We are excited to announce that we will be releasing brand-new episodes of the Women Make Science Fiction Podcast on the second Thursday of each month! There will 8 episodes in each season going forward.
We already have a season one that started back in 2020, and all 10 episodes are available NOW. We are aiming for a less ad-hoc, more planned-out (ha) structure with at least 8 episodes a year and a break over Christmas/NY and the summer (September, October, November, December, and then February, March, April, and May). Fingers crossed.
AVAILABLE FROM
Stitcher. PodBean. iTunes. Spotify.
Or plug the RSS feed into your favourite podcast app!
Episode 2×1: Style over [the] Substance: Biohacking the body beautiful
Our SEPTEMBER ISSUE episode will serve as a reintroduction to the project and podcast and will be examining two feature films – Coraline Fargeat’s The Substance (2024) and Mika Ninagawa’s Helter Skelter (2012). We discuss how we define science fiction (SF) in this project and how these two cosmetic horrors blur into our definition and ideas around science fiction as a vital playground for science ethics.
Episode 2×2: ReproFutures: Parenting in the Anthropocene
In the OCTOBER episode, we are joined by Dr Anna McFarlane (University of Glasgow), and we’ll be talking about recent women-directed SF with a focus on ReproFutures: imagined near futures of pregnancy, gestation, childbirth and child rearing. We’re focusing on recent films, The Pod Generation, written and directed by Sophie Barthes (who also made Cold Souls), and Fleur Fortuné’s The Assessment.
Episode 2×3: Strange Days at 30
In the NOVEMBER edition, we’ll be talking about Kathryn Bigelow’s underrated science fiction thriller Strange Days, which was originally released on 13 October 1995 in the US and worldwide in February 1996. In part a response to the police brutality of the LA Riots, Strange Days is a complex film about memory, addiction, and the desire to escape reality…
Episode 2×4: Time Waits for No Woman
In the DECEMBER edition, we talk about the constraining forces of time and gender in a series of time-travel-ish movies from women-directed science fiction. Discussing the more recent Alice Lowe-written/directed Timestalker (2024), the indie lesbian time-hopping The Sticky Fingers of Time (1997), and Ava Duvernay’s adaptation of Madeleine L’Engle’s A Wrinkle in Time (2018), with a brief nod to Sally Potter’s adaptation of Virginia Woolf’s Orlando (1992). Are women always bound by time: with their biological clocks, time of the month, and limited shelf life?