Podcasts about juleen

“The drama doesn't stop when the cameras do.” Join Ian, Liam & Kev for our 333rd episode as we step behind the scenes of daytime television, backstage rivalries, and gloriously oversized egos with Soapdish (1991). Megs isn't with us this week — she's reportedly accepted a surprise role as the long-lost twin sister of a character who was presumed dead after falling into a volcano. We expect her dramatic return during sweeps week. This week we discuss: Sally Field's performance as Celeste Talbert — charming, chaotic, insecure, and impossible not to root for. Is this one of the great comedy performances of the early '90s? The ensemble cast — Kevin Kline, Robert Downey Jr., Cathy Moriarty, Elisabeth Shue, Whoopi Goldberg. How does a film with this much talent avoid collapsing under its own weight? The satire of television production — petty feuds, ratings desperation, and the beautiful absurdity of soap-opera storytelling. Ian breaks down the film's narrative structure — twists, reveals, mistaken identities, and why the screenplay commits so fully to the bit. Liam explores whether the film works better as industry satire or outright farce — and whether those are even different things. Kev weighs in on the performances — who understands exactly what movie they're in, and who steals every scene they enter. The soap-opera influence — evil twins, secret children, miraculous survivals, and why audiences keep coming back for more. The “show vs tell” balance — does the film cleverly parody melodrama, or occasionally become the thing it's mocking? The surprisingly sharp commentary — beneath the silliness, what is the film actually saying about fame, aging, and relevance? Elisabeth Shue's role — innocent newcomer, plot device, or the emotional anchor holding the madness together? The ending — ridiculous, heartfelt, and exactly as over-the-top as it needs to be or low hanging fruit in a moment that's aged terribly? And finally, whether Soapdish is the Best Film Ever — or one of the most underrated ensemble comedies of its era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I never had any friends later on like the ones I had when I was twelve... does anyone?” Join Ian, Kev & Megs for our 332nd episode as we walk the tracks, dodge leeches, and revisit Rob Reiner's coming-of-age classic Stand By Me (1986). This week is all about friendship, memory, growing up, and the strange sadness of knowing some moments only become important once they're already gone. Liam drops in later for a special bonus segment, while BFF of the BFE: Ariannah Who Loves BFE The Most™ joins us for The Endgame. This week we discuss: River Phoenix's extraordinary performance — vulnerable, intelligent, and quietly devastating. Was this the role that proved he was destined for greatness? The chemistry of the four boys — natural, funny, chaotic, and deeply believable. Is this one of the strongest young ensembles ever put to film? The film's relationship with memory — nostalgia, grief, and the way adulthood reshapes childhood stories. Ian breaks down the narration structure — reflective storytelling, emotional hindsight, and why Richard Dreyfuss' voiceover works where so many others fail. Megs explores the emotional honesty of the film — masculinity, vulnerability, and the fear of being left behind. Kev weighs in on the pacing and atmosphere — quiet moments, campfire stories, and why the journey matters more than the destination. The balance of humour and sadness — how the film pivots effortlessly between childhood comedy and existential dread. Ian talks about the short story in the middle of this bigger story and what Stephen King is really doing with it Liam joins us for a bonus segment — dropping in to talk about the film's legacy, Stephen King adaptations, and why stories about friendship hit differently as you get older. The “show vs tell” balance — does the film earn its emotional resonance through subtle character work, or does nostalgia do some of the lifting? Ariannah joins us for The Endgame — helping us unpack why Stand By Me continues to resonate across generations and whether its emotional simplicity is actually its greatest strength. The ending — bittersweet, perfect, and quietly heartbreaking. Does any closing narration hit harder than this? And finally, whether Stand By Me is the Best Film Ever — or simply one of the most emotionally truthful coming-of-age films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Boy, I got vision… and the rest of the world wears bifocals.” Join Ian, Liam & Kev for our 330th episode as we saddle up, head for Bolivia (Megs has headed back to America early), and ride into one of the most charming, melancholy, and effortlessly watchable westerns ever made with Butch Cassidy and the Sundance Kid (1969). It's outlaws, bicycles, and impossible charisma this week as we ask whether two of cinema's coolest men were ever really built for the world they lived in. This week we discuss: Paul Newman and Robert Redford's legendary chemistry — playful, effortless, and endlessly quotable. Is this one of the greatest screen pairings of all time? The tone — western, comedy, tragedy, anti-western. How does the film balance charm with the creeping inevitability of its ending? Newman's Butch Cassidy — talkative, inventive, and always thinking three steps ahead. Is he a genius… or simply delaying reality? Redford's Sundance Kid — cool, lethal, and increasingly aware the world is changing around him. Ian breaks down the film's structure — episodic storytelling, tonal pivots, and why the pacing feels so modern for 1969 - but does it rob us with the ending Liam questions the mythology of outlaws — are Butch and Sundance rebels, romantics, or simply criminals we've chosen to like? Kev dives into the cinematography and score — sweeping landscapes, freeze frames, and Raindrops Keep Fallin' on My Head somehow working against all odds. Liam educates us all on the Old West and references about 25 other Westerns in the process The pursuit — who are those guys, and why does the film turn a chase into existential dread? Katharine Ross as Etta Place — underwritten love interest or essential emotional grounding? There's a cameo in this film that you'll never see coming - we didn't The ending — iconic, tragic, and endlessly imitated. Does freezing the moment make it more powerful? The “show vs tell” balance — how much does the film rely on charm and implication rather than explicit emotional beats? And finally, whether Butch Cassidy and the Sundance Kid is the Best Film Ever — or simply one of the coolest films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“The Force, it's calling to you. Just let it in.” Join Ian, Liam & Kev for our 329th episode as we celebrate our annual Star Wars Day release by jumping to lightspeed into J.J. Abrams' galaxy-reviving blockbuster Star Wars: The Force Awakens (2015). Megs? She's not with us this week — She's been recruited by the Resistance after showing a worrying amount of lightsaber proficiency. This week we discuss: The revival question — how The Force Awakens brought Star Wars back to life after a decade away. Nostalgia, safety, or smart recalibration? Daisy Ridley's Rey — mysterious, capable, and instantly central. Is she the perfect modern Star Wars protagonist? Why is her best work done when she's not talking? John Boyega's Finn — defector, comic relief, emotional anchor. Does the film fully realise his potential? Adam Driver's Kylo Ren — volatile, conflicted, and deliberately unfinished. One of the saga's most interesting villains? Ian breaks down the film's structure — echoes of A New Hope. Homage, remix, or outright repetition? Kev dives into the spectacle — practical effects, sound design, and what it's like to watch your first Star Wars Film The legacy characters — Han, Leia, and Luke. How well does the film balance past and future? The humour — lighter, faster, more modern. Does it fit the Star Wars tone? The “show vs tell” balance — does the film rely too heavily on familiarity, or does it earn its emotional beats? The ending — powerful, quiet, and iconic. Does it stick the landing? And finally, whether Star Wars: The Force Awakens is the Best Film Ever — or simply the most important reboot of the modern blockbuster era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Let my people go.” Join Ian, Liam & Megs for our 328th episode as we part the Red Sea, confront destiny, and revisit one of the most ambitious animated films ever made with The Prince of Egypt (1998). Kev? He's not with us this week — he attempted to follow a mysterious burning bush into the desert and hasn't returned. We assume he's negotiating some very specific commandments. This week we discuss: The scale of the storytelling — biblical epic through animation. How does the film balance intimacy with spectacle? Val Kilmer's dual performance — Moses and God. Subtle, conflicted, and quietly powerful. Ralph Fiennes' Ramses — tragic, proud, and deeply human. One of animation's most underrated antagonists? The music — from Deliver Us to When You Believe. Does the soundtrack elevate the film into something transcendent? Megs explores the film's emotional core — brotherhood, identity, and the cost of doing what is right. Ian breaks down the animation — traditional techniques blended with early CGI. How well does it hold up? Liam questions the narrative focus — is this Moses' story, Ramses' story, or something shared between them? The depiction of faith — reverent, interpretive, and accessible. Does the film succeed regardless of belief? The plagues sequence — visually stunning, morally complex, and still haunting. The “show vs tell” balance — how much does the film trust its visuals versus its dialogue and songs? Ian goes all Old Testament, telling us that 'the book was better' and how they left the ultimate sideplot sitting on the table The ending — epic, earned, and emotionally resonant. Does it land as both spectacle and personal journey? And finally, whether The Prince of Egypt is the Best Film Ever — or one of the greatest animated films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Follow the money.” Join Ian, Liam & Kev for our 327th episode as we type through the night, chase sources, and piece together one of the greatest journalistic thrillers ever made with All the President's Men (1976). Megs? She's not with us this week — she insisted on meeting a source in an underground parking garage and hasn't come back up yet. We assume she's waiting for a shadowy figure to confirm something. This week we discuss: Robert Redford and Dustin Hoffman as Woodward & Bernstein — contrasting energies, relentless curiosity, and the slow grind of uncovering truth. The procedural storytelling — phone calls, notes, dead ends. Why the film makes paperwork feel like high drama. The pace — deliberately methodical. Does the lack of traditional “action” heighten tension or test patience? Megs explores the role of journalism — integrity, persistence, and the cost of getting it right. Ian breaks down the film's structure — accumulation of detail, repetition, and how small discoveries build into something enormous. Liam questions accessibility — does the film expect too much knowledge from its audience, or does it teach you as it goes? The use of sound and silence — typewriters, newsroom chatter, and the weight of quiet spaces. Deep Throat — myth, mystery, and whether the film benefits from keeping him just out of reach. The ending — abrupt, unresolved, and historically loaded. Does it land emotionally without showing the full outcome? We debate “show vs tell” — is the film a masterclass in restraint, or does it occasionally feel too distant? The legacy — how this film shaped political cinema and public trust in journalism. And finally, whether All the President's Men is the Best Film Ever — or simply one of the most important investigative films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

"Welcome to Jumanji!" Join Ian, Liam & Megs for our 326th episode as we press start, pick our avatars, and get sucked into the chaotic, comedic, and surprisingly heartfelt world of Jumanji: Welcome to the Jungle (2017). Kev? He's not with us this week — he selected his character without reading the stats and is now stuck in the jungle with a weakness to cake and only one life remaining. We wish him luck. This week we discuss: The central gimmick — body-swap comedy meets video game logic. Why this concept works far better than it has any right to. Dwayne Johnson's performance — bravado, vulnerability, and comedic timing. Is this one of his most self-aware roles? Kevin Hart as the reluctant sidekick — high-energy, fast-talking, and constantly outmatched. Does he elevate or overwhelm? Jack Black's scene-stealing turn — Surely even Megs will commend his commitment, physicality, and one of the boldest comedic performances in a mainstream blockbuster.   Karen Gillan's balancing act — action hero competence with awkward teenage insecurity underneath. Megs explores the film's take on identity — how stepping into a different body reframes confidence, perception, and self-worth. Ian breaks down the narrative structure — game levels, stakes, callbacks and consequences that are both earned and why the film's pacing feels so clean. Liam questions the emotional core — does the film earn its character growth, or is it just well-disguised formula? The video game rules — clear, fun, and occasionally inconsistent. When do they help the story, and when do they get bent? We're looking  at you, Nick Jonas The humour — broad, physical, and surprisingly sharp. Which jokes land, and which ones don't quite stick? The ending — satisfying, predictable, or just the right amount of both? And finally, whether Jumanji: Welcome to the Jungle is the Best Film Ever — or one of the most unexpectedly successful reboots of the modern era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

In this episode, we sit down with Juleen Walker who turned their personal trauma into a story. We explore the healing power of writing, the challenges of reliving painful experiences, and how sharing your story can transform both the writer and the reader.

“It's not about the money.” Join Ian & Megs for our 324th episode as we step into the perfectly constructed, quietly audacious bank heist of Spike Lee's Inside Man (2006). Clocks are ticking, identities are shifting, and nothing is quite what it seems as we try to work out who's really in control… and who never was. This week we discuss: Denzel Washington as Detective Frazier — cool, controlled, and always just one step behind. Is this one of Denzel's most understated performances? Clive Owen's Dalton Russell — precise, patient, and almost philosophical. Is he a villain, a hero, or something far more interesting?  Also, is he more than just a poor man's Gerard Butler? Jodie Foster's power broker — calculated, composed, and operating on a completely different level of influence.  Do we forgive her more easily because of her gender? The structure of the heist — meticulous, layered, and deliberately misleading. How does the film hide its intentions in plain sight? Megs explores the film's themes of power and privilege — what's really being stolen, and who actually gets away with it. Ian breaks down Spike Lee's direction and cinematography — style, pacing, and how he injects social commentary into a genre film without slowing it down. The use of misdirection — costumes, timelines, and narrative sleight of hand. When does the audience realise they've been played? The “show vs tell” balance — how much does the film explain, and how much does it trust the audience to catch up? The ending reveal — clever, satisfying, or just slightly too neat? Does the film even know what the ending of its own plot is? Are we satisfied with how it ended and what would be the danger of making it more explicit? The moral question — is justice served, or simply… redirected? And finally, whether Inside Man is the Best Film Ever — or one of the smartest, most rewatchable heist films of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I'm tired, boss.” Join Ian, Liam, Megs & Kev for our 323rd episode as we walk the long corridor, sit with miracles, and confront justice, compassion, and cruelty in Frank Darabont's The Green Mile (1999). It's heavy, it's heartfelt, and yes — we all know what's coming… but that doesn't make it any easier. This week we discuss: Michael Clarke Duncan's towering performance — gentle, tragic, otherworldly. Is John Coffey one of the most emotionally devastating characters ever put to screen? Tom Hanks as Paul Edgecomb — quiet authority, moral conflict, and the burden of knowing what's right when the system says otherwise. The film's central tension — justice versus legality. What happens when the law is wrong but must still be carried out? Megs explores the emotional mechanics — how the film earns its tears, and whether it ever crosses into manipulation. Ian breaks down Darabont's storytelling — classical structure, patient pacing, and why the film leans so heavily into sincerity. Liam questions if the film sacrifices characterisation for what the plot needs to occur Kev weighs in on the execution room and if the set designers missed a trick there The supporting cast — from Brutal to Percy. Who stands out, and who embodies the film's darkest impulses? The treatment of death row — humane, harrowing, and unflinching. Does the film confront or soften its reality? The ending — cathartic, crushing, or quietly haunting? What lingers after the final frame? And finally, whether The Green Mile is the Best Film Ever — or one of the most emotionally overwhelming films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Silencio.” Join Ian & Liam for our 322nd episode as we drive headfirst into the dream logic, fractured identities, and eerie Hollywood mythology of David Lynch's Mulholland Drive (2001). Coffee is poured, clues are scattered, and certainty is politely asked to leave the room. We're later joined for The Endgame by BFF of the BFE: Shai Bergerfroind, the man responsible for bringing this cinematic puzzle to the podcast in the first place. This week we discuss: David Lynch's dream architecture — narrative fragments, emotional logic, and whether Mulholland Drive is meant to be solved… or simply experienced. Naomi Watts' astonishing dual performance — hopeful ingénue, shattered dreamer, and everything in between. Is this one of the great performances of the 2000s? Laura Harring's enigmatic presence — mystery, glamour, and the gravitational pull of Rita's identity crisis. Ian examines Lynch's vision of Hollywood — a seductive fantasy factory that quietly devours the people chasing it. Liam attempts to untangle the film's structure — where the dream ends, where reality begins, and whether those categories even apply. The Club Silencio sequence — performance, illusion, and the film's thesis delivered in one haunting set-piece. The supporting characters — gangsters, directors, hitmen, and cowboys. Comic absurdity or pieces of a much larger symbolic puzzle? The film's treatment of identity and reinvention — Hollywood as both dream machine and nightmare engine. Shai Bergerfroind joins us for The Endgame — helping us unpack why this film matters so much to him, how he reads the film's emotional core, and whether the mystery is actually the point. The ending — devastating revelation, emotional collapse, or simply another layer of the dream. And finally, whether Mulholland Drive is the Best Film Ever — or one of the most hypnotic and endlessly interpretable films ever made Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/  

“I have to believe in a world outside my own mind.” Join Ian, Liam, Megs & Kev for our 321st episode as we piece together Polaroids, tattoos, and fragments of memory in Christopher Nolan's mind-bending thriller Memento (2000). This week the BFE timeline runs forward, backward, and occasionally sideways — and somewhere in the chaos a mystery guest drops in to help us figure out what actually happened. This week we discuss: Christopher Nolan's narrative construction — reverse chronology, fragmented storytelling, and whether genius sometimes requires a second viewing… or a flowchart. Guy Pearce's Leonard Shelby — sympathetic victim, unreliable narrator, or architect of his own personal myth? The two timelines — black-and-white clarity vs colour confusion. How the film weaponises structure to manipulate the audience. Megs explores memory as identity — if you can't remember who you are, can you still be responsible for what you do? Ian breaks down Nolan's early thematic obsessions — time, perception, control, and why Memento feels like the blueprint for the rest of his career. Liam questions the film's internal logic — how much of Leonard's system actually works, and how much depends on blind faith? Natalie and Teddy — manipulators, victims, opportunists, or something much harder to categorise? The mechanics of storytelling — how the film reveals information while simultaneously making us doubt it. Our mystery guest joins us — helping us untangle the film's structure and asking whether understanding Memento actually improves it. The ending (or beginning?) — revelation, tragedy, or the ultimate self-deception. And finally, whether Memento is the Best Film Ever — or simply one of the most brilliantly constructed puzzles cinema has ever produced. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“If you argue correctly, you're never wrong.” Join Ian, & Liam for our 320th episode as we light up the slick, fast-talking, morally elastic world of Jason Reitman's Thank You For Smoking (2005). It's spin, satire, and strategic deflection this week as we ask whether winning an argument is the same thing as being right. This week we discuss: Aaron Eckhart's Nick Naylor — charming, composed, and ethically slippery. Is this one of the great “bad good guy” performances of the 2000s? The art of spin — how the film weaponises rhetoric, reframing, and misdirection to hilarious — and unsettling — effect. Satire with teeth — does the film actually challenge corporate lobbying culture, or does it admire its own cleverness too much? We break down the film's tonal balance — sharp comedy undercut by quiet moments of moral reckoning. Liam explores the father-son dynamic — does the film ultimately soften Nick, or does it merely reposition him? Ian questions the target — is Big Tobacco the point, or is the film more interested in the machinery of persuasion itself? The MOD Squad scenes — Big Tobacco, Big Alcohol, Big Firearms. Broad caricature or disturbingly accurate power structures? Katie Holmes' subplot — narrative necessity, tonal misfire, or commentary on transactional journalism? The ending — redemption arc, compromise, or simply another pivot in a long career of strategic positioning? We debate whether satire ages well — does this feel timeless, or does it belong firmly to its Bush-era moment? And finally, whether Thank You For Smoking is the Best Film Ever — or simply one of the smartest, slickest comedies of its decade. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You said you couldn't believe in someone who didn't believe in you.” Join Ian, Liam & Megs for our 319th episode as we dive headfirst into lace gloves, record store shifts, and 1980s romantic angst with John Hughes' Pretty in Pink (1986). It's class divides, prom politics, and the eternal question of who really deserves Andie Walsh. This week we discuss: Molly Ringwald as Andie — resilience, insecurity, and whether she's a fully realised protagonist or a Hughes archetype dressed in vintage. Blane's behaviour — romantic lead or emotional liability? Does the film let him off too easily? Duckie's devotion — lovable underdog, manipulative “nice guy,” or something more complicated? The class tension at the heart of the story — is the film actually saying something about wealth and identity, or just dressing teen drama up as social commentary? Megs unpacks the fashion — iconic, chaotic, deeply 80s. Does the final dress deserve its reputation? Ian explores the alternate ending — what changed, why test audiences intervened, and whether the original choice would have made for a stronger film. Liam questions the soundtrack supremacy — is this peak 80s needle-drop culture, or nostalgia doing heavy lifting? The father-daughter dynamic — quiet emotional centre or underdeveloped subplot?  Are certain viewers predispositioned to be on board with this - or not? The prom climax — catharsis, compromise, or cultural time capsule? We debate whether the film romanticises inequality — and whether Andie's final choice feels empowering or regressive. And finally, whether Pretty in Pink is the Best Film Ever — or simply one of the most enduring teen romances of the 1980s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We're all in this together.” Join Ian, Megs & Kev for our 318th episode as we lace up the Wildcats, grab the basketball (and the sheet music), and head back to East High for Disney Channel's cultural phenomenon High School Musical (2006). It's jazz hands, jump shots, and mid-2000s sincerity this week — and yes, we're absolutely committing to the choreography. This week we discuss: The lightning-in-a-bottle appeal — how a made-for-TV movie became a generational event - especially for one member of the panel. Zac Efron and Vanessa Hudgens — chemistry, charisma, and the myth-making of teen stardom.  Does Hudgens get enough credit for the success of the franchise? Ashley Tisdale's Sharpay Evans — villain, icon, or misunderstood theatre kid with ambition? Is she too good to dislike? Megs breaks down the musical structure — why the songs are catchier than they have any right to be, and which ones still slap. The team talks about the difficulty about the audition process - on both sides of the equation  We talk about the differences in social cliques in the North American school system versus the British school system Ian talks about how the whole plot is a conceit that he can't fully buy into - but why? Thematically — identity, peer pressure, and the fear of stepping outside the box. Why this simple message resonated so hard. The “show, don't tell” debate — does the film trust visual storytelling, or does it lean on dialogue and lyrics to do the heavy lifting? The Disney machine — how the film's success reshaped the network's future output. The ending performance — triumphant, predictable, or perfectly engineered for maximum serotonin? And finally, whether High School Musical is the Best Film Ever — or simply the most aggressively rewatchable Disney Channel Original Movie ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Has anything you've done made your life better?” Join Ian, Liam, Megs & Kev for our 317th episode as we confront anger, ideology, consequence, and redemption in Tony Kaye's incendiary and unforgettable American History X (1998). This week, we're also joined by BFF of the BFE: Hermes Auslander, and — in a huge moment for the podcast — we sit down for a special interview with director Tony Kaye himself. This one is heavy. Necessary. Complicated. This week we discuss: Edward Norton's blistering performance — charismatic, terrifying, magnetic. Is this one of the great transformations of the 1990s? The black-and-white vs colour structure — memory, myth, and moral framing. How does the visual language shape our understanding of Derek's journey? The film's central question — can hate be unlearned, and if so, what does it cost? Hermes joins us to unpack the film's cultural and political legacy — why it still resonates, and why it remains controversial. The prison sequence — brutal, pivotal, and narratively dangerous. Does the film handle trauma responsibly? We examine the fine line between depiction and endorsement — does the film risk glamorising the ideology it condemns? The ending — inevitable, devastating, and still capable of knocking the wind out of an audience. What does it ultimately say about cycles of violence? Our special interview with Tony Kaye — reflections on authorship, conflict over the final cut, working with Edward Norton, and how he views the film now, decades later. The legacy question — has the film aged well? Has it been misunderstood? Has it been weaponised? And finally, whether American History X is the Best Film Ever — or one of the most important and confronting films we've ever covered. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You think this is just a story?” Join Ian, Liam, Megs & Kev for our 316th episode as we descend into the basement, start pressing buttons we absolutely shouldn't, and dismantle the horror genre piece by piece with Drew Goddard and Joss Whedon's The Cabin in the Woods (2011). This week is less about jump scares and more about systems, sacrifice, and whether sometimes… you really should just play the hits. This week we discuss: The central divide — why some viewers desperately wish this film had played it straight, and whether subversion automatically improves a genre story. The two-year delay — why The Cabin in the Woods sat finished but unreleased, and how that limbo shaped its eventual reception. Ian's major life milestone this week — and why it weirdly mirrors one of the film's themes about control and agency. Who really enjoys the metaphor — and whether reading the film as an allegory enhances the experience or drains the fun out of it entirely. Liam's unstoppable TV digression — the show he simply will not stop referencing, regardless of relevance. We spend some well-earned time talking about Catherine O'Hara — authority, timing, and why she elevates everything she touches. The mechanics of the horror machine — archetypes, rituals, and the illusion of choice. Megs breaks down the film's gender politics — subversion, exploitation, and how knowingly the film handles both. Kev weighs in on the concept of gatekeeping and who gets to make all these rules anyway? The elevator scene — catharsis, overload, or glorious anarchy? The ending — nihilistic, freeing, or just pulling the plug on the whole genre. And finally, whether The Cabin in the Woods is the Best Film Ever — or simply the most elaborate middle finger horror ever aimed at its own audience. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We're doing our part” Join Ian, Liam, Megs & Kev for our 315th episode as we suit up, grab the propaganda reel, and drop feet-first into Paul Verhoeven's gloriously misunderstood sci-fi satire Starship Troopers (1997). It's bugs, blood, and bare-faced ideology this week as we try to work out whether this film knew exactly what it was doing all along. Do you want to know more? This week we discuss: The tone problem (or lack thereof) — is Starship Troopers a dumb action movie, a razor-sharp satire, or both at the same time? Paul Verhoeven's intent — does the film critique fascism so hard that some audiences miss the joke entirely? The performances — intentionally wooden propaganda archetypes, or just bad acting elevated by context? The aesthetics of fascism — uniforms, slogans, and spectacle. Why does the film make authoritarianism look so seductive? Ian breaks down the film's satirical mechanics — how exaggeration, repetition, and irony do the heavy lifting. Liam explores audience reception — why the film was misunderstood on release and reclaimed years later. Megs looks at gender and violence — equal-opportunity brutality, shower scenes, and the illusion of empowerment. Kev weighs in on the action — but don't get him started on the never-ending rounds of bullets The enemy — are the Arachnids monsters, victims, or an invented threat to justify endless war? The propaganda interstitials — world-building masterstrokes or narrative interruptions? Synthia joins us for The Endgame — helping us unpack the film's legacy, its political bite, and why it feels even more relevant now than it did in 1997. The ending — triumphant, horrifying, or both? What are we actually meant to cheer for? And finally, whether Starship Troopers is the Best Film Ever — or one of the smartest films ever disguised as a stupid one. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Everybody be cool.” Join Ian & Liam for our 314th episode as we cross the border, miss the last turn-off to sanity, and crash headlong into Robert Rodriguez and Quentin Tarantino's genre-shredding cult classic From Dusk Till Dawn (1996). Megs isn't with us this week — she took a job managing the Titty Twister and immediately exercised her right to not be around for what happened next. Kev? Last seen arguing with a biker about tequila and quietly backing away when things started growing fangs. This week we discuss: The hard genre pivot — crime thriller to vampire splatterfest. Is this one of cinema's boldest structural swings or an act of deliberate sabotage? The first half vs. the second half — which film do we actually prefer, and should they ever have been stitched together in the first place? George Clooney's breakout performance — cool, controlled, and shockingly confident. Did this film secretly create a movie star? Quentin Tarantino the actor — indulgent, uncomfortable, and deeply divisive. Does his presence add anything, or actively derail the film? Ian questions the film's tonal discipline — is chaos the point, or does excess eventually become exhaustion? Liam explores the film's grindhouse DNA — exploitation homage, midnight-movie energy, and why this works better at 11:30pm than 2:00pm. Salma Hayek's iconic sequence — empowerment, objectification, or pure genre spectacle? We unpack why this moment still sparks debate. The violence escalation — gleeful, grotesque, and increasingly cartoonish. Where does fun end and numbness begin? The rules of the vampires and the timing of when characters turn  — clear, flexible, or completely improvised depending on the scene? You won't believe the piece of literature that Ian wants to compare this to The ending — aftermath, absurdity, and the sudden return to moral quiet after absolute carnage. And finally, whether From Dusk Till Dawn is the Best Film Ever — or simply the wildest left turn ever taken by a mainstream '90s movie. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You can't handle the truth.” Join Ian & Liam for our 313th episode as we step into the pressurised courtroom, moral brinkmanship, and razor-sharp dialogue of Rob Reiner's A Few Good Men (1992). Button up the dress whites, take your seats, and prepare for a film obsessed with duty, power, and the stories institutions tell themselves to survive. This week we discuss: Aaron Sorkin's dialogue as a weapon — rhythm, repetition, and confrontation. Is this peak Sorkin, or the moment his style becomes unmistakably dominant? Tom Cruise as Lt. Kaffee — charming, evasive, underestimated. Is this Cruise's most interesting performance precisely because he starts behind the power curve? Jack Nicholson's Colonel Jessup — operatic, terrifying, magnetic. Does the film become his the moment he enters it? The courtroom structure — how the film drip-feeds information, builds pressure, and engineers one of the most famous climaxes in cinema history. The ethics at the heart of the story — where does responsibility lie: with the men who carried out orders, or the system that created them? Ian talks about criticisms of the ending and if they're reading the film correctly  We explores how masculinity functions in the film — honour, obedience, pride, and camaraderie The supporting cast — Demi Moore's steely professionalism, Kevin Bacon's moral slipperiness, and who almost got Kevin Pollak's role That scene — inevitability versus surprise. Does the famous monologue work because it's shocking, or because it feels unavoidable? The ending — justice served, or merely order restored? What actually changes once the truth is out? And finally, whether A Few Good Men is the Best Film Ever — or simply one of the most watchable, endlessly quotable courtroom dramas ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Somebody almost walked off wiith all my stuff.” Join Ian & Liam for our 312th episode as we step into the emotionally raw, confrontational, and fiercely theatrical world of For Colored Girls (2010) — a film that asks big questions about pain, survival, and voice, and demands we sit with the discomfort of its delivery. We're later joined by BFF of the BFE: Juleen for The Endgame, as we try to make sense of what hits hardest… and what doesn't land at all. This week we discuss: Whether For Colored Girls successfully translates from stage to screen — or if something vital is lost in the move from choreopoem to cinema. The central tension — is it possible to fully agree with a film's message and still believe it's not a well-made film? The sheer level of star power — and why the performances feel wildly disparate. Which ones moved us, which ones frustrated us, and which ones actively pulled us out of the film. Who unexpectedly steals the show — emerging from the ensemble to deliver a performance that cuts through everything else. The question of tone — is there simply too much poetry here, even when it's beautifully spoken and powerfully performed? How close this film came to being worse — and how an originally cast actress's pregnancy may have unintentionally saved the film from an even harsher imbalance. Ian questions the film's direction and framing — does Tyler Perry trust the material enough, or does the camera overemphasise emotion that should be allowed to breathe? Liam explores the film's confrontational style — is the lack of subtlety a flaw, or is subtlety beside the point entirely? The emotional toll — is the film asking us to witness pain, process it, or simply endure it? Juleen joins us for The Endgame — bringing insight, perspective, and lived context to the discussion, and helping us unpack what the film is reaching for, even when it misses. The ending — cathartic, overwhelming, or emotionally blunt? We unpack whether the final moments feel earned. And finally, whether For Colored Girls is the Best Film Ever — or a deeply important work whose ambition outpaces its execution. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I wrote you.” Join Ian & Liam for our 312th episode as we step into the strange, tender, and quietly unsettling world of Ruby Sparks (2012) — a film about creativity, control, fantasy, and what happens when the person you imagine refuses to stay that way. Typewriters ready. Boundaries optional. This week we discuss: The central conceit — what happens when your idealised version of someone becomes real, and whether the film earns the right to ask that question. Paul Dano's performance — wounded, awkward, gifted, and quietly terrifying. Is Calvin a romantic lead… or a cautionary tale? Zoe Kazan's Ruby — luminous, frustrating, independent, and increasingly human. How does the film balance charm with agency? The ethics of authorship (first level) — when creativity crosses into control, and when love turns into manipulation.  The ethics of authorship (second level)- What about the ethics of Zoe Kazan's screenplay and performance opposite her actual romantic partner in Paul Dano Our own Ruby Sparks asks whether the film understands its own power dynamics — or if it occasionally romanticises behaviour it should interrogate harder. The meta-text — a film written by its female lead about being written by a man. How much does that context change everything? We talk about fantasy vs. reality in relationships — and how dangerous it is to fall in love with someone who exists only on your terms. Is Calvin a hard lead to sympathise with on any level?  Does his status as financially successful cause him to be less easy to support? There are… hypotheticals discussed — moments that feel uncomfortably specific, strangely timed, or oddly familiar, without ever being about anything in particular. Pure coincidence, obviously. We talk about whether this is strictly a male-female perspective or if it's something innately more comprehensively human than that The tonal shift — rom-com whimsy giving way to something much darker. Does the film stick the landing? The ending — hopeful, troubling, cyclical? What does the final image actually suggest?  Ian presents what he thinks is the author's intent And finally, whether Ruby Sparks is the Best Film Ever — or one of the most quietly confronting relationship films of the 2010s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I just want to be loved… preferably by Christmas.” Join Ian, Liam (always listed second), Megs & Kev for our 310th episode as we swap mirror-lined jealousies and boxing-laden family dramas for frosted cottages, floppy fringes, and Nancy Meyers' warm, impractical kitchens with The Holiday (2006). Crack open the mulled wine, argue about accents, and prepare to answer the most important seasonal question of all: is this even a Christmas film… or is it secretly a New Year's movie pretending to care about tinsel? This week we discuss: Whether The Holiday qualifies as a Christmas film at all — or if it's really a New Year's movie wearing a festive jumper, pressed into service only because our Patreon members voted it in as the Christmas review. How Ian possibly survives reviewing a film starring Cameron Diaz — given his long, storied, and deeply felt loathing toward her screen presence. How Megs approaches a film built around Jack Black — an actor she famously does not enjoy - despite her choices of undergarments - especially when he's positioned as a romantic lead. Nancy Meyers' world-building — does the film ever show us emotion, or does it rely entirely on characters telling us exactly how they feel at all times? Cameron Diaz's Amanda — chaotic, guarded, and allergic to crying. Is this performance misunderstood… or exactly why Ian struggles? Kate Winslet's Iris — earnest, wounded, endlessly self-sacrificing. Is she the emotional heart of the film or a fantasy of suffering femininity? Jude Law's Graham — peak Meyers male fantasy, or walking red flag wrapped in knitwear? Jack Black's Miles — pretentious douchebag, charming underdog, or the film's secret emotional MVP? The dual-location structure — England vs. LA, coziness vs. confidence. Does the contrast deepen the story or just sell vibes? The film's relationship with grief, loneliness, and romantic recovery — is it sincere, or comfort-food cinema avoiding real mess? Kev weighs in on the soundtrack and score cues — emotional shorthand or effective storytelling tool? Can we get over the plotholes? Who goes to LA to visit a house sight unseen and who leaves their dog behind for someone else to look after? The ending(s) — festive payoff, narrative convenience, or emotional earnedness? Haven't they just chosen a false ending once you really look at it? And finally, whether The Holiday is the Best Film Ever — or simply the most aggressively rewatchable seasonal comfort movie ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I'm not a stepping stone.” Join Ian, Liam & Megs for our 309th episode as we step into the sweat-soaked gyms, fractured families, and hard-won resilience of David O. Russell's The Fighter (2010). Lace up the gloves, tape the wrists, and prepare for a story about loyalty, damage, and the cost of fighting your way out of the place you came from.  We're bragging about knocking down Sugar Ray Leonard this week as we discuss: Christian Bale's extraordinary, Oscar-winning transformation — volatile, compulsive, heartbreaking. Is this one of the great supporting performances of modern cinema? Mark Wahlberg as Micky Ward — or is he just playing Mark Wahlberg with less swearing? Amy Adams' breakout performance — sharp, grounded, and unflinching. Did the camera take advantage of her though? The family dynamic — love, obligation, manipulation, and control. When does support turn into sabotage? Megs breaks down the portrayal of working-class women — authenticity, resilience, and why the female characters feel unusually real for a boxing movie. Ian explores how The Fighter subverts the sports-film formula — less about glory, more about survival and self-definition.  Is it even a boxing film? The documentary-style camerawork — raw, intimate, and invasive. How does the film blur the line between sports drama and social realism? The ethics of redemption — does Dicky earn his comeback, or does the film soften the damage he's done?  Which member of the cast just couldn't forgive him The boxing itself — brutal, unromantic, and exhausting. Does stripping away spectacle make the fights hit harder? The ending — triumphant, restrained, emotionally complicated or underwhelming? We unpack what “winning” actually means here. And finally, whether The Fighter is the Best Film Ever — or simply one of the most honest American sports dramas of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I just want to be perfect.” Join Ian & Megs for our 308th episode as we step into the mirror-lined, razor-edged, emotionally fraught world of Darren Aronofsky's Black Swan (2010). Lace up your shoes, crack your knuckles, and prepare to descend into obsession, duality, and tutu-level trauma. This week we discuss: Natalie Portman's extraordinary, Oscar-winning transformation — fragile ingénue, ruthless perfectionist, and fractured psyche in one. Mila Kunis as the effortless chaos to Nina's claustrophobic control — real threat or manifested paranoia? Aronofsky's visual language: reflections, doubles, textures, and body horror. How does he trap the audience inside Nina's deteriorating mind? The film's depiction of artistic pressure and perfectionism — when does ambition turn pathological? What other film could we not stop referencing whilst watching this film Megs questions the ballet accuracy (and the wildly inaccurate bits) — including the culture, the training, and the psychological toll Ian asks if the film does a good enough job educating the audience about ballet to make the film accessible We talk about how Black Swan functions as a companion piece to The Wrestler — obsession as both craft and self-destruction. The boundaries between reality and hallucination — when does the film stop being literal? Or was it metaphor all along? We examine the film's treatment of sexuality, identity, and agency through the lens of duality: White Swan vs. Black Swan, innocence vs. corruption, submission vs. liberation. The final performance — triumphant, tragic, transcendent? We unpack the film's unforgettable ending. And finally, whether Black Swan is the Best Film Ever — or simply one of the most hypnotic psychological thrillers of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We're as real as a f**king donut!” Join Ian, Liam & Beadle Steve for our 307th episode as we cruise down Sunset Boulevard, slip into our moccasins, and take a long, nostalgic look at Quentin Tarantino's sun-drenched fairytale Once Upon a Time in Hollywood (2019). Megs and Kev? They're not with us this week — Megs got invited to a last-minute audition on a Spaghetti Western set outside Rome, and Kev got lost trying to hitchhike to the Playboy Mansion. We wish them both luck. We're also waxing poetic about Jay Glennie's excellent history of the film with "The Making of Quentin Tarantino's Once Upon a Time In Hollywood" available everywhere now. This week we discuss: How Tarantino utilises revisionist history and a clear late sixties aesthetic into his most affectionate, laid-back film yet. Leonardo DiCaprio's turn as Rick Dalton — insecure, electric, and oddly sympathetic. Brad Pitt's Cliff Booth — stuntman, handyman, maybe-murderer, absolute legend. Beadle Steve weighs in on the film's leaving of breadcrumbs and its toasty payoff How the film handles Sharon Tate with grace, warmth, and unexpected emotional weight much to Liam's appreciation The Manson Family sequences — slow-burning dread done right but where is Charlie and why does Ian argue it's the right call for the film? Ian breaks down Tarantino's structural choices: meandering brilliance or indulgent reimagining? The film's controversial ending — catharsis, fantasy, or simply Tarantino being Tarantino?  Does it help if you know the real life history? Someone argues it doesn't matter and the film still works. Nostalgia vs. narrative: does the film rely too heavily on vibes, or is that the point? We question whether OUATIH is a buddy film, a fairy tale, a love letter, or all of the above. The “Rick Dalton meltdown” scene — one of the great comedic acting moments of the decade? Which parts got combined and then split again on account of scheduling conflicts Who was supposed to be in the film if not for tragedy occurring? And finally, whether Once Upon a Time in Hollywood is the Best Film Ever — or just Tarantino's most beautifully crafted hangout movie. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Buy Jay Glennie's book at https://amzn.eu/d/fTGfDBu We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Which would be worse… to live as a monster, or to die as a good man?” Join Ian, Liam & Kev for our 306th episode as we board the ferry to Ashecliffe and plunge headfirst into the mist, trauma, and unreliable memories of Martin Scorsese's Shutter Island (2010). Megs? She's not with us this week — she insisted on exploring Ward C “just for a quick look” and the gates slammed shut behind her. We're hoping she'll be released pending evaluation. This week we discuss: How Scorsese blends noir, horror, and psychological drama into one of the most atmospheric films of the 2010s. Leonardo DiCaprio's performance — genius unraveling, or a masterclass in controlled chaos? Mark Ruffalo's deceptively calm presence — partner, puppet, or something much more unsettling? Are we naturally prejudiced to think Ben Kingsley is the villain because he's British? How does Scorsese take a psychological thriller and masquerade it within both a whodunnit and a conspiracy film Which special effects had us marveling at their ingenuity and which ones had us reaching for our Resties ballots? How could the narrative alignment choices made by Scorsese have gone terribly wrong Ian breaks down the film's narrative structure — why repeated viewings make the film richer, not clearer. Liam asks whether the film asks too much from the viewer  How trauma, denial, and memory shape the film's psychological core — and why the story hits different every rewatch. B-Tech Kev picks up on some subtleties and asks if we saw what he saw whilst Ian talks about how the ability to pause and rewind has changed cinema Genre blending: is Shutter Island a detective mystery, a horror film, or a psychological portrait of grief? The lighthouse reveal — one of Scorsese's most tension-filled sequences. We debate the meaning of the ending, Teddy's awareness, and that final chilling line. And finally, whether Shutter Island is the Best Film Ever — or simply the most beautifully disorienting mind maze Scorsese ever built. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Find out more about Juleen's nephew, Castor, and how you can help at https://gofund.me/73a67a9d6 We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“But I tried, didn't I? Goddammit, at least I did that.” Join Ian & Liam for our 305th episode as we get ourselves committed to one of the greatest American films ever made: One Flew Over the Cuckoo's Nest (1975). Kev and Megs? They won't be joining us this week — Megs was last seen challenging Nurse Ratched's medication schedule and Kev tried to lift the hydrotherapy console to escape. Security is “having a chat” with both of them. This week we discuss: How Miloš Forman's direction created a sense of art imitating life. But who was Miss Ratched and who was Mac? Jack Nicholson's legendary performance as R.P. McMurphy — charming, chaotic, and dangerously alive.  But is it just Jack playing Jack? Louise Fletcher's cold, controlled terror as Nurse Ratched — is she evil, institutionalised, or the product of her system? The film's astonishing supporting cast — from Danny DeVito to Brad Dourif — and why the ensemble might be one of the best ever assembled.  Who asked for asshole Doc Brown? The real power struggle at the heart of the film: rebellion vs. routine, individuality vs. institution. Ian breaks down the film's narrative structure and why one sequence isn't necessary Liam reflects on the humour, the heartbreak, and the explosive final act — does any other ending hit quite like this one? Is Mac crazy? How would someone pretending to be crazy present themselves in this environment? We discuss the film's legacy: its Oscars sweep, its influence on pop culture, and its place in the “Great American Films” canon. Is McMurphy a hero, a catalyst, or a cautionary tale? What was Milos Forman trying to say in the film based on his personal lifestory? And finally, whether One Flew Over the Cuckoo's Nest is the Best Film Ever — or simply one of the boldest critiques of power and conformity ever committed to screen. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Find out more about Juleen's nephew, Castor, and how you can help at https://gofund.me/73a67a9d6 We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

At last… our pod is complete again.” Join Ian, Liam & Megs (she always goes last), along with Friend of the Podcasters: Beadle Steve, for our 304th episode as we sharpen our razors, roll out the pie dough, and dive into the gothic, gory glory of Sweeney Todd: The Demon Barber of Fleet Street (2007). This week, we're not just talking Burton's blood-soaked macabre attempt at a masterpiece — we're also sharing our collective memories from our very own recent production of Sweeney Todd! Expect behind-the-scenes stories, backstage laughs, and maybe a few stories about trap doors and jettisons of blood This week we discuss: How Tim Burton's adaptation balances musical theatre grandeur with cinematic horror — and where it falls short. Johnny Depp's take on the title role: tortured genius or just Burton doing Burton again? Helena Bonham Carter's Mrs. Lovett — delightful, deranged, and determined to make the worst pies in London. How Alan Rickman and Timothy Spall manage to be both repulsive and magnetic - but can they sing?  Who do we think could've done it better? The use of colour, lighting, and sound — and why did the crew need so many garbage bags? How Sweeney Todd manages to turn tragedy into operatic spectacle without losing its emotional sting. We discuss at great length a couple of elements that one of us just couldn't overlook We share our favourite moments (and biggest mishaps) from our own stage production — from what it's like to be reviewed ourselves to unexpected laughter in the wrong places and if you can imagine it - Ian flexing in the spotlight What it's like performing Sondheim's music live — the challenge, the rhythm, and the glorious chaos. Beadle Steve joins us to talk about his experience, his favourite scenes, and whether he's still hearing “Ding Dong!” in his sleep... and what happened to the ensemble anyway? And finally, whether Sweeney Todd: The Demon Barber of Fleet Street is the Best Film Ever — or just the bloodiest musical we've ever loved. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Sometimes the most beautiful things in life don't make sense.” Join Ian & Liam, along with BFF of the BFE: Ariannah (Who Loves BFE the Most™), for our 303rd episode as we ride through the heart and humanity of Peter Bogdanovich's Mask (1985) — the moving, funny, and unforgettable story of Rocky Dennis, his extraordinary mother, and the people who refused to let difference define them. This week we discuss: How Mask walks the perfect line between sentiment and sincerity without tipping into melodrama. Cher's powerhouse performance — fierce, fragile, and absolutely magnetic but was she well directed (or even well written?) Eric Stoltz's stunning transformation and how the film lets his humanity shine through the prosthetics. Why this might be the most compassionate film of the 1980s — and what it still teaches us about empathy today. Ariannah joins us to talk about how disability and difference are portrayed on screen, and why this one hits harder than most. The use of music (and that classic Springsteen debate) — how the soundtrack shapes the film's emotional DNA. We rip on Bogdanovich's simplistic direction and how his brevity is far from the film's greatest strength. Ian wonders whether the film's emotional punches still land as powerfully for modern audiences. We talk about how Mask redefined expectations for family drama and biopic storytelling. And finally, whether Mask (1985) is the Best Film Ever — or just one of the most human films we've ever covered. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We all float down here.” Join Ian & Kev, along with BFF of the BFE: James DeGuzman, for our 302nd episode as we descend into the sewers of Derry, Maine, and confront childhood trauma, red balloons, and Stephen King nightmare fuel with It: Chapter One (2017). Megs and Liam? They said they weren't afraid of clowns… right up until Pennywise offered them a balloon. We're hoping they resurface soon. This week we discuss: Why It tapped into a new generation's fear of clowns — and whether it's earned or just clever filmmaking. Bill Skarsgård's terrifying turn as Pennywise — physicality, psychology, and drool.  How the film balances coming-of-age warmth with soul-shaking horror — friendship vs. fear. King's original novel vs. the adaptation — what gets streamlined, what gets lost, and what gets under your skin. Does this film prove that horror is strongest when it's tied to universal childhood anxieties? How the film is able to position that early coming-of-age feelings of romance without coming across as creepy The Losers' Club: perfect casting? We break down who stands out and who feels underserved. Why the sewer sequences and the house on Neibolt Street raise the bar for modern horror set pieces. Ian talks about narrative structure and why splitting the story into “kid chapter” and “adult chapter” was the smartest possible move. James brings the expert scare analysis — and takes the BFE to task over their anti-horror bias Does Pennywise's final reveal hold up — or does CGI drain the fear away? And finally, whether It: Chapter One is the Best Film Ever — or just the best nightmare you'll keep watching anyway. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“They're heeere…” Join Ian & Megs for our 301st episode as we grab the remote, face the static, and step into the spectral suburbia of Poltergeist (1982). Liam and Kev? They're not with us this week — the house they were recording in was built on an ancient podcast burial ground. We haven't heard from them since, but we're getting some weird interference through the TV… This week we discuss: 301 episodes in — how did we make it this far without getting dragged into the light? How Poltergeist terrified an entire generation while redefining the modern haunted house movie. The age-old debate: how much of this film was Tobe Hooper and how much was Steven Spielberg pulling the spectral strings? Why the film's suburban setting hits harder than gothic castles or spooky mansions — horror in the heart of normality. The infamous curse surrounding the film's production — what's real, what's coincidence, and what's just chilling. Is Poltergeist actually a family drama disguised as horror, and why does that emotional core make the scares land harder? Ian breaks down the film's special effects and practical wizardry — how they still hold up decades later. Ian also shares about some childhood traumas regarding losing beloved toys at school while Megs reminds him that's why you don't bring valuable stuff in Why Poltergeist manages to be scary without ever really being gory — and whether that balance is what makes it timeless. Why do they have a magic remote control and was the guy costuming Dana a creep? And finally, whether Poltergeist is the Best Film Ever — or just the reason we still side-eye our static screens. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“THIS… IS… EPISODE 300!” Join Ian, Liam, Megs & Kev as we hit a huge milestone with our 300th episode by reviewing Zack Snyder's visually explosive, slow-motion-soaked epic 300 (2006). Four hosts, six-packs optional, and absolutely no capes required — though Kev may or may not have shown up in one. This week we discuss: 300 episodes strong — how did we get here, and who yelled the loudest doing it? How 300 redefined the look of early-2000s cinema and became the blueprint for a decade of digital epics. Is 300 the natural endpoint of a cinematic obsession with masculinity that began with Braveheart and Gladiator? Just exactly how much does this movie borrow from these films and which elements does it outright steal How the film balances mythic masculinity with questionable historical accuracy — and does it matter? Megs is here to give us some historically accurate statements on the battle of Thermopylae We've got a classic BFE taste test of a product you won't believe Several people reach out to congratulate us and some familiar voices show up to toast with us  Which one of us would make the best Spartan, and which one would be sent to tell the story? The surprising cultural impact of “This is Sparta!” — and which line from the movie we've all been yelling at each other for days. Ian breaks down the film's visual language and pacing — why Snyder's comic-book literalism both elevates and limits the story. And finally, whether 300 is the Best Film Ever—or just the most gloriously sweaty milestone we could've picked. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

You're not anyone unless you're on a podcast - It's a full house this week as Ian, Liam, Megs & Kev are all actually in studio together for our 299th episode, sinking our teeth into Gus Van Sant's razor-sharp media satire To Die For (1995). That's right—no Zoom delays; no apologies, best wishes or excuses, just four podcasters, four microphones, and an unhealthy fascination with fame.  We're skating on thin ice in our 299th episode as we discuss: We learn the name under which Joaquin Phoenix's early films were classified—and why it might surprise you. There's a lot of talk about what day of the week the podcast actually comes out on (and whether any of us even know). We all want to enter the alternate casting universe to see who the producers wanted to play Suzanne—and whether that version of the film would've worked at all. Is Suzanne Stone one of Nicole Kidman's greatest performances—or is she just too good at being awful? How the film predicted the age of reality TV and social media fame years before they existed. What's the line between ambition and sociopathy—and where does Suzanne fall on that spectrum? How Van Sant uses tone to walk the line between dark comedy and true crime tragedy. Why To Die For feels both 1990s and frighteningly current in 2025. Which scene left us most uncomfortable—and which line still gets a nervous laugh. And finally, whether To Die For is the Best Film Ever—or just the most chillingly relevant film you've never revisited. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE   We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You don't get to nearly 300 episodes without making a few enemies.” Join Ian, Liam & Kev for our 298th episode as we log on, code furiously, and sue each other over The Social Network (2010). Megs? She's not with us this week—she's in “Facebook jail” for excessive poking (it was bound to happen). We're carrying around a chicken for a week in our 298th episode as we discuss: Our best day for downloads ever—and it's not even close. Our trip to an award show (well… kind of). A new Patreon joins the fold—proof we're building our very own social network. Just how much credit should the money man get vs the idea man? What is it that makes Aaron Sorkin's writing so great—and why does this film feel like it moves at the speed of thought? What's the one part we think the film gets wrong? Does the absence of errors make a film a masterpiece—or does it need a few rough edges to feel human? Jesse Eisenberg as Zuckerberg: sympathetic genius or socially awkward supervillain? Fincher's precision—how much of the film's impact comes from direction versus dialogue? And finally, whether The Social Network is the Best Film Ever—or just the sharpest film of the 2010s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“It's just a jump to the left…” Join Ian, Megs & Liam for our 297th episode as we put on our fishnets, grab some toast, and throw rice in the aisles for a dive into the cult classic The Rocky Horror Picture Show (1975). Kev? He makes a very late entrance—literally busting through the door in gold hotpants shouting “Don't dream it, be it!” in our 297th episode as we discuss: Is this the greatest cult film of all time—or just the weirdest date night ever committed to celluloid? Do we forgive this film for its lack of consent based on the overall themes of inclusivity… when maybe we really shouldn't? How Tim Curry turned Frank-N-Furter into one of cinema's most iconic characters—and why no one else could've pulled it off. Susan Sarandon and Barry Bostwick as “the straights”—and why they're the perfect foils for absolute chaos. We've got some thoughts on free speech and what's happening with Jimmy Kimmel—because much like Rocky Horror, controversy loves a stage. Why the soundtrack still slaps nearly 50 years later—and which numbers we still belt out. How the midnight screening culture kept this film alive—and whether fan participation is more fun than the movie itself. Which jokes land, which ones haven't aged well, and why the film still divides audiences. Is Rocky Horror satire, celebration, or just… unexplainable? And finally, whether The Rocky Horror Picture Show is the Best Film Ever—or just the best excuse to dress up and sing badly in public. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“Do you feel lucky, punk?” Join Ian, Megs & Liam for our 296th episode as we prowl the streets of San Francisco, badge in one hand and .44 Magnum in the other, for a look at Clint Eastwood's career-defining role in Dirty Harry (1971). A killer on the loose, a cop who won't play by the rules, and a city hanging in the balance—this episode asks all the right questions, even if Harry never bothers to. It's cops, criminals, and constitutional crises in our 296th episode as we ask: Yes, Dirty Harry is cool—but do women actually like this film? What's with all the nudity, and how much of it serves the story? Why does Scorpio do anything he does—and why does his logic (or lack thereof) drive us mad? How has Harry never learned what actually invalidates evidence or a confession? Law 101, Callahan! Why does the mayor keep calling him like he's on speed dial for bad PR? How deaf is the kid doing the fishing? And how long would it take for him to notice what's going on behind him? Why is Scorpio so disparate in his understanding of the value of hostages—demanding one thing one moment, then undercutting himself the next? Why doesn't the SFPD sit Harry home when he's framed on regional television? What exactly does the ending mean—resignation, rebellion, or just Eastwood being Eastwood? Which line from the film is one of the most misquoted in television history? We share some thoughts on the Charlie Kirk shooting and the public's reaction to it - are we losing our humanity? And finally: when exactly does DNA evidence become a thing—and how would it have changed the whole movie? Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“This gun says you live, this gun says you die.”  Join Ian & Liam for our 295th episode as we step into Tarantino's world of money drops, double-crosses, and smooth soul soundtracks with Jackie Brown (1997). Kev? He's running a cash pickup at the mall but got distracted by an Orange Julius. Megs? She's busy cutting a deal with Ordell Robbie that may or may not involve a new handbag. But don't worry—we're not flying solo. We're joined by BFF of the BFE: Shai Bergerfroind, who slipped us a cassette tape of Delfonics tunes and insisted this was the Tarantino film to talk about. This week we discuss: How Jackie Brown might be Tarantino's most mature film—and why it doesn't get the same love as Pulp Fiction. Pam Grier's powerhouse performance: is this one of the greatest star comebacks in cinema history? Robert De Niro as the quietest ex-con ever—and how a single scene changes everything. Samuel L. Jackson's Ordell: terrifying or hilarious, or both at once? Is this the most “realistic” Tarantino film? And does that make it better or just slower? Ian and Liam debate whether this film is about survival, romance, or just getting by. Shai drops in to explain why the soundtrack is the real star of the film (and why he's been humming Delfonics all week). Which scenes had us holding our breath—and which ones could've been trimmed. Why Max Cherry might be Tarantino's most underrated character—and how Robert Forster's quiet dignity steals the show. And finally, whether Jackie Brown is the Best Film Ever—or just the coolest hangout movie you forgot you loved. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

Are you ready for some (fantasy) football?  We're back with our Patrons once again and invited a returning special guest to join us to fill out the field  We've got your BFE favourites - Ian, Liam, KevDog, Georgia and Megs drafting live.  We're also joined live by some of the BFE Patreon personalities, adding to the merriment. It's a peak behind the curtain as you catch the BFE group just kicking it as we pretend we know what we're doing with Fantasy Football.  In between bites of Pizza and Chicken Nuggets we provide commentary on the picks by our absent drafters (Rev Bruce, Duane Smith, Kevin from The Podcast That Wouldn't Die, Stew from the SWO, Ryan Kuketz, Nate the Great, Juleen, Ensign Ian Davies, and Dirk - whether they're drafting remotely or letting the computer do the heavy lifting) There's pizza, banter, and a behind-the-scenes perspective that might help you know your BFE peeps a little bit better.

“Sometimes your battles choose you.” Join Ian, Liam & Kevdog, alongside BFF of the BFE: Hermes Auslander, for our 294th episode as we head into the Rust Belt for gritty drama, family duty, and some Woody Harrelson menace with Out of the Furnace (2013). Megs? She's away this week on a last-minute trip to Sweden after answering a classified ad for ABBA's long-lost fifth member—working title: Mamma Mia 3: Megs Strikes Again. This week we discuss: It's a Hermes pick, so you know what that means—another therapy session on the pod. Find out when each of us stopped supporting Woody Harrelson (and for one of us, it's much later than you'd think). What's the difference between simply stating your opinion and actively trying to sway someone else's opinion? Someone forgets how time zones work in this one (and no, it's not just Hermes). What's the real measure of being a man: flashy success or the daily grind of quietly providing for your family? Is Zoe Saldana a much better actress than we gave her credit for—and is this her most underrated performance? Which scene impressed Ian the most with its cinematography—even though it was one of the hardest to watch. What exactly was going on with Willem Dafoe's character—and why can none of us pronounce the name correctly? What is the definition of working a double shift, and why do we all seem to have different answers? And finally, whether Out of the Furnace is the Best Film Ever—or just a quietly powerful entry in the blue-collar tragedy canon. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Catch so much more of Hermes Auslander on The Scuttlebutt Podcast at https://podcasts.apple.com/us/podcast/the-scuttlebutt-podcast/id1503504933 (Apple) or https://open.spotify.com/show/2n9CNB9X6QXnmvn78HBEoJ?si=1bf26c4a13cd4234 (Spotify)   We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“The future is coming.” Join your favourite TransAtlantic podcasting trio – Ian, Liam & Megs – for our 293rd episode as we pop our claws, don our leather suits, and revisit the film that redefined the superhero genre for the new millennium: X-Men (2000). Kev and Georgia? They're cage fighting in Northern Alberta—because of course they are. This week we discuss: Ian and Liam get into a dust-up about what constitutes a gang—whose side are you on? What's with all the wavering accents in this film? How on earth did Magneto know that Rogue had her powers when Rogue, Wolverine, and even Professor X didn't? Ian delights in the blink-and-you'll-miss-it cameo by a Canadian Prime Minister (true patriot love). We reflect on Auschwitz as a tourist destination and Ian shares a story about a fashion faux pas that might have landed him on the wrong tour. Was Anna Paquin actually the biggest star attached to the film at the time of its release? You won't guess what Bryan Singer banned from the set—and no, it wasn't claws. Our favourite ghostwriter pops up once again—this time with a surprising link to X-Men. Alternate casting choices: the Wolverine that makes us laugh out loud, and a Professor X that would've been a disaster… but we still want to see it, even if the studio told him to “beat it” (not like that). How do superheroes actually get their names? That's the class we wanted to see at Xavier's. What exactly are the rules of Mystique's powers again—and why is Toad weirdly overpowered? Which character has the worst trash talk despite having the perfect set-up? (Spoiler: lightning shouldn't strike twice.) We talk about meeting up with two Friends of the Podcast this week and drinking pints no matter the occasion. One cast member opens up about a wardrobe malfunction that made mutant fashion even harder to pull off. And finally, whether X-Men (2000) is the Best Film Ever—or just the first stepping stone on the path to superhero dominance. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“Ditto.” Join your favourite TransAtlantic podcasting duo – Ian & Liam – for our 292nd episode as we step into the supernatural, spin the pottery wheel, and revisit one of the great romantic blockbusters of the '90s: Ghost (1990). We're trading dream layers for subway spirits and Whoopi Goldberg one-liners as we discuss: Which member of the cast desperately needed an advocate behind the scenes just to get the part. Are there times when being a bad actor or actress is actually the right call in casting? Ian stumbles upon an almost-casting he would've loved to have seen—and another rumoured choice we take great umbrage with. Is the pottery scene one of the greatest cinematic moments of all time… or do we only remember it that way? Are Molly and Sam too perfect as a couple? Or is that exactly why the film works? Who on earth came up with the name Sam Wheat for the protagonist? We've got questions. Why does the cat only show up in two scenes—and does it secretly hold the key to ghost physics? Speaking of which: we welcome back Ghost Physics 101 as a proud course in the ever-expanding BFE syllabus. The sad story (both in canon and real life) of the Subway Ghost—no $5 footlongs here, just heartbreak and haunting. And finally, whether Ghost is the Best Film Ever—or just the most romantic take on death since Shakespeare. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“You mustn't be afraid to dream a little bigger, darling.” - It's a solo mission this week as Ian takes the lead in our 291st episode, descending through dreamscapes, spinning tops, and subconscious heists in Christopher Nolan's mind-bending Inception (2010). Liam, Megs, Kev, and Georgia? They're all trapped in deeper dream layers, and Ian's holding Level 1 until someone figures out how to kick them back to reality. We're trading banana peels and baseball anthems for snow fortresses and Paris folding in on itself as we discuss: Why Inception still stands as one of Nolan's most ambitious films—and whether the world has caught up to its complexity. Nolan is a genius of narrative construction, but are there times where genius needs governance to ensure the story remains accessible for the masses? Why do the subsequent dream layers respect the science required to access the first dream—and why do they stack so neatly when logic suggests they shouldn't? How Inception violates the golden rule of introducing a “superpower” (in this case, a key ability) and then never using it again for the rest of the movie. The art of lucid dreaming, and how being alone this week means Ian can finally reveal what his recurring dream looks like (spoiler: it involves movie theatres). Which dream layer steals the show—and which feels like the bathroom break level. The ongoing debate: does the ending mean something definitive, or is that missing the point? Why Inception works as both a blockbuster and an intimate story about loss, guilt, and letting go. How Hans Zimmer's score became a cultural event—and why the “BRAAAM” sound is still echoing through cinema today. And finally, whether Inception is the Best Film Ever—or just a beautiful puzzle box we'll keep spinning forever. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“Welcome to Costco. I love you.” Join your favourite TransAtlantic podcasting crew – Ian & Liam – with BFF of the BFE: Synthia beaming in from the not-so-distant future as we crack open the absurd, prophetic, and depressingly accurate Idiocracy (2006). We're trading shark-infested waters for Gatorade-irrigated crops and President Camacho in our 289th episode as we ask: Was Idiocracy always this smart, or has the world just gotten that dumb? We explore how a film that bombed at release has somehow become the most referenced dystopia not named Orwell. What does it say about society that Mike Judge's lowbrow future doesn't seem that far off? Synthia breaks down the subtle and not-so-subtle satire—and why this film still hits different in a post-algorithm world. Ian wonders whether the comedy lands… or whether it's just too bleak to laugh anymore. Liam confesses which part of the film made him physically cringe (hint: it's not just the opening montage). We talk about the difference between satire and smugness, and where Idiocracy walks that tightrope. Is the film's central conceit plausible… or offensively oversimplified? With the film's conceit being that everyone is stupid, are we allowed to get frustrated with the tone for being too stupid? Why Terry Crews as President Camacho might be the most pitch-perfect casting choice in a dystopian comedy ever. What modern products or trends Idiocracy weirdly predicted (we're looking at you, reality TV and clickbait). And finally, whether Idiocracy is the Best Film Ever—or just the most important film people still haven't seen. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.  

“You're gonna need a bigger boat.” Join your favourite TransAtlantic podcasting crew – Ian & Megs – as we head out to sea with special guest Carlo from The Movie Loot for our 288th episode, diving deep into Steven Spielberg's blockbuster breakthrough Jaws (1975). We're trading crane kicks for chum buckets and mechanical shark mishaps as we discuss: The real-life beef between Richard Dreyfuss and Robert Shaw—method acting, ego clashes, and barbed insults at sea. Spielberg's first reaction to hearing the now-iconic Jaws theme from John Williams… and why he thought it was a joke. Just how crucial it is to find an actress who can tick all the boxes—especially when it comes to screaming convincingly. The urban legend behind the film's POV shots—and whether the broken shark really made the film better. Is the actual shark reveal a thrilling payoff… or a rubbery letdown? We break down whether it holds water. We all agreed it's a film of two halves—but did we agree on which half was better? Would Jaws still work with a female character in one (or more) of the core trio? We explore casting, gender dynamics, and cabin tension. How many big screams should a film have? Is there a magic number—or do we just love that head-in-the-boat moment too much? Does Brody have the worst wife ever for casually revealing his deepest fear to a total stranger at dinner? The key changes from the Peter Benchley novel—and why most of them were for the better (goodbye, mafia subplot). Why Spielberg was convinced he'd never work again after Jaws—and how it nearly swallowed his career whole before making him a legend. And finally, whether Jaws is the Best Film Ever.   Catch so much more of Carlo on The Movie Loot on Apple Podcasts at https://podcasts.apple.com/us/podcast/the-movie-loot/id1578191119 or on Spotify at https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q   Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“Wax on, wax off.” Join your favourite TransAtlantic podcasting crew – Ian, Liam, and the triumphant return of Megs (Kev's still away… last seen jogging up a hill in a grey tracksuit muttering “No mercy”) – as we crane kick our way into our 287th episode, tackling the inspirational, emotional, and occasionally questionable The Karate Kid (1984). We're trading crystal fortresses for dojo face-offs and dusty training montages as we discuss: Does Daniel LaRusso bring most of his problems onto himself? We break down whether he's the underdog—or the instigator. What is the difference between a cute girl and a hot girl? And where does Elizabeth Shue's Alli fall on the spectrum of '80s love interests? Does Ralph Macchio wear one of the all-time worst Halloween costumes in movie history? (Spoiler: Yes. Yes, he does.) Can you really learn black belt-level karate in just a few weeks? Or did Daniel unlock cheat codes under Mr. Miyagi's tutelage? Ian goes to war with the score—and one particular song that just doesn't belong. The film suggests America was batty about soccer in the '80s. Was that true… or just wishful screenwriting? Why the studio was reluctant to cast Pat Morita as Mr. Miyagi—and how he proved them all spectacularly wrong. Ian finds a way to shave 10 minutes off the runtime—Miyagi would approve of the efficiency. Why does Daniel's mother uproot their entire life for a job that seems… deeply underwhelming? Does Daniel deserve Alli in the end—or was she just too good for this drama-prone karate kid? We wax (lyrically) on and off about themes, nostalgia, and tournament ethics. And finally, whether The Karate Kid is the Best Film Ever. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“You'll believe a man can fly.” Join your favourite TransAtlantic podcasting duo – Ian & Liam (Megs couldn't make it—she's busy spinning the Earth backwards to reclaim her weekend while KevDog's off searching for crystals in the Arctic... or just stuck in a phone booth with no signal - as we don the cape, slick back the hair, and fly faster than a speeding bullet into our 286th episode, reviewing Richard Donner's iconic superhero origin story Superman (1978). We're trading classical guitars and military trenches for red trunks and crystal fortresses as we discuss: We look at how Superman redefined the superhero genre before it was a genre—and why it still matters nearly 50 years later. Why Christopher Reeve may be the most perfectly cast superhero of all time, and how his dual performance still holds up. Ian dives into the film's structure and why the three-act split (Krypton, Kansas, Metropolis) feels so bold and ambitious. We condemn and then forgive Teen Clark (Jeff East) and  do likewise for Brando but without the forgiveness at the end We discuss whether Lex Luthor is a credible villain—or just a walking punchline with a killer property portfolio. Liam marvels at the charm, the score, and the genuine sense of wonder—while struggling not to get emotional about Pa Kent. We ask: does the “reverse time” ending still fly? Or is that where the cape starts to fray? And of course: whether Superman (1978) is the Best Film Ever. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“Bayan o sarili?” Join your favourite TransAtlantic podcasting duo – Ian & Liam – as we ride into revolution and betrayal in our 285th episode, tackling the powerful, patriotic, and provocative Heneral Luna (2015). We're later joined by BFF of the BFE Juleen, as we trade chequered flags for sabres and cigar smoke while we discuss: Ian shares a personal story about how his perspective on film shifted dramatically this week—and why Heneral Luna hit harder than expected. We talk about rediscovering old hobbies and how sometimes history—and a great movie—can reignite forgotten passions. We've got some big BFE cast news to share—don't worry, no one got court-martialed. Was Antonio Luna an epic figure… but a deeply unlikeable man? We break down the myth and the man. At what point do patriotism and ego diverge—especially in military leadership? And how much of Luna's downfall was self-inflicted? Why is this vital and volatile chapter of Filipino history completely absent from most American history books? Juleen joins us with powerful insights from her time living in Southern California and how Heneral Luna resonates against today's shifting political tides. Our Rodecaster decides to go full rebellion, jumping ship mid-episode—more than once. What's with all the Jesus imagery? From framing to posture to betrayal, Luna doesn't hold back. One scene left Ian absolutely gobsmacked—he didn't see it coming, and we're still picking our jaws off the floor. Why did troop movements in this film feel like Season 8 of Game of Thrones? Can we get a map? Are Americans great marksmen… or hilariously awful? And what made standing up in battle a form of actual camouflage? Whether Heneral Luna is the Best Film Ever—or just the best film you've never heard of. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“The closer you are to death, the more alive you feel.” Join your favourite TransAtlantic podcasting duo – Ian & Liam – as we rev the engines, grip the wheel, and go full throttle into our 284th episode with a look at Ron Howard's high-octane drama Rush (2013). We're trading poisoned apples for podium finishes as we dive into one of Formula 1's greatest real-life rivalries: What is it about films that explore the pursuit of greatness that gets our hearts racing every time? We break down why stories with duelling personalities—like Hunt and Lauda—are so compelling, especially when each sees themselves reflected in the other. What elements of the true story were changed, streamlined, or dialled up to eleven for cinematic effect? Ian and Liam try to figure out which one of them is the reckless playboy and which is the meticulous technician… and it gets uncomfortable quickly. We talk about the power of respect over friendship, the blurred lines between envy and admiration, and why this film might be Ron Howard's unsung masterpiece. Whether Rush is the Best Film Ever—or just one hell of a ride worth taking. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.

“So long… partner.” Join your favourite TransAtlantic podcasting duo – Ian & Liam – as we stare mortality, memory, and molten doom right in the eye in our 283rd episode, covering Pixar's emotional rollercoaster Toy Story 3 (2010). We're trading poisoned apples for daycare drama and incinerator trauma as we ask whether this trilogy-closer really is the perfect goodbye: We are so very thankful for a new piece of kit that limited our downtime this week We talk about why Toy Story 3 might just be the best third act in any trilogy ever. Ian reflects on the passage of time, growing up, and how Pixar weaponised emotion in the final 20 minutes. Liam bravely tries to hold it together during that incinerator scene—and that goodbye with Andy. Is Lotso one of Pixar's greatest villains and what is it about him that Liam hates so much but Ian loves so much? We talk about daycare as dystopia, Big Baby as horror icon, why Mr. Pricklepants deserved more screen time and who exactly is watching these kids at the daycare? Why does this hit so hard for adults? Is it just about toys—or everything we leave behind? Ian breaks down the film's narrative structure and how it perfectly mirrors growing up and letting go. Whether Toy Story 3 is the Best Film Ever—or just the most emotionally devastating G-rated film of all time. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor. Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/.