We discuss the already over-discussed Christopher Nolan adaptation of Homer's classic poem. Mark, Lawrence, Sarahlyn and Al discuss their cinema-going experiences, Ludwig Göransson's soundtrack, choices re. the book-to-film transition, the various performances, the Emily Wilson connection, and more.

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In light of Toy Story 5, the gang (Mark, Lawrence, Sarahlyn and Al) consider the Pixar franchise that started in 1995. We consider the premise whereby your toys are loyal slaves that come to life whenever unobserved, the critique of screen-play in the new film, the use of nostalgia in the films, the repetition and/or escalation throughout the series, the horror-adjacency of living dolls, the emotional manipulation, and whether enough is enough.

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Survivor has remained a top-rated show since its debut in 2000, and some of us (Sarahlyn and our guest Wes Alwan) have stuck with it throughout, Mark just watched when it came out and had to catch up, and some of us (Lawrence and Al) had not previously been on board at all.

We talk through the evolution of the show, from torture exhibitionism to now lore-drenched soap-operatic beach games. Is this show designed to be watched in the background? What makes for a good player? What criteria to the jury members use to vote for a winner? What is the target audience for the show? Are the games well designed? How does the show deal with racism?

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Mark and Al share their mutual interest in fantasy novels. Is "high fantasy" fundamentally different than what enjoyed as kids? Did Peter Jackson's Lord of the Rings and HBO's Game of Thrones show us that these big books are adaptable, or were they exceptions?

We're anticipating the upcoming Mistborn/Cosmere adaptations, as we're both into Brandon Sanderson. We also talk about The Wheel of Time, Rings of Power, Earthsea, Shannara, Joe Abercrombie, Robin Hobb, Stephen R. Donaldson, Patrick Rothfuss, Tad Williams, and of course Harry Potter.

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In light of The Mandalorian and Grogu (and the Disney+ Darth Maul cartoon), we (Mark, Lawrence, Sarahlyn, and Al) check back in with Star Wars. Is it now "just another franchise"? Does the movie meet expectations? What's the right volume of Star Wars media? Are the cartoons good? What variety of creators and genres is there room for? Should anyone bother with the books and comics?

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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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