In light of the new, well-acted and well-shot BBC/Netflix adaptation, we discuss William Golding's 1954 novel Lord of the Flies and its previous (1963, 1991) adaptations. Featuring Mark, Lawrence, Sarahlyn and Al.

What do we think of the updates made for this retelling? Its pacing? Its repeated close-up shots of kids' silent faces? Is this per usual obviously inferior to the novel, or does it actually present deeper characters and a more visceral presentation of their degradation?

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We discuss the career of Meryl Streep in light of The Devil Wears Prada 2, insofar as we (Mark, Lawrence, Sarahlyn, and Al) have a hold of it; she's been in over 65 films! Is she really the best actor on the planet? Did Prada need a sequel?

We all brought in our own experiences with her catalog, touching on Sophie's Choice, Kramer vs. Kramer, A Cry in the Dark, Adaptation, The Iron Lady, Death Becomes Her, Postcards From the Edge, Doubt, The Laundromat, Let Them All Talk, Florence Foster Jenkins, et al.

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We discuss Steven Knight's six-seasons-and-a-movie historical crime show Peaky Blinders, featuring Mark, Lawrence, Sarahlyn, and Al. Does the show live up to its initial excellence? It's got a great emotional premise (post-WWI PTSD), and there's a ridiculous amount of gravitas among the cast, but do the heists undermine this heft?

It's OK if you haven't seen the show; we hold off on spoilers for quite a while and warn you when we reach that point.

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We discuss the hard sci-fi film Project Hail Mary, which along with The Martian (2015) was based on a novel by Andy Weir and adapted by Drew Goddard. Mark, Lawrence, Sarahlyn and Al consider how hard we actually like our sci-fi, the directors of these films (by Lord/Miller and Ridley Scott respectively), how the books got adapted, Weir's other work (Artemis, some webcomics, etc.), and more. How does Weir make a series of scientific problems into an actual, enjoyable plot?

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We talk about the Scream meta-slasher film franchise, from the original Wes Craven /Kevin Williamson 1996 debut starring Neve Campbell, and Courtney Cox to the new one (#7), still with three out of four of those participants (Wes Craven being dead).

Is the self-reflection about the horror genre in these films actually elevating, or just a permission structure to enjoy the base pleasure of seeing people murdered? Are these actually films that people who normally hate slasher movies still might enjoy?

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In light of Judd Apatow's HBO documentary The 99-Year-Old Man, we discuss the films of Mel Brooks, which were to varying degrees formative on us (i.e. Mark, Lawrence, Sarahlyn, and Al).

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In light of the now-completed black history month and the upcoming Oscars, we consider the "Oscars So White" issue that was a hot topic about a decade ago.

We all tried to watch some of the Oscar-nominated films by black creators, like Twelve Years a Slave, Moonlight, Judas and the Black Messiah, Boyz in Da Hood, et al. What makes for a critically lauded drama in this genre? Does a film have to have black creators (not just stars) to be an authentically black film? Are such films destined for a niche audience? Mark, Lawrence, Sarahlyn and Al discuss.

Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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When we don't know much about some genius playwright's life, why not make up some things based on the contents of his plays? Maybe put Shakespearean dialogue right in character's mouths, so the audience will say, "hey, I remember that line!"

Mark, Lawrence, Sarahlyn, and Al talk through the Chloe Zhao Oscar-bait historical drama, Hamnet, and its source, the 2020 novel by Maggie O'Farrell. Is the film great, or just "grief porn"? Plus, Shakespeare in Love and other biopics.

Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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We're discussing Trey Parker and Matt Stone's Comedy Central show that premiered in 1997 and has just finished its politically relevant 28th season, featuring the usual crew: Mark, Lawrence, Sarahlyn, and Al.

How can a show be so juvenile yet so apparently well thought out?e get into the evolution of the show,, the equal-opportunity offensive humor, the use of child characters to deliver it, their ambiguous politics, the quick turnaround production, the excellent music, and more.

Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

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The Netflix sci-fi/horror/teen series by the Duffer Brothers that started in 2016 has now finished with its sixth season, attempting to be both epic and sentimental. Who is this show actually aimed at? We talk about the initial appeal through various uneven seasons through the execution of the finale. Has the thing gone on so long that we can't make sense out of the continuity. Featuring, as usual, Mark, Lawrence, Sarahlyn, and Al.

Get more at prettymuchpop.com. Get an ad-free experience, plus bonus talking for nearly every episode at patreon.com/prettymuchpop for only the tiniest per-month financial pledge, or you can sign up directly with Apple Podcasts for a subscription for ad-free and bonus material for three of Mark's podcasts together on the Mark Lintertainment Podcasts Channel.

Sponsor: Visit squarespace.com/PRETTY (code PRETTY) for a free trial and 10% off your first website or domain.