Tag Archives: episode

Lost in the Stacks, Episode 363: Whose Data? My Data!

Guest: Antti “Jogi” Poikola of Aalto University.

First broadcast November 10 2017.

Playlist at https://www.wrek.org/2017/11/playlist-for-lost-in-the-stacks-from-friday-november-10th-whose-data-my-data-episode-363/

“Radical times.”

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Supercontext: Good Omens by Terry Pratchett and Neil Gaiman

Terry Pratchett and Neil Gaiman’s novel about the comedy of Armageddon seems to be the very definition of “twee.” We try to unpack what that concept means and how it contributes to the authors’ humanist message.

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Supercontext: Legion, Season One

This television show may be an adaptation of a superhero property, but it’s unlike anything we’ve seen before. It takes the collage aesthetics from unusual comic books and turns them into Noah Hawley’s kaleidoscope of mental illness, 60s futurism and a good old fashioned love story. 

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Lost in the Stacks, Episode 361: Happy Halloween From Lily Dale

Guest: Mandi Shepp of the Marion H. Skidmore Library.

First broadcast October 27 2017.

Playlist at https://www.wrek.org/2017/10/playlist-for-lost-in-the-stacks-from-friday-october-27th-happy-halloween-from-lily-dale-episode-361/

“Do you have any rabbits?”

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Supecontext: The Filth

Grant Morrison says this 2002 comic book with Christ Weston, Gary Erskine and Matt Hollingsworth is an inoculation against the nasty horror of the world through depravity, pornography and depression. We interrogate whether that theme works in the end product and if the sexual violence within is problematic.

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Supercontext: Generation Kill

David Simon and Ed Burns produced what is heralded as one of the most authentic depictions of the Iraq War, based on Evan Wright’s embedded reporting. We look at how it navigates between journalism and drama to keep us from forgetting the story of soldiers on the ground.

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Supercontext: The Wicker Tree

Writer/director Robin Hardy describes The Wicker Tree as a companion piece to 1973’s The Wicker Man. We dig into just how this film got made. Was it a spiteful response to the American remake? Or a continuation for a deeper purpose?

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