This week on WVIA Pop Shop, Allan Austin, Patrick Hamilton and Kara take on Digger, the ambitious new black comedy starring Tom Cruise as an oil tycoon whose disregard for warnings triggers an environmental—and potentially global—disaster.

With a cast that also includes Riz Ahmed, John Goodman, Jesse Plemons and Sandra Hüller, Digger certainly looks like a prestige picture. But underneath its Oscar-friendly cast and highly stylized filmmaking is a sprawling satire about corporate power, political corruption, environmental catastrophe, consumerism and our complicated relationship with art itself.

In the spoiler-free first half, Allan and Patrick ask what actually makes a "prestige picture" and whether Tom Cruise might be making a serious run at an Oscar.

Then the movie takes a turn.

After the spoilers begin, the conversation shifts to what Digger may really be asking of its audience: Are corporations solely responsible for the world they've helped create, or are consumers complicit too? Can art inspire people to confront difficult problems—or can it become another distraction that helps us live with them? And what happens when facts have to compete with a better story?

Plus: is Digger an ambitious big swing or an example of cinematic hubris? Kara isn't convinced. Patrick is pleasantly surprised. And Allan may have found his new favorite Tom Cruise movie.

⚠️ Spoilers begin at 15:27.

This week on WVIA Pop Shop, Allan Austin, Patrick Hamilton and Kara take on Primetime, the new film starring Robert Pattinson in a highly fictionalized retelling of the story behind NBC's To Catch a Predator.

The movie portrays Chris Hansen as a man driven by a complicated mixture of justice, ambition, celebrity and ratings—and uses the rise of his controversial television series to ask uncomfortable questions about the relationship between journalism and entertainment.

When crime becomes content, can the pursuit of justice remain the priority? What happens when public accountability becomes spectacle? And who gets to decide what justice looks like when television cameras, audiences and ratings enter the equation?

Allan and Patrick also examine the film's depiction of vigilantism and moral certainty, while Kara weighs in on the movie's deliberately uncomfortable visual style and the ways sensationalized crime can make the unfolding story more important than justice itself.

Plus, the Pop Shop crew is divided over Primetime: is its deeply unpleasant viewing experience one of the movie's biggest flaws—or exactly what makes it work?

#Primetime #RobertPattinson #TrueCrime #ToCatchAPredator #MovieReview #PopCulture #PopShop #WVIA

This week on WVIA Pop Shop, Allan Austin and Patrick Hamilton enter Raccoon City for the newest Resident Evil movie—the eighth film in the franchise and its second reboot.

The story follows Brian, an ordinary medical courier whose last-minute delivery sends him straight into a viral outbreak filled with monsters, terrible decisions and increasingly deadly obstacles. But rather than only asking whether Resident Evil successfully translates the video games to the big screen, Allan and Patrick use the movie to explore a much bigger question: why are audiences connecting so strongly with horror right now?

Could the rise of horror and decline of superhero movies be connected? What do monsters reveal about the fears and anxieties of the culture that creates them? And why might stories about ordinary people trapped by forces beyond their control feel especially relevant today?

Then, after the spoilers begin, the guys look at how Resident Evil borrows the visual language and mechanics of video games—from first-person perspectives and NPC-like supporting characters to levels, puzzles and increasingly difficult monsters—and debate whether those ideas actually work as cinematic storytelling.

Plus: can Patrick's experience playing Resident Evil overcome the movie's very thin plot? And can Allan survive 90 minutes of watching people make terrible decisions?

⚠️ Spoilers begin after the Kirby Center segment.