Predators. Humans. Are they so different after all? Maybe an IOF sniper and/or CIA agent has the answer. This episode on the third entry in the standalone Predator franchise discusses existentialism vs utilitarianism, the ethical foundations of an alien species that hunts for sport, Robert Rodriguez's various sins, and which billionaires we'd like to see in the thunderdome.

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We talk about drugs, and looking at yourself in the mirror and how the person you see is never the person you feel like. Also, Charlie explains that Barto has been picking at a traumatic something for the last few years and he should feel pretty bad about it.

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A requiem, a service for the dead. Two classic creatures, killed by one film. We look into the swirling mass of emptiness, at the center of this film, and see what shapes appear in its clouds. Is the Aliens vs. Predator sequel trying to say something? Probably not. Is it saying something, incidentally? Unfortunately it is.

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Barto and Charlie take stock of George A Romero's exploration of the vampire mythos.

They talk capitalism and the rust belt, antipsychiatry, the commune Barto lived on, and discuss the reproductive organs of vampires.

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Continuing our Alien and Predator series deep dive, we bore into Paul W. S. Anderson's ode to ancient astronauts and Lovecraft. We argue about whether AvP is pro or anti-hubris, talk Predator fascism, and search for the sex and gender the Xenomorph usually carries with it.

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They're calling it the most psychoanalytic film ever made!

Barto and Charlie talk mirrors and duality, the gaze and how films teach us to desire, Hitchcock's fear of cops, and that there is a lot more of Psycho in American Psycho then we might have realized.

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It's tokusatsu time with long time listener, first time caller, Newfie.

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We are making our way through the Alien and Predator franchises and are so thoroughly in the late 90s. Yellow tints, lots of leather, and it's gay!

We dissect ideas of power, queerness, the psyche, and basketball.

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It's long hallway time! Along with the film's troubled production, we discuss what Fincher's nihilistic entry to the series has to say about queerness, the AIDS epidemic, pregnancy and the nuclear family, Christianity and the possibility of redemption, the confluence of the prison with the mental hospital and the factory, as well as Foucault and Deleuze and the transition from a disciplinary to a control society.

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We are the Predators, and we're hunting for meaning beyond "wow that's racist" in the critically panned sequel, Predator 2 (1990). We speculate who the Predator is an analog for, how the director's background may have influenced the uh.... portrayal of certain characters, and we also suggest that the writers - Jim and John Thomas - maybe knew about the CIA's involvement in the distribution of crack in L.A.

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