Kit MacFarlane has a PhD in English Literature, Film and Popular Culture, with a thesis that covers topics from Euripides, H. G. Wells and Edgar Allan Poe to John Huston, Lon Chaney and Batman (all stitched together with Douglas Hofstdter, Slavoj Zizek and Jacques Lacan).
He also writes cultural criticism, commentary and relentless tirades, with occasional diversions into fiction and academic analysis, and has published regular cultural and higher education commentary in Australian media.
He spends the rest of the time teaching English, film and media as a freelance academic. His main cultural interest lies in exploring resonances between traditional literature and popular culture. Even when off the clock, he continues this noble endeavor by shouting at the TV incessantly.
Unassuming high school chemistry teacher faced with insurmountable medical expenses turns to manufacturing illegal drugs to make ends meet? Sorry Bryan Cranston, Angie Dickinson and William Shatner got there first.
I Can Hardly Wait stretches the Three Stooges' "chaotic neutral" alignment into an uncomfortable fever dream of pointless violence with an undertone of sadistic cruelty. A failed Stoogesperiment in literary naturalism? or just a bad day?
It'd be a shame if the endless emphasis on youth results in a lack of "grown-up" concerns in pop culture. Here are five examples of the old kicking ass and refusing to give way to the young in mainstream pop culture.
Precocious cherubs and wise-beyond-their-years savants are a Hollywood staple, but they don't really reflect the state of actually being a kid. Here are a five good, great, or interesting films that are far more effective in portraying that being a kid is a really weird thing to be.
Serge Marcotte's The Sickroom compresses Franz Kafka's A Country Doctor into a nightmarish rush of hard-boiled film noir cynicism that, like all the best literary adaptations, is simultaneously faithful and unique.
Matthijs van Heinjningen Jr.'s prequel to John Carpenter's The Thing summons the chilly vibe and the cinema-sexual psychoanalytic undertone of the best of '80s genre cinema. It's only the generic modern "female empowerment" story that seems dated.