Stagione 1
Cléo from 5 to 7
Fletch
The Uprising
Blade Runner
No Country for Old Men
Casablanca
City of God
Singin' in the Rain
Goodfellas
In this episode Peter and Andrew dive into French New Wave master Agnès Varda’s 1962 landmark Cléo from 5 to 7. Together, they break down the film’s daring real-time structure, its shift from symbolic color tarot cards to stark black-and-white realism, and how Cléo’s two-hour wait for medical biopsy results transforms from narcissistic dread into human connection. Before dissecting Varda’s classic, the hosts share behind-the-scenes updates on their own screenwriting process—including navigating festival runs on zero-dollar budgets, the value of shelving finished drafts for fresh eyes, and reverse-engineering a new micro-budget feature script designed to super-serve a hyper-specific niche. Then, in "What We've Been Watching," Andrew gives high praise to all six seasons of the vampire mockumentary series What We Do in the Shadows, while Peter dissects Clint Eastwood’s 1997 misfire Midnight in the Garden of Good and Evil, examining why an all-star cast and great book don't always translate into compelling cinema. Finally, the show wraps with their signature "Blasphemous Remake" segment, reimagining Cléo from 5 to 7 as a high-stakes elementary school recess drama, a Cold War espionage thriller a la Day of the Jackal, and a Parisian anthology television series. Topics covered: High school wrestling coaching philosophies applied to terminal diagnoses, why commercial indie film often mirrors Hollywood rather than reinventing the medium, and navigating the eerie tension of Paris street crowds staring directly down the lens.
Peter and Andrew dive into Michael Ritchie’s 1985 comedy classic Fletch, exploring how it balances a razor-sharp, well-crafted mystery with Chevy Chase’s signature deadpan wit and disguise-heavy physical comedy. They examine why mystery-comedies so rarely succeed, how the film keeps its jokes organic to the investigative narrative rather than detouring into sketches, Chase’s peak-era performance, and the inexplicable plot choice to feature Provo, Utah, as an international airline hub. In their remake segment, the hosts imagine how to retool the detective comedy. Could it work as a Disney Channel Original Movie about a high school newspaper reporter uncovering an ACT cheating ring, or an undercover teen interloper visiting out-of-town cousins for homecoming? Who could possibly step into the lead role today—Danny McBride, Mikey Day, or Joel McHale? Plus, pitches for an episodic "disguise-of-the-week" sitcom versus a gritty six-part prestige prequel exploring the breakdown of Fletch's marriage. Kicking off the episode, Peter and Andrew tackle a corporate brand pitch for Zippo Lighters, debating Trey Parker and Matt Stone WWII stop-motion satire versus a contemplative, existential animated drama in the vein of John Cassavetes and 1970s Rankin/Bass animation. Topics covered: The lost art of star-tailored comedy writing, voiceover done right, and why comedy deserves serious cinematic study.
Peter and Andrew kick off a new review format covering current theatrical releases, starting with Paul Greengrass’s medieval historical drama The Uprising. The hosts dig into the film's depiction of the 1381 English Peasants' Revolt against King Richard II, exploring Greengrass’s visceral direction, dynamic battlefield choreography, and Andrew Garfield’s turn as an unnamed rebel leader. In their spoiler-free review, they discuss the film’s lack of worldbuilding and character backstory, and evaluate who this muddy, action-heavy historical drama is really for. Crossing into the spoiler zone, they discuss how the film actually worked, once you've seen the ending. Topics covered: The narrative risks of skipping the setup and launching straight into a rebellion, why kinetic action directing can't always compensate for thin screenwriting, modern political subtext in historical epics, and why some films leave you admiring the craft while completely forgetting the characters.
Peter and Andrew step into the rain-soaked, neon-lit dystopia of 2019 Los Angeles to break down Ridley Scott’s 1982 sci-fi landmark Blade Runner. They examine how the film prioritizes groundbreaking visual atmosphere, sound design, and philosophical inquiry over standard detective noir plotting, contrasting its lived-in, decaying future against the sterile aesthetics of traditional science fiction. The hosts dive into the core themes of identity and existence—exploring Rachael's implanted memories versus Roy Batty’s lived experiences, the cultural assumptions underlying the Voight-Kampff test, and why Rutger Hauer’s tragic antagonist serves as the true emotional anchor of the story. They also weigh in on the superiority of the voiceover-free Final Cut and debate whether the lingering ambiguity surrounding Rick Deckard's replicant status actually alters the impact of the film. In their signature remake segment, the hosts tackle three reimagining scenarios: pitching a Studio Ghibli–inspired animated family feature (or an episodic kids' adventure tracking friendly, lost robots), stripping the production down to a zero-budget chamber-piece focused strictly on psychological Voight-Kampff interrogations in the style of Ex Machina and Primer, and expanding the universe into television with either an ongoing procedural tracking hundreds of rogue replicants or a prestige limited series exploring Roy Batty’s off-world backstory leading straight into the original opening. The hosts also break down screenwriting mechanics—debating whether rigid three-act structures like Blake Snyder's Save the Cat! beat sheet are indispensable storytelling tools or creative traps. Plus, they share their latest watches, covering the dialogue-free prehistoric survival film Quest for Fire (1981) and the high-stakes financial warfare of HBO’s Industry. Topics covered: The durability of three-act screenplay structures, creating gritty retro-futurism without sterile sci-fi tropes, empathy and memory as the metrics of humanity, the narrative power of ambiguous endings, and why some cinematic masterpieces work better as atmospheric meditations than traditional thrillers.
Peter and Andrew head to West Texas to break down Joel and Ethan Coen’s 2007 modern classic No Country for Old Men, exploring how the film upends traditional thriller conventions through randomness, subverted genre expectations, and the lingering dread of Tommy Lee Jones’s bookending monologues. They analyze the illusion of control shared by Llewellyn Moss, Anton Chigurh, and Carson Wells, Javier Bardem’s terrifying yet intimate portrayal of Chigurh, and why leaving critical story threads unresolved cements the film's philosophical weight. In their remake scenarios, they tackle their customary blasphemous challenges: How would you pitch a family-friendly version—a high school football rivalry about rule-breaking on the field, or a youth treasure-hunt adventure following multiple converging perspectives? What would a low-budget bottle movie look like, whether centering on Chigurh’s isolated rooms or following the mundane marital fallout of the spared gas station attendant? And could the story survive as an anthology TV series tracking the border or following Chigurh's deadly contracts across seasons? Plus, the hosts launch a new pitch challenge adapting TV series like New Girl and Perfect Strangers into feature films, and share their latest watches, including Ted Lasso Season 4, The Village, and The Witch. Topics covered: The illusion of control and fatalism in crime cinema, subverting audience expectations, humanizing a ruthless killer through mundane vulnerability, pitching classic sitcoms as auteur horror, and why some masterpieces are deeply rewarding precisely because they refuse to give you closure.
Peter and Andrew dive into Michael Curtiz’s 1942 classic Casablanca, unpacking how its sharp, endlessly quotable dialogue and moody, film noir–style shadows elevated an American studio production into an enduring masterpiece of cinema. They discuss the film’s unique production timing during World War II, Rick Blaine’s journey from cynical neutrality to active self-sacrifice for the greater good, and Claude Rains’ morally flexible Captain Renault serving as the essential bridge between the Allied resistance and German occupation. In their remake scenarios, they tackle a set of blasphemous challenges: How do you adapt Casablanca as a family-friendly film? Could it work as a kid-led resistance story or an animated animal allegory in the vein of Zootopia? What would a no-budget indie look like—a dialogue-heavy single-room bottle drama set entirely in Rick’s Café, an immigration story set in the Spanish exclave of Ceuta, or a morally ambiguous drama set during the dissolution of Yugoslavia? Would it translate better as a Mexican border town TV series or an episodic, Mandalorian-style anthology following Rick's weekly encounters with refugees and scoundrels? The hosts also share their current viewing habits—including Jake Johnson’s pickleball comedy The Dink, the Apple TV show Lucky, and the Anthony Bourdain summer-break biopic Tony—while referencing Challengers, The Mighty Ducks, The Great Dictator, To Be or Not to Be, Star Wars (and Han Solo's cantina roots), Children of Men, The Dark Knight, The Adventures of Robin Hood, The Fugitive, and Poker Face along the way. Topics covered: The commercial and patriotic confluence of Operation Torch and the Casablanca Conference on the film's original release, why the reluctant-hero archetype hits harder when the choice comes in Act Three instead of Act One, racial dynamics and the nuanced role of Sam, and why the messy compromises of World War II gave early cinema a rare moral clarity.
Peter and Andrew dive into Fernando Meirelles and Kátia Lund’s 2002 Brazilian masterpiece City of God, examining how its kinetic editing, split screens, handheld camera work, and vibrant energy bring the poverty-stricken favelas of Rio de Janeiro to life. They analyze the film's unconventional, vignette-driven story structure, discuss Rocket’s evolving role as an embedded narrator, and debate how the cyclical, unrelenting violence involving young children challenges traditional Hollywood storytelling and empathy. In their remake scenarios, they tackle a wild set of creative constraints: How do you adapt an unflinchingly violent crime saga into a family-friendly film? Could it work as an animated feature about a runaway chicken dodging danger, or a low-stakes turf war over contraband candy at a summer camp? What would a no-budget version look like told entirely in a darkroom through developing photographs, or an ultra-high-budget epic transported to the slums of ancient Rome? Would the sprawling favela dynamics be best served as an expansive, character-rich prestige TV series? The hosts also catch up on what they've been watching, discussing the razor-sharp comedic plotting of A Fish Called Wanda (1988) and the baseball romance of Fever Pitch (2005), while also referencing Goodfellas, The Godfather, The Shawshank Redemption, Do the Right Thing, Come and See, The Secret Agent, and nature documentaries like Planet Earth. Topics covered: Subverting traditional "Save the Cat" narrative formulas, balancing bleak thematic reality with visual style and vitality, the ethics and power of showing systemic cycles without moralizing, and why setting a city as the true main character creates an unforgettable cinematic world.
Peter and Andrew explore Stanley Donen and Gene Kelly’s 1952 musical classic Singin' in the Rain, unpacking how its high-energy choreography, vibrant Technicolor spectacle, and witty satire captured Hollywood’s turbulent transition from silent films to talkies. They discuss the film’s themes of genuine optimism, the artifice of celebrity image, and the evolution of entertainment technology, and debate whether its lighthearted jukebox musical structure and static stage-style camerawork still hold up as a towering work of cinema. In their remake scenarios, they tackle a lively challenge: How do you adapt an upbeat classic for families? Could it work as a 19th-century period piece about the arrival of city gaslighting, or a darker Babylon-style tragedy? What would a no-budget indie version look like, focusing on a celebrity hiring someone to secretly live out their social media life? Would it be better as an ongoing Glee-style musical series expanding on the supporting characters, or a meta backstage drama about the making of the film itself in the 1950s? The hosts also answer a listener question about their most controversial overrated and underrated movie hot takes, share their current viewing habits—including Nirvanna The Band The Show The Movie, the latest Spider-Man, and experiences on a film festival selection committee—while referencing The Wizard of Oz, Wicked, It’s a Wonderful Life, Solo: A Star Wars Story, Braveheart, Babylon, Hail, Caesar!, The Adventures of Robin Hood, The Sound of Music, and The Offer in their discussion. Topics covered: The mechanics of turning pre-existing catalog songs into a cohesive movie, why unbridled 1950s post-war optimism is difficult to recreate today, the visual trade-offs between static full-body dance shots and modern kinetic editing, and why pure cinematic fun doesn't always need deep thematic complexity to endure.
Peter and Andrew unpack Martin Scorsese's 1990 classic Goodfellas, exploring how its highly stylized editing and unique dual-narrator perspective redefined the gangster genre. They discuss the film’s themes of the illusion of mafia loyalty, the allure of the criminal lifestyle, and the reality of middle management incompetence, and debate whether its intense, stylized violence serves to intentionally desensitize the viewer. In their remake scenarios, they tackle a ruthless challenge: How do you adapt an ultra-violent mob story for families? Could it work as a summer camp movie about a kid slinging contraband candy? What would a no-budget version set entirely inside Paulie's house or a single chaotic car ride look like? Would it be better as an ongoing TV series expanding on the unseen Lufthansa heist? The hosts also celebrate their 40th episode by handing out awards for the past ten movies they've covered, while referencing The Godfather, The Sopranos, Donnie Brasco, The Office, Wet Hot American Summer, A Woman Under the Influence, Children of Men, Mulholland Drive, The Truman Show, Night of the Living Dead, Ran, Scott Pilgrim vs. the World, Cinema Paradiso, and Donnie Darko in their discussion. Topics covered: The cinematic discipline of skipping a highly-anticipated heist scene, the unglamorous reality of cleaning up crime scenes in your own driveway, comparing ruthless mobsters to incompetent regional managers, and why some movies are better experienced as a fast-paced rollercoaster ride.
Peter and Andrew unpack John Cassavetes's 1974 independent character study A Woman Under the Influence , exploring how its uncomfortably intimate filmmaking style and incredibly nuanced performances left a lasting mark on independent cinema. They discuss the film’s themes of mental illness versus idiosyncrasy, the dark underbelly of 1970s domestic life, and the messy reality of marriage, and debate whether its challenging, unresolved narrative still resonates in a modern world. In their remake scenarios, they tackle an uncomfortable challenge: How do you adapt a harrowing domestic drama for families? Could it work as a Mary Poppins -style fantasy where a mother's erratic behavior translates into magical adventures for her kids? What would a no-budget "birthday party from hell" version told entirely from the perspective of an awkward visiting parent look like? Would it be better as a time-hopping TV series exploring the couple's early romance and the future lives of their children in the vein of This Is Us ? The hosts also launch a new segment pitching auteur directors for bizarre brand movies (featuring Edgar Wright and John Milius takes on Crocs), and share their current viewing habits, including Shoresy and The Karate Kid (1984), while referencing Barbie, Battleship, Jumanji, Mean Girls, Red Dawn, Letterkenny, Cobra Kai, Black Swan, The Killing of a Chinese Bookie, Krisha, Blue Valentine, Saturday Night Live, Barry, and Entourage in their discussion. Topics covered: The difference between a low-budget Hollywood film and true independent cinema, the dark cultural undertones of the 1970s, the ethics of the Cobra Kai dojo, the value of long, uncomfortable scenes, and why some masterpieces are deeply rewarding but incredibly unpleasant to watch.