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?