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...