239 – Kat’s A+ Homework In Ten Things I Hate About You

242 – Supergirl’s Mom Is Disappointed in Her

Supergirl was produced by James Gunn, directed by Craig Gillespie, and directed by Ana Nogueira. I blame all three of them equally for this very, very bad movie. Millie Alcock was not the right choice for Supergirl but she’s just an actress doing a gig, so I don’t blame her. This film was such a raging disappointment that I needed to unleash my fury in the way that only a passive-aggressive mom can. Thanks for absolutely nothing, James Gunn.

241 – A Tea Party with George Orwell and Douglas Adams

Things have been crazy in the last few weeks, so let’s have a nice relaxing cup of tea with two great authors who wrote essays about Britain’s most beloved beverage: George Orwell and Douglas Adams. I will be reading what they had to say, sharing a cup of tea with you, and ranking my favorite British biscuits to serve with tea. Please vote on whether or not you all prefer to dunk biscuits or nibble on them separately from your tea, whether Bourbon Creams or Custard Creams are nicer, and how many minutes steeping produces the correct brew. Try sharing these brilliantly written articles with teenagers, and then encourage them to write their own remarks on the *PROPER* way to do a common task! See the full livestream here:

240 – Masters of the Universe Is FUN!!!

Did Masters of the Universe have the power? YES! Was it perfect? NO! Did it need to be? NO! Did it give me everything I wanted? YES!

239 – Kat’s A+ Homework In Ten Things I Hate About You

In the film 10 Things I Hate About You, Katarina Stratford gets an assignment to rewrite Shakespeare’s Sonnet 141. Her poem that perfectly pays tribute to the play The Taming of the Shrew while perfectly illustrating the complex emotions that come with teen relationships. This episode is an excerpt from a recent livestream over on my YouTube channel. You can find the full livestream here:

238 – Why Do Story Changes Annoy Us So Much?

Why do some stories work when they play around with the race, gender, or location of a story and its characters, and why are others an annoying mess? It has to do with the basic split between how story adaptations for stage and screen are framed — either the story will be rooted in an immersive realistic setting, where every little detail matters, or it takes place in the Land of Make-Believe, where only the story and the performance matters and an immersive replication of a world and its characters isn’t needed. Too easily the people on both sides of this debate resort to name-calling, focusing on things that don’t matter like debates over race, when what this is really about is whether or not the adaptation makes overall sense and follows its own rules.