Filmmaker John Carpenter describes The Thing, Prince of Darkness, and In the Mouth of Madness as his "Apocalypse Trilogy." With the expertise of special guest Jack Bennett, we aim to find out why. It may have something to do with cosmic horror, nihilism, misanthropy and the futility of human existence.
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While examining Jonathan Hickman and Nick Dragotta’s sci-fi/western comic EAST OF WEST, we consider big ideas, character development and representation of diversity in storytelling. Also, with all its violence, sex and philosophy… would this make the perfect HBO series?
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PJ Harvey’s latest album is her interpretation of the ironies of war. So why are Washington D.C. politicians criticizing it? And how did its production in a public setting contribute to Harvey’s overall artistic project?
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Why didn't the dark Marvel superhero Netflix series "Jessica Jones" live up to our expectations? We look at the intersection of corporate entertainment, feminism and creativity to find out. Along the way we uncover the creepy secret of how your binge watching is being tracked by telephone surveillance.
Every year science fiction writer and futurist Bruce Sterling gives a “state of the world” presentation at SXSW Interactive. We consider his remarks from this year and what they mean for politics, social media and surveillance.
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We go to the vault in this episode, pulling out our take on True Detective’s second season. Is “it all” Nic Pizzolatto? And if so, do both the blame and accolades lay at his feet?
While talking about the dark fantasy comic “Locke and Key,” we get drawn into the complicated media world surrounding adaptations and monetization. Are comics the best engine for creative, collaborative storytelling? We look at Joe Hill and Gabriel Rodriguez’s partnership to find out.
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Looking back on the television series HANNIBAL, we’re enamored with its attention to detail. But how did this gruesome slash fiction make its way to network television? Charlie thinks it’s because this is a “wet” show. Christian thinks it’s Bryan Fuller performing a miracle.
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In anticipation of the Nick Cave and the Bad Seeds album “Skeleton Tree” and its accompanying documentary “One More Time With Feeling,” we discuss the tragedy of losing a child and its effect on art, performance and persona.
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The 2015 Hugo Awards showed us what happens when science fiction/fantasy fandom turns on itself. A year later we look back at the arguments and manipulations of all the parties involved: Sad Puppies, Rabid Puppies and everyone else. Given how similar this controversy’s rhetoric is to the 2016 presidential election, should we look at cultural moments like this as predictors of larger issues in society?
If you’re interested in how the Hugos went this year, here’s Verge’s summary of the event.
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Charlie and Christian examine DC Comics’ latest attempt to reinvent their publishing line. Is it really about defeating despair with hope, as writer/executive Geoff Johns has said? And is this friendly to new readers? We also look at the ethical implications of using characters from “Watchmen” in an attempt to create a shared universe with an emotionally compelling narrative.
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Looking back on the Batman film “The Dark Knight,” does it stand for anything? Or does it simply soak up whatever morals we bring to it? Christopher Nolan’s intentions remain mysterious, but we do our best to figure them out.
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The Elmore Leonard character “Raylan Givens” from JUSTIFIED speaks to Charlie and Christian. For some reason he makes us feel safe and in control. Is he a barometer for the current state of America?
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In an unusually giddy, slaphappy episode, Charlie & Christian try to understand how Game of Thrones' sixth season was made. When does an adaptation stop being an adaptation? What happens when it passes -- and surpasses -- its source material?
n an unusually giddy, slaphappy episode, Charlie & Christian try to understand how Game of Thrones’ sixth season was made. When does an adaptation stop being an adaptation? What happens when it passes – and surpasses – its source material?
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Is media better when its creators have total control? We look at the first volume of SAGA and explore issues of ownership, censorship and salesmanship with this near perfect comic book.
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Quentin Tarantino’s either an idiot savant or a savvy businessman with his latest film The Hateful Eight. So we cover script leaks, film stock, Black Lives Matter protests, police boycotts and much more about the making of this film to figure out why it’s so damn compelling.
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"G.G. Allin could have been a Flannery O'Connor character." Charlie & Chris discuss the murderous short story "A Good Man Is Hard To Find" and the difference between an author's intent and a reader's response. Why isn't this considered a horror story? And is it punk rock?
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What happens when you bring together Maria Bamford, the creator of Arrested Development, and a writer for South Park? You get a brilliant new comedy celebrating mental illness and pugs on Netflix.
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Does entertainment have a responsibility to historical accuracy? Christian & Charlie tackle a film about a book written by David Lipsky about an article that was never published about writer David Foster Wallace. We struggle with how to consume media when you object to the portrayal of a real-life subject you may have identified with.
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Alan Moore and Jacen Burrows' horror graphic novel NEONOMICON is explicit, graphically violent, and filled with rape scenes. But is there something more to this award-winning HP Lovecraft homage/critique? And should it be banned from libraries?
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"It's important to have a spirit animal who's an actual person," is this episode's pull quote. We discuss the making of Iggy Pop's album "The Idiot," David Bowie's role in its production, and how narratives can change music listening experiences.
Why do we watch trashy television? And why was FOX's The Following something we watched as much as we did even though we thought it was terrible?
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Chris and Charlie struggle with their history with, and love for, Steve Albini, and their desire to be decent people. Can music with lyrics hostile toward women be feminist?
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SPECTRE! What can we explain about the 24th James Bond movie? We discuss how it was produced, how it was written, where the money came from, and the nonsensical story.
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