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.

This episode of All Pop, No Culture starts with Lauren's review of The Devil Wears Prada 2, which turns out to be a stronger sequel than expected. The conversation covers Anne Hathaway's return as Andy Sachs, Meryl Streep's more vulnerable Miranda Priestly, the fashion-world politics, and how the new movie updates its themes for the digital era.

Andrew then delivers a passionate review of Michael, the new Michael Jackson biopic, praising Jaafar Jackson's performance and arguing that the film succeeds on its own terms even if critics seem hung up on what it leaves for a future sequel. Kevin and Lauren join in on the debate around biopics, controversy, and whether critics are approaching the movie through the wrong lens.

Kevin closes the main review section with a disappointed take on Beef Season 2, explaining why the new cast and story never quite match the energy, humor, or emotional impact of the first season. The episode also includes quick thoughts on From Season 4, Euphoria Season 3, and a preview of the movies and shows still coming later this year.

This episode of All Pop, No Culture covers three major TV conversations: DTF, Invincible Season 4, and The Boys. Kevin and Andrew start with a full spoiler discussion of DTF, focusing on its ending, its portrayal of depression and loneliness, David Harbour's standout performance, and the ways the show turns a mystery into something much more personal and tragic.

They then jump into Invincible Season 4, especially Episode 7, which they argue may be the best episode the show has done so far. They talk Thragg, Nolan, Mark, the destruction of Viltrum, the voice cast, and why the series has become one of the strongest animated shows running right now.

The episode wraps with a check-in on The Boys, including A-Train's arc, Homelander's unraveling, who may survive the ending, and why the show feels like it's headed toward the exact kind of bloodbath it has always promised.

This episode of All Pop, No Culture is a full deep dive into Ted Lasso — from first impressions to favorite episodes, biggest character arcs, and why the show works as something much deeper than a comedy. Andrew finally finishes the series and joins Kevin and Pete to unpack what makes it so emotionally satisfying.

They discuss Jamie Tartt's redemption, Roy Kent's emotional depth, Rebecca's evolution, Nate's rise and fall, Colin's storyline, Dr. Sharon's role in Ted's growth, and why Higgins may secretly be one of the most important characters in the entire show. They also talk about the finale, the Amsterdam and Christmas episodes, the weekly release model, and what Season 4 could look like with the women's team.

If you love Ted Lasso, this is a full-series appreciation episode. If you haven't watched it yet, this conversation may finally push you over the line.

This episode of All Pop, No Culture is a full breakdown of Project Hail Mary, including a movie-only perspective, an audiobook perspective, and a book-to-film comparison. Andrew praises the film's IMAX experience, emotional core, and the bond between Ryland and Rocky. Salony shares what worked visually and emotionally, but also what felt rushed or simplified from the audiobook — especially pacing and character dynamics.

Kevin digs into what the adaptation changes: how the "memory" structure affects the story, what science and stakes were minimized, and why the Ryland/Rocky partnership is grounded in mutual respect and complementary brilliance. The episode also touches on the return of movie theaters when films are actually good, spoiler culture in the AI era, fandom backlash, and why Project Hail Mary could thrive as a limited series.