The Incomparable Mothership

Latest Episodes:

617: Group Therapy for One Guy Jun 03, 2022

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Moon Knight—the butt of a thousand jokes on this very network who improbably made the Sweet Sixteen of our infamous Summer Superhero Spectacular—got his own limited series on Disney+. We talk about the Oscar Isaac of it all, the loving attention to modern Egypt, whether the show is well served by its near-total disconnection to the MCU, and how it might have held up as a ’90s syndicated actioner. (Think “Relic Hunter” production values. You can see it, can’t you?)

616: Bad Decision Theater May 27, 2022

Show notes

Our Book Club continues its walk through the Hugo and Nebula nominees for Best Novel with three books, “The Galaxy and the Ground Within” by Becky Chambers, “A Master of Djinn” by P. Djèlí Clark, and “The Unbroken” by C.L. Clark.

615: People-Positive Management Style May 20, 2022

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What do you get when you blend historical fiction, pirates and Taika Waititi? You get “Our Flag Means Death,” an ensemble romantic comedy featuring both ship battles and biting insults.

614: Eternal Spotlight of the Sunless Mind May 13, 2022

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Step into this elevator and leave your personal biographical memories behind… Welcome, Listener I., you’re now part of Lumon, a Very Friendly Company that always has your best interests at heart. We discuss the Apple TV+ series “Severance,” and try to explain why you should watch it, what shows it resembles, and just how much we liked the twists and turns of its first season.

613: Kaiju Panda May 06, 2022

Show notes

Put on your toque and be sure you’ve got your 4*Town tickets—we’re here to discuss Pixar’s “Turning Red,” a delightful coming-of-age movie about a Chinese-Canadian girl whose body is undergoing some telltale adolescent changes—you know, becoming interested in boys, rebelling against her parents, and transforming into a giant fuzzy red panda. The usual.

612: YABM: Yet Another Batman Movie Apr 29, 2022

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Our panel of caped crusaders assemble to dissect 2022’s “The Batman.” The last thing we may have needed was another Batman movie, especially the grimmest, darkest, and longest one ever… but what if we actually liked it? We take apart the new approaches to classic batman stories, Robert Pattinson’s performance, souped-up batmobiles, and Gotham’s weather patterns.

611: Distributed Disinterested Dystopia Apr 22, 2022

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Our annual shortlist book club is back! We read two novels that were nominated for Best Novel in the Nebula Awards! SB Divya’s “Machinehood” is a near-future story of gig workers, weak AI servants, and rebellious space stations. Jason Sanford’s “Plague Birds” is a post-apocalyptic story about strong AIs and gene-altered people that’s so far in the future that it feels almost like fantasy. Plus: We recommend other books we’ve enjoyed recently!

610: No, Mr. Blond, I Expect You to Die Apr 15, 2022

Show notes

Cue the electric bass and the full brass section, we’re talking Bond, James Bond this week. We make time for “No Time to Die,” of course, and the rest of the Daniel Craig era. How does it hold up, where does it go from here, what would we like to see? How does the latest movie reset the table? Were we shaken, stirred, or something in between?

609: Chekhov's Toy Store Apr 08, 2022

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Old Movie Club returns with two films that imagine attempts to disrupt the United States government. In 1954’s “Suddenly,” Frank Sinatra’s going to try to kill the President. In 1964’s “Seven Days In May,” Burt Lancaster is plotting a military coup. Both films are in black and white from more than 50 years ago, and yet for some reason Phil thinks their themes may resonate even today…

608: A Centaur, Only for Cars Apr 01, 2022

Show notes

Fire up your Bernoulli Conversionator and check your trunk for stowaways, because we’re entering the Wachowski sisters’ candy-colored 2008 road rally through the Uncanny Valley, “Speed Racer.” It’s an eye-searing acid trip of a movie, with groundbreaking storytelling, an earnest heart, and a curious void at its center. (There is also a chimp.) We’ll discuss how this film fits into the Wachowskis’ canon, the supporting character whose story is way more interesting than the lead—and the only other big-budget film since that has dared to get this stylistically weird.

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