All Pop, No Culture

This week on All Pop, No Culture, Kevin and Andrew open with a full spoiler discussion of the Lanterns finale, including Hal Jordan, John Stewart, Guy Gardner, the Manhunter storyline, and the controversial decision that closes out the season. Both come away strongly positive, with Andrew calling Lanterns his favorite live-action show of the year so far. episode 290_transcript_named

Kevin then reviews Mike Flanagan's new adaptation of Carrie, praising the way the series updates Stephen King's story for the age of social media, online bullying, conspiracy culture, and modern high-school life. The conversation also touches on the cast, Flanagan's recurring collaborators, and the possibility that Carrie could be part of a larger road toward The Dark Tower. episode 290_transcript_named

There are also quick reviews of Below on Netflix and Jessica Chastain's Other Mommy, before Andrew launches into a passionate defense of Agents of S.H.I.E.L.D. and why the newly announced Zodiac has him hoping for a return to that corner of Marvel. episode 290_transcript_named

The episode also includes a Smallville reunion discussion and a strong case for Michael Rosenbaum as the greatest Lex Luthor ever.

Finally, Kevin reviews Linkin Park: Unshatter, an emotional documentary about the band rebuilding after Chester Bennington, finding Emily Armstrong, and rediscovering the creative chemistry that made Linkin Park work in the first place. episode 290_transcript_named

Pete returns this week with a mission: convince everyone to listen to Dungeon Crawler Carl.

The crew dives into Matt Dinniman's bizarre sci-fi/LitRPG universe, the incredible audiobooks, Princess Donut, the dungeon system, its mix of humor and violence, and why the upcoming adaptation could become a major franchise. Pete even stakes his nerd credibility on Carl and Donut becoming a modern Sam and Frodo. Episode 289_transcript_named

Eric then breaks down the Star Trek: Strange New Worlds season finale, including its time-bending story, Kirk's Enterprise, Uhura's role, questions about canon, and why the episode feels closer than ever to the Original Series. Episode 289_transcript_named

Kevin reviews Reacher Season 4 and the new Neagley spinoff, arguing that Maria Sten more than proves she can carry her own series without relying on Alan Ritchson's Reacher. Episode 289_transcript_named

Pete also recommends the latest season of Lioness, which leads into a larger conversation about Taylor Sheridan, Yellowstone, Landman, 1883, and Lawmen: Bass Reeves. Episode 289_transcript_named

The episode closes with Andrew's trip to Ghostbusters in Concert, a discussion about theatrical experiences and nostalgia, and a full-panel argument over the New York Times 100 Best TV Shows of the 21st Century list.

This week on All Pop, No Culture, the crew covers Hacks, The Lost Boys on Broadway, Transformers: The Movie, Star Trek: Strange New Worlds, and the new Resident Evil.

The episode opens with a discussion of Hacks, including Jean Smart and Hannah Einbinder's complicated relationship, the show's cross-generational appeal, and how it mixes genuinely funny comedy with ideas about aging, relevance, ambition, and women working in entertainment.

Lauren then gives an enthusiastic review of The Lost Boys musical on Broadway, praising its new music, staging, vampire effects, cast, and the way the musical expands the emotional story beyond the original 1980s film.

Kevin and Andrew revisit Transformers: The Movie on the big screen and dive into everything from Peter Cullen and Optimus Prime to the theatrical audio problems, the new animated epilogue, Toei versus ACOM animation, and why a movie designed to sell toys accidentally became a defining piece of childhood pop culture.

Eric makes the case for Star Trek: Strange New Worlds, including Ethan Peck's Spock, the new Kirk, Trelane, Q, and why the series succeeds by allowing Star Trek to be fun again.

The episode closes with Kevin's enthusiastic review of Resident Evil, a scary, funny, fast-moving adaptation that throws an ordinary courier into the middle of the Raccoon City nightmare. The discussion covers its IMAX presentation, Austin Abrams' relatable lead performance, game-inspired mechanics, jump scares, fandom backlash, and why it may be one of the strongest horror films of the year.

Kevin and Andrew are back, and this episode covers a lot of ground.

The main discussion is Lanterns, the new DCU series starring Kyle Chandler as Hal Jordan and Aaron Pierre as John Stewart. After a slower opening, Andrew becomes fully invested by Episode 3, and both hosts argue that the grounded mystery may be the strongest project in James Gunn's DCU so far. They discuss the Manhunters, John Stewart's family, Hal's arrogance, Sinestro, the wider Lantern mythology, and why the series works even without constantly leaning on superhero spectacle.

Kevin also reviews Buddy, an R-rated horror comedy built around a children's television character who becomes increasingly violent and terrifying. What begins like a Barney-style kids' show slowly turns into a bloody, surreal horror movie with surprising franchise potential.

Andrew then joins Kevin for a mixed discussion of Steven Spielberg's Disclosure Day, including Emily Blunt's performance, the film's ideas about alien contact and religion, how believable public disclosure would be in the age of AI and misinformation, and whether the movie would have been better suited to streaming.

Kevin also recommends The End of Oak Street, a dinosaur adventure that feels like a modern Spielberg film, and Ridley Scott's The Dog Stars, a quieter post-apocalyptic drama starring Jacob Elordi, Josh Brolin, Margaret Qualley, Guy Pearce, and Allison Janney.

The episode also touches on Spider-Man: Brand New Day, Vision Quest, Widow's Bay, Dark Matter Season 2, the Harry Potter TV reboot, and why audiences are increasingly frustrated with multi-year waits between seasons.

This special episode of All Pop, No Culture is devoted almost entirely to Spider-Man: Brand New Day.

Andrew gives the film a 9 out of 10, while Kevin lands at an 8.5. Both argue that it may be the strongest live-action Spider-Man movie yet and one of the best MCU releases since Endgame.

The conversation covers Tom Holland's growth into a more powerful and confident Spider-Man, Sadie Sink's debut as Jean Grey, the return of the savage Incredible Hulk, Jon Bernthal's Punisher, Yelena, The Hand, Trammell Tillman's villain, Peter Parker's new abilities, and the film's spectacular action sequences.

Kevin also identifies several continuity problems involving The Punisher and Daredevil, questions how Frank Castle can openly interact with police, and explains why The Hand feels underused compared with its portrayal in the Netflix series.

The ending receives a full breakdown, including Ned's handshake, MJ's necklace, Jean Grey's ability to restore memories, the possibility that MJ already remembers Peter, and the mysterious figure teased in the post-credit scene.

The episode then looks ahead to Avengers: Doomsday, Secret Wars, the possible MCU reset, the future of the X-Men, new casting rumors, and why Marvel may need mutants to become the center of its next era.

The show closes with a brief update on X-Men '97 Season 2 and whether the current season has lost some of the impact of its first.

This episode of All Pop, No Culture is led by a full spoiler discussion of Christopher Nolan's The Odyssey.

Kevin and Andrew both give the nearly three-hour epic an 8 out of 10, praising its extraordinary IMAX presentation, real-world locations, practical effects, and enormous ensemble cast. They examine Matt Damon's performance as Odysseus, Anne Hathaway's emotional work as Penelope, Tom Holland's portrayal of Telemachus, Robert Pattinson's villainous turn, and John Leguizamo's quietly essential role.

The conversation also covers Zendaya's symbolic appearance as Athena, the Cyclops and Circe sequences, Nolan's potential future in horror, and the movie's larger argument that victory in war rarely feels like victory to the people who survive it.

Lauren reviews The Invite, Olivia Wilde's comedy-drama about two married couples confronting intimacy, resentment, parenthood, and the uncomfortable truths hidden inside long relationships.

She also recommends the Broadway production of Every Brilliant Thing, an interactive one-person play starring Tracee Ellis Ross that explores depression, grief, suicide, and the many small reasons life remains worth living.

Kevin closes with a recommendation for Shrinking, the Apple TV+ dramedy starring Jason Segel, Harrison Ford, and Jessica Williams. The episode also includes quick discussions of X-Men '97 and a Lost rewatch.

This episode of All Pop, No Culture opens with a full-panel argument about Supergirl. Andrew hated it, Kevin liked it, and Eric landed in the middle, making this one of the most divided reviews the show has had in a while. The conversation covers tone, villains, Lobo, Ruthie, Kara's arc, and whether the backlash is really about the movie itself or something else entirely.

Lauren then reviews The Testaments on Hulu, the continuation of The Handmaid's Tale, and explains why it feels sharper, darker, and more emotionally grounded than the later seasons of the original series. Kevin joins in with thoughts on Aunt Lydia, Agnes, Lucy, and the unsettling world-building that still makes Gilead feel terrifyingly plausible.

Andrew also gives his first reaction to Backrooms, Kevin defends its atmosphere and sequel potential, and Eric spotlights Bang My Box: Robin Byrd, a documentary about a public-access TV pioneer who helped push sexuality and LGBTQ visibility into the mainstream before the internet existed.

This episode of All Pop, No Culture covers three major topics: Masters of the Universe, the Euphoria series finale, and the horror breakout Backrooms. Kevin reviews Masters of the Universe, calling it a fun but flawed movie that will play much better for longtime fans of the original cartoon than for newcomers. The conversation explores tone, nostalgia, adaptation choices, and why some comic-book properties feel locked to the audiences that first loved them.

Andrew then breaks down the Euphoria ending, talking through the uneven start of Season 3, the emotional weight added by Angus Cloud's real-life death, and why the final stretch still manages to bring the series to a meaningful close. He also highlights several standout performances and explains why the ending feels true to the show's core themes.

Kevin closes with a detailed review of Backrooms, discussing its psychological horror, Kane Parsons' influence, the theater experience, and why the film feels like the start of a franchise. The episode also includes a sharp discussion about the Obsession pay controversy and what it reveals about indie filmmaking, entitlement, career strategy, and how creative people actually build momentum.

This episode of All Pop, No Culture welcomes special guest Eric before diving into three major topics: Mandalorian and Grogu, The Boys series finale, and the horror breakout Obsession.

Kevin reviews Mandalorian and Grogu, calling it a fun and accessible Star Wars movie even if it doesn't feel essential to the larger story. The conversation expands into Pedro Pascal's current run, Star Wars movie strategy, and whether this should have just been another season of TV.

The main discussion centers on The Boys finale, with all three hosts debating whether the show truly stuck the landing. They compare the live-action series to the comics, talk about the pacing and politics of the final season, and break down Homelander, Butcher, Kimiko, Frenchie, and the setup for future spin-offs.

The episode closes with a strong conversation about Obsession, a horror film that both Kevin and Andrew found brutal, unsettling, and highly effective. They discuss the central performance, the monkey's-paw-style premise, and why the film is connecting with audiences in a big way.

This episode of All Pop, No Culture is a full conversation about The Boys heading into its series finale. Kevin and Andrew tackle the backlash surrounding the final season, the complaints that it has been too slow or too light on action, and whether the finale can still make the season feel worthwhile in hindsight.

A major focus is Frenchie's death, which both hosts see as one of the strongest and most emotionally earned moments of the season. They discuss Frenchie's role as one of the last pure-hearted characters in the series, his relationship with Kimiko, and what his sacrifice means for the show's emotional endgame.

They also break down possible endings for Homelander, Ryan, Butcher, Hughie, and Starlight, debating whether the best ending is tragic, ambiguous, or full-on apocalyptic. The episode closes with bonus audio from pre-show banter touching on Cowboy Bebop, upcoming movies, horror recommendations, and the strange staying power of trashy reality TV.