It’s time for a no-superheroes episode! Eschewing all cultural trends, Nick and Alastair take a look at social satire movie High Rise at the 1:32 point (plus the difficulty of adapting books and vertical living returning to London), new podcast Alice Isn’t Dead at 18:29 (plus methods of audio advertising and whether this very show has a secret purpose) and the latest Coen brothers comedy Hail, Ceasar! at 33:04 (plus the life and death of old movie genres).
Lastly, in our stubbornly unnamed recommendations feature at 46:27, Alastair reads his first comic in years: The Manhattan Projects by Jonathan Hickman & Nick Pitarra. Is this the beginning of a deep love for graphic storytelling as a medium? Or is it… The End?
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Cut from the R-rated superhero movie discussion in Moderate Fantasy Violence #2, Nick and Alastair discuss whether John Constantine (whose name we regularly mispronounce) is the ideal candidate for this trend.
Nick and Alastair’s discussion of the Iron Fist casting rambles off into talk of general diversity in Marvel properties and just how far they’re prepared to go in that area.
What is the harbinger of doom for Better Call Saul? What exactly are we expecting as they move into Breaking Bad’s timeline? A little more fanfic-type chat from our Better Call Saul review in MFV #2.
In a not-that-difficult second episode, Nick and Alastair look at the return of Better Call Saul at the 1:20 mark (plus Gotham’s prequel problems and the terrible omen of Bryan Cranston), the upcoming DC Comics Rebirth at 16:12 (plus how superhero comics are morphing into Doctor Who and the recent Iron Fist casting controversy) and the possibility of more adult-rated superhero movies after the success of Deadpool at 32:44 (plus eternal hope for sexy Gambit and Wolverine’s stabby vendetta against walls and robots).
Cut from our Making A Murderer segment, Alastair provides some bonus true crime recommendations for anyone who wants to dive further into that pool.
In an exchange deleted from our Deadpool review, Alastair and Nick share their feelings on a range of recent superhero films, often filtered through the question of: “Are these funny?”
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