the conversation surrounding the labor shortage in the United States. We also read Melville's short story Bartleby the Scriveneras a text of labor exploitation. Topics range from the minimum wage to baseless accusations of millennial laziness to Tom Brady's unretirement. So, because a 44-year-old millionaire wants to play sports for another year, my 75-year-old grandfather should get back to work in the factory? Yeah, that makes sense...
Wherein Justice and Andy welcome Zach S. Whitney, friend of the show and attorney in Milwaukee. Together we litigate the cultural and legal ramifications of banning books in local and state curriculums. Topics range from Maus being banned in McMinn County, Tennessee, to the misrepresentation of Critical Race Theory in the media and state legislatures, to bewilderment at the requests for "alternative perspectives" on genocide and racism. Also, 25 grams is apparently a hell of a lot of cocaine.
Wherein Andy and Justice saddle up for a conversation about the expansiveness of the West in Rockstar Games' Red Dead Redemption 2 and the entrapment of urban space in China Miéville's The City & The City. What can we learn from exploring the once wide-open prairie and the crushing darkness of the metropolis in these texts? Why do we seek to escape the only spaces we have ever known? Can we even imagine escape? Topics range from manifest destiny to settler colonialism to mass surveillance. Also, make sure to resurrect your horse before reloading.
Wherein Justice and Andy wrestle with the recent post-game violence at the Wisconsin Badgers and Michigan Wolverines NCAA Division I basketball game. Is basketball worth physically violent confrontation? Of course not. Has the business of college sports grown too large? Of course it has. Do we want children fighting over sporting events? Of course not. Is two sports-related episodes in a month too much? Yes it is.
Wherein Andy and Justice continue the discussion of white savior narratives, this time looking at Saul Bellow's 1958 novel Henderson the Rain King, 1995's Dangerous Minds, and 2009's The Blind Side. From Henderson's trip to Africa to Leigh Anne Tuohy's trip to Hurt Village to Louanne Johnson's time in an inner-city classroom, why do we keep seeing white people assume authority over black and brown cultures? Mr. Tambourine Man? Come on...
Wherein Justice and Andy tackle the imagined communities of sports fandoms in our Super Bowl special. From Justice's sudden and unexpected emotional investment in the Cincinnati Bengals to Andy's disappointment in the Green Bay Packers' playoff loss, we look to Benedict Anderson's Imagined Communities to understand how people are drawn into a community of individuals they have never met. Do you feel an emotion connection and investment to a community of sports fans? Why? Go Bengals! Go Rams!
Wherein Andy and Justice welcome sociologist Jeffrey Kroll to the show. Together as humans we question the representation of our species in the Mass Effectand Forgotten Realmsfranchises. Why are humans always disparaged in these sci fi and fantasy settings? What is it about humanity that makes us underserving of trust and responsibility? Topics range from human saviors to the negative consequences of limitless ambition. Also, how our facility with game mechanics decreases with age... (Andy plays on easy mode).
Wherein Justice and Andy swing into the fan debate about two of Marvel's most popular heroes. Who would win in a fight: Spider-Man or Captain America? It's been depicted recently in the MCU, but does that reflect the "realities" of these characters from the comics? Who wins between a human and a superhuman? We tell you. Also, shields vs. webbing and power levels in the MCU. Have they gone too far?
Wherein Andy and Justice excavate the white savior controversies of Indiana Jones and the Temple of Doomand Black Panther. Drawing on the work of Edward Said and other scholars, we examine the colonial interventions of white characters in non-white spaces. How has Indiana Jones remained a hero for so long? Was Everett Ross a colonizer or an ally? And finally, have you eaten at an Indian restaurant? Because clearly George Lucas and Steven Spielberg hadn't when they made Temple of Doom.
Wherein Justice and Andy jack-in to review the new addition to the Matrix franchise, The Matrix Resurrections. How does the film compare to the those of the original trilogy? Is it a worthwhile addition to the legacy? In what ways does it repeat past successes or condemn itself to past failures? Choose the red pill and join us.
Wherein Andy and Justice battle with Sqaure Enix over their delays in the Final Fantasy 7 Remake installments. Why is it taking so long? Will Andy still be alive to see the end? We already know what happens, so why keep us waiting? Haven't you learned anything from Game of Thrones or The Wheel of Time?
Wherein Justice and Andy trek across the blasted landscapes of two post-apocalyptic films. What are some of the differences between stories where humanity needs to start from scratch and stories where pockets of survivors emerge to reclaim human spaces? Topics range from artificial intelligence to the role of the divine to our inability to grow tomatoes. Is it possible for humanity to recover? Not if you're counting on humanities scholars!
Wherein Andy and Justice follow the difficult journey to prestige for influencers across the social media platforms of TikTok, YouTube, Instagram, and the rest. Topics include the uneven racial dynamics of the algorithm that governs these platforms and the compromised work of artists for financial gain. Admitting our own lack of influence, we try to understand the desire and passion and ultimately the capitalist impulse to be followed by millions. Apparently we're pretty far behind. Like and subscribe!
Wherein Justice and Andy chirp about the recent controversy surrounding Big Bird's healthcare choices. From Sesame Street's (and PBS's) history as a favorite target for conservative politicians to its service in creating kinder children, we wonder why politicians insert themselves between Big Bird's family and their doctor. Spoiler Alert: America's favorite canary is not a communist.
Wherein Andy and Justice rely on the work of Paula Gunn Allen and Katja Kanzler in their discussion of First Nations narratives and representation. From the seminal work of Leslie Marmon Silko, Ceremony, to the compromised and problematic depiction of Commander Chakotay on Star Trek: Voyager, we explore the authentic and the conditioned expectation.
Wherein Justice and Andy march into the debate over Son of Kal-El, the new Superman character introduced this year. His sexuality has sparked some backlash and handwringing from cultural and political pundits, and his climate activism has left others quite disappointed. We explore both sides of the issue to answer the question: who is this new Superman?
Wherein Andy and Justice trek through Denis Villeneuve's new Dune film adaptation. What has changed from the book? What has remained faithful to Herbert's vision? Is a Duneadaptation truly possible? Also, Josh Brolin is even more terrifying as Gurney Halleck than as Thanos.
Wherein Justice and Andy uplift the conversation on animal and non-human sentience. We telescope our conversation through Adrian Tchaikovsky's Children of Timeand Arthur P. Jacobs' Planet of the Apesfranchise. Kathy Rudy's "Where the Wild Things Ought to Be" and the work of Arik Kershenbaum and Peter Singer assist us in hopefully assessing a more balanced existence for humanity on Earth. Though we move from spiders to apes, it all comes back to Spider-Man.
Wherein Andy and Justice enlist in a conversation that ponders the place of the humanities in the American military academies and the military generally. Did you know that West Point has English majors and courses on climate crisis narratives? We didn't! Also, Danny DeVito teaching Hamlet.
Wherein Justice and Andy cut their way through the long history of Worf, son of Mogh in the Star Trek franchise. From his thin role as the token Klingon in the early episodes of Next Generation, to his robust victories as a folk hero of the Klingon Empire in Deep Space Nine, we chart his evolution alongside that of Klingon society. Iwlij jachjaj!
Wherein Andy and Justice attack the bravado of people who claim that they can defeat a wild animal in a fight. Have you ever been startled or frightened by a mouse? If you were cornered by a badger, could you make it out alive? What about a kangaroo? How do you stack up, tough guy?
Wherein Justice and Andy partner up in a conversation about the nature of teambuilding in the new The Suicide Squad and The Avengers. What are the methods of building these superhero teams? Do you find yourself caring about one team more than the other? And has DC finally broken out of the MCU's shadow and its own quagmire?
Wherein Andy and Justice transform the conversation surrounding He-Man and Battle Cat in an effort to highlight the trauma of Cringer's forced labor as a soldier made happy to do violence. Why did we always think that this was ok? Its been happening to him for more than three decades!
Wherein Justice and Andy jump into the fray of The Tomorrow War's numerous narrative pitfalls and paradoxes. Why does it feel like both the alien war and the movie itself came out of absolutely nowhere? Topics range from ignoring the grandfather paradox to the race to churn out content to the unimaginable sequel.
Wherein Andy and Justice welcome Dr. Bonnie McLean, friend and noted scholar on the Mad Maxand Blade Runner franchises. Together we augment our collective understanding of artificial intelligence, cyborgs, androids, and the disposability of female bodies in film. Processing ideas including: the apocalypse, rebuilding the world, and Andy's bleak vision of the future.
Wherein Justice & Andy bludgeon their way through HBO's Harley Quinnand Amazon's Invincible. How does hyperviolence operate in stories about parents and children? Does a violent Harley Quinn more effectively articulate an avenue toward empowerment for women? Also smashed under our mallet: childhood trauma, the subjugation of Earth, and, of course, cunnilingus and masculinity.
Wherein Andy and Justice slice their way though Amazon's The Boys and Marvel's Old Man Logan.Why are comics and superheroes becoming increasingly violent? What narrative function does hyperviolence serve in these texts? Topics range from the loss of the benevolent American superhero to corporate sponsorship and sexualized violence. Also, how does a blind Hawkeye manage to survive the apocalypse? It strains credulity.
Wherein Justice and Andy rampage through the endless fan debate of Marvel and DC comics strongest heroes, Hulk and Superman. Who is stronger? Who is more compelling as a character? Who would win in a fight? What ridiculous questions! We decided for you. (But let us know if you agree)
Wherein Andy and Justice go back in time to expand on Episode 7's subtopic of living in the future. Austin Powers and Captain America anchor the discussion alongside Star Trek: The Next Generation's episode "The Neutral Zone." What is the role of nostalgia in stories of temporal displacement? How do characters adapt to their new circumstances? Also, Austin Power's path to monogamy.
Wherein Justice and Andy get stuck in the time travel loop in their discussion of Tenet and the Terminator franchise. Scholarship by Constance Penley and Andrew Gordon help us to explore Terminator’s inevitable dark future and unravel Tenet’s Gordian Knot. These moments in time address subjects ranging from autogenesis and apocalypse to the Nolanverse and getting crushed in a hydraulic press. Please listen before rewatching Tenet, as it may invert our analysis.
Wherein Andy and Justice review the reaction to Warner Brothers decision to stream their new films on HBO Max and release them in theaters simultaneously. Christopher Nolan and Denis Villeneuve are pretty upset about it. Are you? We're not.
Wherein Justice and Andy launch into a discussion about leaving the Earth and going to the stars. Topics range from submarines to implosion, childhood games, and perishing in a fiery blaze. Would you go to space? Sure, but probably not.
Wherein Andy and Justice discuss death, punishment, and applied state power in the acclaimed political drama The West Wingand the sci fi franchise Star Trek. Foucault's The History of Sexuality helps us to critically read the summary executions, cultural hegemony, and deadly indecisiveness in these episodes. Topics range from moral philosophy, revenge, and assisted suicide to, as Sam Seaborn would say, the idea of being absolutely nowhere.
Wherein Justice and Andy explore their love of open world video games while bemoaning the privilege of endless experiences. I mean, geez, 200 hours to complete Skyrim or Red Dead Redemption 2? Are we just too busy, or too crotchety? Crotchety.
Wherein Andy and Justice revisit those books they find impossible to revisit. What is it about the texts that we enjoyed in our adolescence that cannot translate into enjoyment as adults? They haven't changed, so it must be us! Remember bookmobiles and the huge erasers for pencils? Those were cool.
Wherein Justice and Andy take a walk through the apocalyptic landscapes of Cormac McCarthy's The Roadand Dr. Seuss' The Lorax. Sure, The Roadis terrifying, but have you met Aloysius O'Hare the oxygen capitalist? We explore these books and films with the help of Gerry Canavan's scholarship on the Anthropocene and children's literature. Additional topics include Fallout 3 and how far you can fall without dying.
Wherein Andy and Justice debate the greatest and worst first officers in the Star Trek canon, and everyone in between. Riker's trombone, Chakotay's conglomerate First Nations status, Tilly's reckless promotion, babysitter T'Pel, Kira's lost glories. And Spock, I guess.
Wherein Justice and Andy discuss the underrated Pink Floyd classic Animals and Bong Joon-ho's Oscar-winning film Parasite. Foucault and Ellen Meiksins Wood provide a lens to connect both texts to the theme of class and labor divisions. Neoliberalism, American Psycho, Censorship, and the privatization of public property all plunge their snouts into the trough during our exploration of the capitalist class's violence on labor. Where do you land in the capitalist continuum? Sheep, Dog, or Pig?
Wherein Andy and Justice welcome Patrick Fleis, an international copyright attorney based in Milwaukee, to discuss copyright law. What are your rights as an artist? What are our rights as consumers? Why does Amazon hate libraries? Find out here!
Wherein Justice and Andy dress down the supposed controversy of Potato Head and Dr. Seuss. Judith Butler provides a helpful context for unpacking these latest entries in the cancel culture kerfuffle. Are they canceled? Are they censored? Nope!
Wherein Andy and Justice take a look at the beauty of Ted Chiang's short story and the uniform grayness of Equilibrium. We explore Michelle Alexander's The New Jim Crow and other methods of societal control. What if we didn't recognize beauty or felt emotion? Or had to watch Equilibrium again? We did it for you!
Wherein Justice and Andy struggle with Superman's poor depictions on the silver screen. We're tired of Superman as a champion! We've seen it all our lives! Before us, our parents and grandparents saw it all their lives! Let's imagine a Superman movie that works. Also, the Hulk.
Wherein Andy and Justice get caught up in the web-slinger as a permanent teenager. What might it be like to see Spider-Man as a middle-aged veteran? Is he married in Utica? Does he still wear the leotard? All this and more!
Wherein Justice and Andy explore the worst entry in the Star Trek oeuvre, Star Trek: Insurrection, and China Miéville's novel The Scar. Giorgio Agamben's Homo Sacer provides the theoretical foundations in this discussion that ranges from migration and displacement and tyrannical despotism to whales, Riker's foibles, and pirates.
Wherein Andy and Justice discuss the film Starship Troopers and the collected films of the Alien franchise. Along with the postmodern ideas of Jean-Francois Lyotard, they tackle the subjects of the military industrial complex, violence, corporate power, 90's teenage romance, and late capitalism.