If you have read the book, then definitely listen to this episode, and if you haven't then... we'd argue consider reading just the first 50 pages and then rewatching Project Hail Mary– you'll kind of get all the points were making because one of us has read the entire book but another of us has read only the first 50 pages, and the third person in the group has read the entirety of a different book by the author of Project Hail Mary, which is The Martian, also by Andy Weir.

Anyway, leave a comment if you've read the book or not read the book. Who cares if you liked the movie!

Pengun Random House interview with Andy Weir:

https://www.youtube.com/watch?v=-H_srBMz4JQ

Robby loves horror movies, and he's loved rooting for the Best Original Screenplay Oscar ever since he was in high school. Jaclynn loves allegory, loves metaphor, and hates institutionalized evil so this was the perfect story for her. Cole loves technically complicated storytelling and cinematography so he has things to say as well. .

You know who has even more to say about his movie? Ryan Coogler!

Below are links to full length interviews with the writer, himself, that the episode uses a few quotes from:

Hanna Flint - Ryan Coogler talks Sinners, Vampires, and Capitalism

On Film - with Kevin McCarthy - Autumn Durald Arkapaw talks Sinners, Cinematography, IMAX, and more.

Watch the reel here: https://www.instagram.com/reel/DR-C6OWieXl/?igsh=YXU4b2J1OWJnZjMw

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Maybe for David Lynch this was experimental though because he had none of his usual tools of insanity and chaos to draw from?

At least that's our perspective! Please, have a listen and tell us yours.

CREATIVES:

Director: David Lynch

Writers: John Roach and Mary Sweeney

Producers: Mary Sweeney and Neal Edelstein

Composer: Angelo Badalamenti

Cinematographer: Freddie Francis

Editor: Mary Sweeney

CAST:

Richard Farnsworth as Alvin Straight

Sissy Spacek as Rose Straight

Harry Dean Stanton as Lyle Straight

Jane Galloway Heitz as Dorothy

Joseph A. Carpenter as Bud

Donald Wiegert as Sig

Ed Grennan as Pete

Jack Walsh as Apple

James Cada as Danny Riordan

Wiley Harker as Verlyn Heller

Kevin Farley as Harald Olsen

John Farley as Thorvald Olsen

Anastasia Webb as Crystal

Barbara Robertson as Deer Woman

CREW:

Production Designer: Jack Fisk

Costume Designer: Amy Stofsky

Casting: Johanna Ray and Elaine J. Huzzar

Art Direction: Christy Wilson

Set Decoration: Barbara Haberecht

Sound Design: David Lynch

SOUND DESIGN (FOR PODCAST) ATTRIBUTION:

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That said, you really should also know about Lynch's producer, editor, and sometimes screenwriter of twenty years, Mary Sweeney!

Please, note: this scene is a little bit scary, but aren't almost all thing David Lynch?

LINKS TO FULL INTERVIEWS WITH MARY SWEENEY:

Director's Club - "Editor of Lost Highway"

The Third Story - 2018

The Third Story - Mary Sweeney Returns

DePaul University - David Lynch's Producer

CREATIVES:

Director & Writer: David Lynch

Producers: Neal Edelstein, Tony Krantz, Michael Polaire, Alain Sarde, and Mary Sweeney

Composer: Angelo Badalamenti

Cinematographer: Peter Deming

Editor: Mary Sweeney

Production Designer: Jack Fisk

Costume Designer: Amy Stofsky

CAST:

Naomi Watts as Betty Elms / Diane Selwyn

Laura Elena Harring as Rita / Camilla Rhodes

Justin Theroux as Adam Kesher

Ann Miller as Coco Lenoix

Mark Pellegrino as Joe

Robert Forster as Detective McKnight

Dan Hedaya as Vincenzo Castigliane

Monty Montgomery as The Cowboy

Lee Grant as Louise Bonner

Billy Ray Cyrus as Gene

Patrick Fischler as Dan

Melissa George as Camilla Rhodes

Michael J. Anderson as Mr. Roque

Rebekah Del Rio as Herself

Bonnie Aarons as The Bum

SOUND DESIGN ATTRIBUTION:

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Episode Summary: this episode does eventually become "a very special episode" because the subject matter is difficult and portrays the evils of humanity and current human society, but prior to that it's pretty fun to discuss a film that arguably has "no plot" beyond women going into a barn to talk.

The background is that the women of a self-secluded community have been violently sexually assaulted for years, but some of the male perpetrators have finally been caught by the women and so the women have been given two days to decide if they should do nothing, stay and fight, or leave the community.

The plot is that a vote was taken between the three options, and the vote was essentially tied, so three families are chosen to talk through the three options.

They are though talking about an enormously important and emotional question: do nothing, stay and fight, or leave?

FULL INTERVIEWS WITH SARAH POLLEY:

"Making Women Talking: Sarah Polley explains why laughter was key to adapting Miriam Toews's novel" Q with Tom Power

"Sarah Polley unpacks Women Talking" Now Toronto

SOUND DESIGN ATTRIBUTION:

S: drumroll_for_ceremony_long.mp3 by Heigh-hoo | License: Creative Commons 0

You can and should watch this film any (and arguably multiple) times per year: once for the holidays, once for the visual story, and once for every time you you want to feel like you're falling in love but it's complicated.

If you love the film already, then please, also listen to Subtextual's episode about "Carol" because they do an even longer breakdown and find it to be a warm Christmas hug and they're one of the best film review podcasts in general as well!

https://podcasts.apple.com/us/podcast/holiday-rerun-carol-2015/id1597822346?i=1000589808456

https://www.instagram.com/subtextualpod/

CREATIVES:

Director: Todd Haynes (Known for Far from Heaven, I'm Not There, May December)

Screenwriter: Phyllis Nagy (Based on the novel The Price of Salt by Patricia Highsmith)

Producers: Elizabeth Karlsen, Stephen Woolley, Christine Vachon

Cinematographer: Edward Lachman (Shot on Super 16mm film)

Composer: Carter Burwell (Known for his work with the Coen Brothers)

CAST:

• Cate Blanchett as Carol Aird (Known for Blue Jasmine, Elizabeth, Tár)

• Rooney Mara as Therese Belivet (Known for The Girl with the Dragon Tattoo, Women Talking)

• Sarah Paulson as Abby Gerhard (Known for American Horror Story, Ratched)

• Kyle Chandler as Harge Aird (Known for Friday Night Lights, Manchester by the Sea)

• Jake Lacy as Richard Semco (Known for The White Lotus, Girls)

• John Magaro as Dannie McElroy (Known for Past Lives, The Big Short)

AWARD NOMINATIONS

88th Academy Awards (Oscars)

• Best Actress: Cate Blanchett

• Best Supporting Actress: Rooney Mara

• Best Adapted Screenplay: Phyllis Nagy

• Best Cinematography: Edward Lachman

• Best Original Score: Carter Burwell

• Best Costume Design: Sandy Powell

73rd Golden Globe Awards

• Best Motion Picture – Drama • Best Director: Todd Haynes

• Best Actress in a Motion Picture – Drama: Cate Blanchett

• Best Actress in a Motion Picture – Drama: Rooney Mara

• Best Original Score: Carter Burwell

69th British Academy Film Awards (BAFTA)

• Best Film • Best Direction: Todd Haynes

• Best Actress in a Leading Role: Cate Blanchett

• Best Actress in a Supporting Role: Rooney Mara

• Best Adapted Screenplay: Phyllis Nagy

• Best Cinematography: Edward Lachman

• Best Production Design: Judy Becker, Heather Loeffler

• Best Costume Design: Sandy Powell

• Best Makeup and Hair: Jerry DeCarlo, Patricia Regan

Other Notable Awards

• Cannes Film Festival: Palme d'Or (Rooney Mara WON Best Actress; also WON Queer Palm) • New York Film Critics Circle: Best Film (WON), Best Director (WON), Best Screenplay (WON), Best Cinematography (WON) • Independent Spirit Awards: Best Cinematography (WON) • National Society of Film Critics: Best Director (WON), Best Cinematography (WON) • Los Angeles Film Critics Association: Best Original Score (WON) • Dorian Awards (GALECA): Film of the Year (WON), Director of the Year (WON), Screenplay of the Year (WON), LGBTQ Film of the Year (WON), Film Performance of the Year – Actress for Cate Blanchett (WON)

Sound Design Attribution:

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Because as Jaclynn says, in this episode "we didn't know what we had."

In this episode we look back and break apart what Cole would argue was the best Vine of all time, "The" GameCube Vine.

What we consider the best is baked into the start of the episode (and it plays twice on purpose), but a compilation of all of the rest can be found here:

https://www.youtube.com/watch?v=lzqXoZSN5jY

If aliens arrive to our rummage through our digital bones, let them see this creativity so that they might know what it is to be human.

SOUND DESIGN CREDITS:

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Read the play here: https://drive.google.com/drive/folders/1O_pb-vqXSIgZY2o9UsmZRMpkdBG1STGN?usp=sharing

This episode is all about Jaclynn's only note... the only note she ever gives... ad nauseam to the point that it has (nearly) ruined friendships.

That note is "write three FULL episodes and throw them out."

This is "how" Phoebe Waller-Bridge made the "perfect" television season/series, and Jaclynn gives us a full breakdown of the glorious ways in which two hours of screen time was turned into what is essentially a 5 minute montage!

And sorry, it's obviously more than a montage, but that's the idea that needs to be conveyed if you're trying to decide whether or not to listen to this episode!.

CHAPTERS & CAN'T MISS MOMENTS

00:00 - Cold Open

02:15 - Jaclynn's Only Note Ever

04:18 - Phoebe Waller-Bridge Wrote Three Full Episodes & Threw Them Out

06:43 - Jaclynn Taking Her Own Note

10:57 - Why Cole Was "Sent Over The Edge"

16:09 - Beat-By-Beat Breakdown

25:49 - Robby's Practical Side

33:20 - Robby's Quotes Cuomo & Predicts Mamdani's Victory Speech

35:13 - Outro - Robby Tries & Fails To Be Mean

CREATIVES:

• Writer: Phoebe Waller-Bridge (also known for Killing Eve and Crashing)
• Director: Harry Bradbeer (also known for Killing Eve and Enola Holmes)
• Executive Producers: Phoebe Waller-Bridge, Harry Williams, Jack Williams, Harry Bradbeer, Lydia Hampson, Joe Lewis
• Editor: Gary Dollner (Emmy-winner for Fleabag S2, Ep 1; known for Killing Eve and Veep)
• Cinematographer: Tony Miller

CAST:

• Phoebe Waller-Bridge as Fleabag (Creator and star of Fleabag and writer of Killing Eve)
• Sian Clifford as Claire (Fleabag's Sister; known for Quiz and Life After Life)
• Andrew Scott as The Priest (Known for playing Moriarty in Sherlock)
• Olivia Colman as Godmother (Oscar-winner for The Favourite; known for The Crown and Broadchurch)
• Bill Paterson as Dad (Known for Doctor Who and Outlander)
• Brett Gelman as Martin (Claire's Husband; known for Stranger Things)
• Maddie Rice as Needy Waitress (Guest appearance in the episode)

Awards Won and Nominated For:

• Won: Emmy Award – Outstanding Single-Camera Picture Editing for a Comedy Series (Gary Dollner)
• Nominated: Emmy Award – Outstanding Cinematography for a Single-Camera Series (Tony Miller)
• Nominated: British Academy Television Award (BAFTA) – Best Scripted Comedy (Series)

Sound Design Attribution for The Arc.fm Ep 11:

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People (meaning like tourists visiting a major city, network television sitcom comedy writers living in a major city, or people watching network television sitcoms anywhere in the US) associate improv with "whacky" "games" that are treated as something like "comedy sports."

But to us, and especially to our guest, improv is long-form theatre, a way of thinking, and if it's not too pretentious to say so... a philosophy of thought: does your mind expand or contract the ideas it's presented with, and do you support your fellow humans along the way or not?

The film "Don't Think Twice," is ostensibly about improv, but our conversation would argue that it's about much more, such as, jealousy, capitalism, and whether or not life is fair.

Our guest is Sophie Long, who is from Sydney, Australia but has lived in and studied in Chicago (the "birthplace" of "comedy") and spent extensive time in New York so, yes, this conversation does at times talk about improv, but overall, it's more about philosophy and how the characters in this film treat their "friends."

The premise of the film is extremely true to life and everyone who was a part of this conversation has lived through something similar: there's an improv troupe who has two members audition for (basically) Saturday Night Live, and when one of them actually makes it on the show, the entire dynamics of the group change– drastically.

As always, you do NOT have to have watched this film/story/show to enjoy the conversation, but we bet that five minutes into the episode, you'll at least want to give it a shot.

CREATIVES:

Director & Screenwriter: Mike Birbiglia (also known for Sleepwalk with Me)

Producers: Mike Birbiglia, Miranda Bailey, Amanda Marshall, Ira Glass (creator of NPR's This American Life)

Cinematographer: Joe Anderson

CAST:

Keegan-Michael Key as Jack (Known for Key & Peele)

Gillian Jacobs as Samantha (Known for Community, Love)

Mike Birbiglia as Miles (Known for his stand-up and storytelling)

Kate Micucci as Allison (Known for Garfunkel and Oates, The Big Bang Theory)

Chris Gethard as Bill (Known for The Chris Gethard Show)

Tami Sagher as Lindsay (Known for writing on 30 Rock and Inside Amy Schumer)

Cameos: Lena Dunham, Ben Stiller, Pete Holmes

Awards Nominated For:

Critics' Choice Award for Best Comedy (a significant nod for an independent film)

Accolades: Universal critical praise (100% on Rotten Tomatoes during initial release).

The Film’s Legacy:

Don't Think Twice is a defining piece of 21st-century independent cinema, celebrated not just as a comedy, but as a painful meditation on friendship, capitalism, and the human desire for validation. While ostensibly about improv, its true legacy is its raw, unblinking look at what happens to a tight-knit family unit when the brutal, zero-sum logic of the entertainment industry (personified by the "Weekend Live" audition) enters their lives. It is noted by artists for authentically exploring jealousy among friends, forcing characters and viewers alike to confront whether one can truly support a friend's success when it highlights one's own failure. The film's philosophical core should have been backed by the belief that improv's "Say Yes" philosophy must extend off-stage to navigating an often-unfair life, but instead it explores a capitalist reality that that philosophy may not extend to real life.

This episode is a discussion of whether we are talking about a "film" or a "movie" (one is "better" than the other) and there is talk about whether or not it is too problematic to re-watch, but we all agree that it's kind of, sort of an early 2000s classic– despite the fact that only one of us has seen it before.

If you know, have worked with, or have heard of any of the three of us already, then this is a must-listen because it becomes an extremely personal story for everyone.

TIME STAMPS & MUST LISTEN MOMENTS:

00:27 - What You Need To Know Before Watching

01:39 - What Robby, A Storytelling Teacher Thinks

08:12 - Is "Freaky Friday" A Film or a Movie?

18:18 - When Did We We All Cry?

23:30 - Does Money Buy Happiness + Sketch

27:41 - Serious Question: What Is Communication?

31:04 - The Big Takeaway: Chad Michael Murray

35:03 - Jaclynn's Love of BRITNEY SPEARS

38:22 - Robby's Way Too "Sexy" Britney Spears Summer In Italy

42:33 - Favorite Lines

EXTENDED EPISODE NOTES:

We begin by trying to set the scene for anyone who hasn’t seen the movie — Lindsay Lohan and Jamie Lee Curtis at their absolute peak, body-swapping chaos, a soundtrack that could only exist in 2003.

From there, we start drifting between Jaclynn's nostalgia and critique. Robby, our resident storytelling teacher, treats the film like a case study in structure and theme, breaking down how body-swapping becomes a metaphor for communication (and miscommunication).

Jaclynn admits it's a movie, not a film, but Cole argues that it’s film because of its cinematography.

When we finally circle back to the “film vs. movie” debate, it becomes an ongoing bit for the rest of the episode. Is Freaky Friday high art or just a comfort watch? Does it matter if something makes us feel seen even if it’s “just” a teen comedy?

Still, somewhere in the middle of all the laughter, we accidentally hit something real. Around the time we start talking about the mother-daughter storyline, everyone admits they cried — sometimes for personal reasons that have nothing to do with the movie.

There’s a moment where one of us says, “This isn’t about Lindsay Lohan anymore,” and it’s true. We realize the film’s message about not understanding each other across generations lands harder as adults. It’s suddenly less about comedy and more about empathy — and maybe that’s what keeps us coming back to movies like this.

The conversation takes a turn into whether money buys happiness (spoiler: it doesn’t, but it does buy time to make bad art), and we somehow end up doing an impromptu sketch that only sort of makes sense in context. That’s the rhythm of this episode — moments of real insight followed by moments of complete absurdity. By the time we get to “What is communication?” the tone shifts again.

We start half-joking, half-serious, about how body-swapping might actually be the most honest depiction of failed communication in families.

After that, things devolve gloriously. Jaclynn admits her lifelong love of Britney Spears, and Robby starts talking about his “sexy Britney Spears summer in Italy." Everyone’s laughing, half out of disbelief, half because this is exactly why we do this podcast — to have these weirdly intimate, unserious-but-serious talks about pop culture that feel like group therapy disguised as conversation. We end by sharing our favorite lines from the movie, and it becomes this collective realization that even though we came into the episode pretending to analyze, what we were really doing was remembering — remembering what it felt like to be teenagers, to want to be understood, to watch something silly and feel like it meant something. We all agree that Freaky Friday isn’t a perfect film or even a perfect movie, but we can't help but find meaning in it anyway.

CREATIVES:

Director: Mark Waters

Screenwriters: Heather Hach & Leslie Dixon

Based on Novel by: Mary Rodgers (1972)

CAST:

Jamie Lee Curtis as Tess Coleman/Anna Coleman (in Tess’s body)

Lindsay Lohan as Anna Coleman/Tess Coleman (in Anna’s body)

Mark Harmon as Ryan Volvo, Tess' fiancé

Harold Gould as Alan, Tess' father and Anna's grandfather

Chad Michael Murray as Jake, Anna's love interest

Stephen Tobolowsky as Mr. Elton Bates, Anna's high school English teacher

Christina Vidal as Maddie, Anna's bandmate

Ryan Malgarini as Harry Coleman, Tess' son, Anna's younger brother and Alan's grandson

Haley Hudson as Peg, Anna's other bandmate

Rosalind Chao as Pei-Pei Chiang, a Chinese restaurant manager

Lucille Soong as Mrs. Chiang, Pei-Pei's mother

Willie Garson as Evan, Tess' patient

Dina Waters as Dottie Robertson, Tess' boss

Julie Gonzalo as Stacey Hinkhouse, Anna's former friend

Marc McClure as Boris

Mary Ellen Trainor as Diary Reading Patient

Cayden Boyd as Harry's friend

Awards Won and Nominated For:

Won:

BMI Film Music Award to composer Rolfe Kent for the film’s score.

MTV Movie Award – Best Breakthrough Performance (Lindsay Lohan)

Teen Choice Awards – Choice Breakout Movie Star (Female, Lindsay Lohan) & Choice Hissy Fit (Lohan)

Phoenix Film Critics Society – Best Live Action Family Film

Nominated:

Golden Globe – Best Actress (Musical or Comedy) for Jamie Lee Curtis

Wikipedia

Saturn Awards – multiple nominations including Best Fantasy Film, Best Actress, Best Younger Actor, Best Writing

Critics’ Choice – Best Family Film (Live Action)

The Film’s Legacy:

The 2003 version of Freaky Friday holds up as a quietly influential early-2000s teen comedies. It turned body-swap shenanigans into something bound with real emotional stakes — not just laughs but genuine feelings around family, identity and understanding. Although it wasn’t treated as “serious” cinema at the time, we argue that it should be thought of that now.

Sound Design Attributions:

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Jaclynn jokes that the real reason we chose to cover Freakier Friday is because she was going to see it no matter what, but honestly we had a great time unpacking this box of "nostalgia cupcakes."

The entire episode and the film, itself, are also an active meditation on just how "meta" you can make a story without breaking the story's proverbial Easter eggs.

Once we got into it, we realized it's a story about empathy, grief, and growth, and on the technical story side, we had a serious discussion of when the rules of the world of a story matter and when they don't.

The episode's closing section, "Favorite Lines," is especially hilarious this week because this was one of the funniest films of the year.

CHAPTER TIME STAMPS & MUST-LISTEN MOMENTS:

00:00 - The Cold Open

00:21 - Why We Chose It, and Why Disney Made This Movie "Literally for Jaclynn"

01:44 - Old Guy Seeing The Film Alone In The Theater

02:40 - Robby Liked It?

03:11 - Jaclynn's Memory of the Original 2003 Film

04:50 - The Jane Goodall Theater Experience

07:46 - The Unkind Aging Jokes and Constant Yelling in the First Half

08:14 - Jamie Lee Curtis Deserves an Oscar and a Nobel Peace Prize

09:30 - The "Fantastic Four" Problem of Hitting Every Nostalgic Button

14:30 - Characters in Pain

17:30 - Real World Consequences of the Story & The Rules of the World

25:40 - The Almost Questionable Morality of the Story

28:00 - MUNA's Cameo

30:30 - Favorite Lines Sketch

31:40 - Favorite Lines

Key Credits & Facts: Freakier Friday (2025):

Director: Nisha Ganatra

Screenplay by: Jordan Weiss (Story by: Elyse Hollander, Jordan Weiss)

Based on: Freaky Friday by Mary Rodgers (1972)

Cinematography: Matthew Clark

Producers: Kristin Burr, Andrew Gunn, Jamie Lee Curtis

Cast (Returning): Jamie Lee Curtis (Tess Coleman), Lindsay Lohan (Anna Coleman), Mark Harmon (Ryan), Chad Michael Murray (Jake), Rosalind Chao (Mama P), Stephen Tobolowsky (Mr. Elton Bates), Christina Vidal Mitchell (Maddie), Haley Hudson (Peg)

Cast (New to Franchise): Julia Butters (Harper Coleman), Sophia Hammons (Lily Reyes), Manny Jacinto (Eric Reyes), Maitreyi Ramakrishnan (Ella)

Notable Facts:

• Lohan's Return: The film marks Lindsay Lohan's first leading role in a wide theatrical release in 18 years.
• Curtis's Influence: The sequel was born out of Jamie Lee Curtis's own push to make the film after realizing the demand from fans while touring for the Halloween franchise.
• Casting Callbacks: Elaine Hendrix, who played the antagonist Meredith in The Parent Trap (1998), makes a cameo, reuniting her with Lindsay Lohan on screen.
• Box Office Success: The film achieved the biggest domestic opening for a live-action comedy in 2025.
• Veteran Comeback: It is Mark Harmon's first non-NCIS related role in a theatrically released film in over a decade.

WATCH THE SCENE HERE: https://youtu.be/z4Kx3TiS3ow?si=WxhV-XnxFAbh3btN&t=26

Don't ask us why we chose to use a silent scene for a podcast, but we did and we did a sketch making fun of the decision to do so! If you want to get one of the references that's made in the sketch, check out the Wikipedia page for composer John Cage's piece 4'33".

The episode itself is of course a short one, but it's a great scene that deserves more attention!

Please, leave a comment with other ideas for scenes that are worth a second, deeper look.

Crashing (UK, 2016) itself is a pretty great show, and is one of the first public-facing things that Phoebe Waller-Bridge wrote.

About the Series:

• What it is: Crashing is a six-part comedy series that follows the lives and loves of six twenty-somethings living together as property guardians in a massive, disused London hospital. The arrangement allows them to pay cheap rent in exchange for keeping the building safe, creating a hilarious and awkward situation where their personal relationships and sexual tensions inevitably collide.

Cast:

• The series stars creator Phoebe Waller-Bridge (best known for Fleabag and Killing Eve) as Lulu, and Jonathan Bailey (known for playing Anthony Bridgerton in Bridgerton) as Sam.
• Other key cast members include Damien Molony and Louise Ford.

The Creatives:

• The series was created and written by Phoebe Waller-Bridge, and it is one of her first public-facing works before the global success of Fleabag.
• It was produced by Big Talk Productions (known for producing hits like Shaun of the Dead and Hot Fuzz).

Impact and Legacy:

• While the series itself did not win major awards, its cultural impact is significant as it launched the TV career of Phoebe Waller-Bridge and introduced the world to her distinct voice, dark humor, and sharp writing, laying the groundwork for the monumental success of Fleabag later that same year.

In this episode, we analyze everything from the micro-nuance of the filmmaking to the overarching plot. We dissect the technical aspects, including the use and misuse of "The Oner" (the single, continuous long take), and contrast the artistry with the time wasted on set to create the perfect “oner.”

Critically, we look at how the story maintains its narrative perfection even as chaos erupts on set.

Our discussion is a full breakdown that covers real-life stories from behind the scenes, the satirical skewering of studio executives, and the mastery of the cast, including the amazing Greta Lee. Join us as we explore why this story was simply too perfect to ruin, even when someone couldn't resist turning Chekhov's Gun from a pistol into a machine gun.

CHAPTER TIME STAMPS & MUST-LISTEN MOMENTS:

00:00 - Cold Open

00:39 - Sketch: Chekhov's Gun

01:17 - The Behind-The-Scenes Magic

02:29 - The Bookend Magic Trick & Steering Wheel "Acting"

06:40 - Skewering “Oners” As a Concept

10:40 - The Characters

16:02 - Mastery of Craft

19:44 - Pre-Conceived Notions

24:25 - Real Life On-Set Story

27:27 - References & Greta Lee

30:45 - Sketch: Chekhov's Gun + Ending

Key Credits The Studio, Episode 02, "The Oner"

Directed by: Seth Rogen, Evan Goldberg

Written by: Peter Huyck

Cinematography: Adam Newport-Berra

Cast: Seth Rogen (Matt Remick), Ike Barinholtz (Sal Saperstein), Greta Lee (Herself), Sarah Polley (Herself), Catherine O'Hara (Patty Leigh), Keyla Monterroso Mejia (Petra)

Awards (Episode Specific):

• Primetime Emmy Award for Outstanding Directing for a Comedy Series (Won by Seth Rogen & Evan Goldberg, 2025)
• Primetime Creative Arts Emmy Award for Outstanding Cinematography for a Series (Half-Hour) (Won by Adam Newport-Berra, 2025)

Awards (Series Overall):

• The Studio (Season 1) won a record 13 total Primetime Emmy Awards, including Outstanding Comedy Series.

Notable Feature: The episode itself is shot to look like a single, continuous long take (a "oner"), satirically mirroring the plot of the fictional movie being filmed within the story.

Sound Design Credit Attribution:

Chekhov's "Gun" Sketch - Gun Pew Pew Two by OBXJohn -- https://freesound.org/s/365634/ -- License: Creative Commons 0

Fast & Furious Presents: Hobbs & Shaw is a masterclass in visual storytelling, and the episode becomes a bit of a David Leitch Fan Club as we dive into how the director's visual precision goes way beyond just the stunts.

This story is so well told that we suspend our disbelief for two straight hours—aside from exactly one shot. We find it completely plausible that The Rock can out-muscle a military-grade helicopter, but we can’t deal with one questionable shot of the sunrise.

Stick around to the end because we workshop a new "Favorite Lines" segment, and we provide yet another shout out to an ex.

Episode Chapters & Highlights:

00:00 - Cold Open & Sample from the Trailer

00:26 - Why We're Talking about Hobbs & Shaw

00:40 - Sketch: Virgo Season Team Meeting

01:38 - The Efficiency of the Storytelling in Hobbs & Shaw

03:20 - Directed by David Leitch (John Wick, Atomic Blonde, Deadpool 2)

05:12 - The Visual Perfection of Hobbs & Shaw

10:10 - What Robby Wanted More Of

11:30 - How Quickly The Story Set Expectations of Believability

11:50 - Jaclynn's Only Problem With The Story

20:26 - Action Movie Voice, What Is "Funny"

23:28 - Robby Talks About The "Heat and Weight" of the Story

27:37 - Favorite Lines

31:05 - Shout Out To An Ex (Discussion & Sketch)

Such a poignant (sad, dark, introspective) story made for an unexpectedly fun episode.

Must listen moments include:

00:00 - Cold Open

00:28 - Why We Chose To Discuss "My Life As A Dog"

02:09 - What You Need To Know Before Watching "My Life As A Dog"

13:46 - Did We (Jaclynn) Like It?

17:27 - Sketch: Shout Out To An Ex!

19:42 - Why Robby Loves "My Life As A Dog"

23:35 - Cole's Reaction & Comparing It To "My Dinner With Andre"

27:25 - No One Says "I Love You"

28:02 - Sketch: Cathartic Company Holiday Party

29:50 - Sexual Content Warning // Discussion

31:30 - The Film's Many Metaphors

36:19 - Our Favorite Robby Story

39:26 - Favorite Lines

Key Credits:

Director: Lasse Hallström

Writers: Lasse Hallström, Reidar Jönsson, Brasse Brännström, Per Berglund (adapted from Jönsson’s novel)

Cinematography: Jörgen Persson

Cast: Anton Glanzelius (Ingemar), Tomas von Brömssen (Gunnar), Anki Lidén (Ingemar’s mother), Melinda Kinnaman (Saga)

Awards: Won Golden Globe for Best Foreign Language Film (1988); Nominated for two Academy Awards (Best Director, Best Adapted Screenplay); Winner of Guldbagge Award for Best Film; widely recognized on international critics’ lists.

Cultural Impact:

My Life as a Dog was a breakthrough moment for Swedish cinema in the 1980s and for director Lasse Hallström, who went on to a long Hollywood career. The film established a model for the “memory movie” subgenre, using a child’s heightened perspective and vivid production design to translate trauma into visual metaphor. Its balance of levity and despair influenced later coming-of-age films, particularly in how stories of childhood can be framed as both whimsical and devastating. The film also broadened international awareness of Swedish filmmaking and remains a touchstone in conversations about resilience, displacement, and the unreliable nature of memory.

Episode Summary:

We celebrate Virgo season with Robby’s favorite film—My Life as a Dog (1985), directed by Lasse Hallström and adapted from Reidar Jönsson’s novel. With cinematography by Jörgen Persson and a breakout performance by Anton Glanzelius, the film became an international success, winning the Golden Globe for Best Foreign Language Film and earning Academy Award nominations for Best Director and Best Adapted Screenplay.

Our discussion frames My Life as a Dog as a “memory movie”: a story told through the lens of a child’s perception, where bright colors and circus-like design choices mirror the distortions of memory. We compare Ingemar’s dislocation to the fate of Laika, the dog sent into space, emphasizing the boy’s sense of being “tossed around” by forces beyond his control. The conversation examines the film’s tonal balance—how it cloaks devastating material in humor—and debates whether Ingemar is a typical child or unusually aware of his difficult circumstances.

Finally, we consider the film’s cultural impact. Beyond its role as a breakthrough for Swedish cinema and Hallström’s career, My Life as a Dog continues to resonate as a meditation on powerlessness, resilience, and the search for belonging. Its influence can be traced in subsequent coming-of-age films that weave levity into trauma, and in the enduring discussions it sparks among filmmakers and audiences alike.

Join us as we take Fantastic Four: First Steps way too seriously– so seriously that it’s hilarious. Honestly, this might be the funniest episode of the year.

Memorable moments beyond the typical fun, thoughtful analysis include:

• Giving birth in space [00:31:14]

• Our first "Pre-tenshy" (Pretentious) Alert: Comparing the Fantastic Four: First Steps to the 9,000 page series of novels, Three Body Problem. [00:04:32]

• Our first shouting out ex-boyfriends by name. [00:21:12]

Definitely try each of those time stamps , but if you want to know more a full summary of the episode is below!

FULL SUMMARY:

First Reactions and Expectations

• [00:00:40] A Fresh Perspective: The hosts express their initial thoughts on the film, with two of the three having no prior experience with Marvel. They discuss their decision to see the film and the unique, potentially "uninformed" perspective they bring to the conversation.
• [00:01:29] Finding the Flaws: One host (guess who!) admits to falling asleep during the film, attributing it to a tiring day but also expressing a desire to see it a second time to give it a fair chance. They share their core disappointment that the film felt predictable and "flat" from the start.

Story Structure and Character Arc

• [00:07:31] A Critique of Predictability: The discussion delves into the film's structural shortcomings, noting that key plot points, such as the fate of certain characters, felt heavily foreshadowed and lacked surprise. The hosts argue that the story’s predictability drains any meaningful tension.
• [00:21:46] The Stagnant Hero's Journey: The hosts focus on the lack of character growth and arc within the story. They argue that characters start and end the film as heroes with no significant internal change or conflict. The absence of a genuine hero's journey is highlighted as a core reason for the film’s narrative flatness.

Film as Social Commentary

• [00:24:07] A Retro-Futuristic Utopia: The conversation shifts to the film’s social subtext, describing its setting as a utopian, nuclear family-centric world that feels oddly reminiscent of the 1950s. The host contrasts this with modern societal realities, noting the surprising level of public trust and the lack of systemic problems like poverty or worker unrest.
• [00:30:10] Birth in Space and Other Surprises: The hosts discuss the depiction of a superhero giving birth in space, praising the film for showcasing a unique and rarely seen aspect of a superhero's life. They also note the surprising, matter-of-fact portrayal of the event, which they see as a bold choice for a major studio film.
• [00:36:03] Thematic Thesis: The episode concludes by highlighting the core thematic conflict of the film, quoting a character’s line: "I'm not sacrificing my son for this planet, but I won't sacrifice this planet for my son." This is identified as the central thesis of the story, serving as a powerful and rare moment of genuine moral ambiguity.

CREDITS & ATTRIBUTIONS

Sound Design Field Recordings:

"Pretentious Alert" [00:04:32]

• S: Beach Dance - EDM Dance Cinematic Party Eletro Chill Happy 120bpm Music - EQ Mastered.wav by szegvari | License: Creative Commons 0
• S: Gun Pew Pew Two by OBXJohn | License: Creative Commons 0

"Ex-Boyfriend Shout Out" [00:21:12]

• S: bestdayever.wav by LS | License: Attribution 3.0
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