Podcasts about maids

“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/

Masterpiece Podcasts: Collection of Chinese Classic Novels

Masterpiece Podcasts: Collection of Chinese Classic Novels

Masterpiece Podcasts: Collection of Chinese Classic Novels

“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/

For this episode, we're sharing a sneak peek of our final radio show for this season of Bayoulands coming up on February 22nd. It's a conversation with Kai Jai Conner and Carol Eddins about The Melody Maids Movie, a documentary about the all-girl choral group founded in Beaumont by Eloise Milam that performed for U.S. Troops around the world for 30 years. Stick around for the end of the episode to learn about upcoming opportunities to view the film.Thanks for listening!

In this episode of The Jason Cavness Experience, Jason sits down with Wesley Nicholson, owner of Two Maids of Kent, to talk about leadership, entrepreneurship, and building a service business rooted in community impact. Wesley shares how his background in the U.S. Navy and years of leadership experience at Amazon shaped his approach to running a people-first business. He discusses the transition from corporate leadership to small business ownership, the challenges of scaling a service business, and why culture and training matter just as much as operational excellence.  The conversation also explores Wesley's commitment to giving back, including Two Maids' mission of providing free cleanings to individuals battling cancer. Jason and Wesley talk about learning from mistakes, addressing blind spots as a leader, and creating opportunities for team members to grow. This episode is especially valuable for founders, operators, and anyone building a local service business with purpose. Topics Discussed • Wesley's background in the Navy and Amazon • Transitioning from corporate leadership to entrepreneurship • Building and growing Two Maids of Kent • Leadership lessons from military and corporate environments • Creating a strong team culture in a service business  • Training, accountability, and operational discipline  • Giving back through community-focused initiatives  • Learning from mistakes and addressing leadership blind spots • Balancing growth with quality and trust • Defining success beyond revenue Connect with Wesley Nicholson LinkedIn: https://www.linkedin.com/in/wesley-nicholson/ Connect with Two Maids of Kent  Website: https://www.twomaidscleaning.com/kent/  Facebook: https://www.facebook.com/profile.php?id=61575676238096  Connect with Jason Cavness  LinkedIn: https://www.linkedin.com/in/jasoncavness  Instagram: https://www.instagram.com/thejasoncavnessexperience/  TikTok: https://www.tiktok.com/@jasoncavness Podcast: https://www.thejasoncavnessexperience.com  

Jared kicks off Mailbag Monday from Delray Beach with a classic rant: preorder his book Walking Red Flag (mostly to prove his dad wrong) and please don't DM him excuses for missing shows. Then he dives into a birthday-party mystery when two very sentimental Chiefs commemorative Coca-Colas disappear from the garage fridge… and the prime suspect is a friend's “used car salesman” husband with a history of cheating and sketchy behavior. Next, a woman wonders if it's needy to ask why her guy ditched their brunch for Super Bowl plans. Finally, a bride-to-be panics over wedding speeches because she wants one best friend to speak… but not the other. Jared is on tour!

“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/

Dan Balfour is an Olivier Award Nominated Sound Designer, whose work explores the intersection of storytelling and form. His practice investigates how aural design, technical craft, and composition converge to shape and heighten an audience's theatrical experience. Theatre Includes: Winter's Tale (RSC); Vanya (West End, Lucille Lortel NYC); Dear England (National, West End, Tour); The Maids, The Cherry Orchard (Donmar, St Anne's Warehouse NYC); More Life (Royal Court); Miss Myrtles Garden (Bush Theatre); Stranger Beasts, I Am Kevin (Wildworks); My English Persian Kitchen (Soho); Make Good, One Of Them Ones, IDYLL (Pentabus); Mrs Caliban (Theatre Technic); Wuthering Heights (Royal & Derngate/ Tour); Les Dawson Flying High (National Tour); Dear Annie I Hate You, How To Break Out of a Detention Centre (Riverside Studios); Private Peaceful, LAVA (Nottingham Playhouse/ Tour); Two Character Play, Wilderness (Hampstead); The Hatchling (Trigger Productions); hang (Sheffield Crucible); Counting Sheep (Belarus Free Theatre); Sugar Syndrome, The Misfortune Of The English (Orange Tree); Operation Mincemeat (Splitlip); Effigies of Wickedness (Gate); The Double Act, Great Apes, Sputnik Sweetheart, I Call My Brothers, Dance Of Death (Arcola).

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“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/

On tonight's show: Hoagy Carmichael, Stardust The Little Red Blount Quartet & Helen O'Connell, Tangerine Miles Davis Nonet, Boplicity John Lewis, Easy Living Anita O'Day, A Lover Is Blue Kai Winding, Black Coffee Kai Winding, Sidewinder The Ella Fitzgerald Quartet, Body and Soul Stéphane Grappelli & Stuff Smith, This Can't Be Love Urbie Green, Please Send Me Someone to Love Toots Thielemans, Joe Pass, and Niels-Henning Orsted Pedesen, Someday My Prince Will Come Miles Davis and Quincy Jones, Maids of Cadiz

“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/

Ok but the romance between a man and his robot maid is seriously sweet y’all (not even joking). 00:00 Intro00:42 My Friend’s Little Sister Has It In for Me!17:36 Mechanical Marie 30:30 Outro Music Credits “Clover 3” by Vibe Mountain “Seasons” by roljui

“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/

Ramona Floyd is a versatile stage and screen actor whose work spans Off-Broadway, television, and film. She has appeared in a wide range of acclaimed New York productions, including Please Go Gentle Into That Good Night, The Monument, the title role in Medea, and standout performances in Pygmalion and The Maids with the Jean Cocteau Repertory Theatre. Other stage credits include Gone in 60, Arms and the Man, and Fulana. On screen, Ramona has built a career portraying everything from tough bosses to compassionate caregivers in popular series such as The Blacklist, The Punisher, FBI, True Detective, Girls5Eva, Blue Bloods, Bull, and the upcoming Murdaugh Murders: Death in the Family for Hulu.   Want to watch: YouTube Meisterkhan Pod. (Please Subscribe)

What do we know about the woman's lot at the court of Charles II? Breeze Barrington's new book The Graces (published by Bloomsbury) explores the lives of several women of the Stuart court. These ladies include Maria d'Este, a.k.a. Mary of Modena, consort to James VII & II, as well as those of her Maids of Honour: Anne Finch, a revered poet, Hortense Mancini, a favourite of Charles II, Sarah Jennings, future Duchess of Marlborough and of course, the future Queen Anne of Great Britain. Let's welcome Breeze Barrington to the podcast. Welcome, Breeze!Find Breeze:https://www.breezebarrington.com/https://www.qmul.ac.uk/sed/english/staff/phd/profiles/barringtonb.htmlhttps://artuk.org/discover/profile/breeze-barringtonGet Graces:https://www.bloomsbury.com/uk/graces-9781526663788/Find Baroque:https://www.ifitaintbaroquepodcast.art/https://www.reignoflondon.com/https://substack.com/@ifitaintbaroquepodcastSupport Baroque:https://www.patreon.com/c/Ifitaintbaroquepodcast/https://buymeacoffee.com/ifitaintbaroqueIf you would like to join Natalie on her walking tours in London with Reign of London:Saxons to Stuarts:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/Tudors & Stuarts:https://www.getyourguide.com/london-l57/royal-london-tudors-stuarts-walking-tour-t481355/The Georgians:https://www.getyourguide.com/london-l57/royal-london-the-georgians-walking-tour-t481358/Naughty London:https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452/For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/ Hosted on Acast. See acast.com/privacy for more information.

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/

It's Halloween on NAFC, and the crew's dressed in existential dread instead of costumes. The gang kicks things off debating whether gaming in 4K is really worth it—or just another flex for people with too much disposable income. Izzy's been deep into Full Metal Furies and The Legend of Hei, while Mox takes a surprisingly wholesome detour with Miss Kobayashi's Dragon Maid. Gibbs, meanwhile, crowns Scream (1996) the godfather of teen slashers before sharing one of the most uncomfortable dressing room encounters imaginable. They also briefly revisit Weapons before speculating wildly about the mysterious upcoming film Him. Finally, the crew dives into Men in Black (1997)—the ultimate mix of sci-fi, deadpan humor, and gooey practical effects. It's nostalgic, it's weird, and somehow, it still holds up better than most modern blockbusters. Support us on Patreon!

Kolkata's Bangladeshi Maids Go Missing | Lakhs Being Pushed Back Through Chicken's Neck

“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/

The year is1878 - and Cape Governor Sir Sir Bartle Frere is throwing the empire's weight around South Africa. Let's put ourselves in his shoes because some historians say he had a formidable Machiavellian personality, full of fatal overconfidence, too used to having his own way and to ignoring the magnitude of obstacles confronting him. One of those perceived obstacles was Zulu king, Cetshwayo kaMpande. Crowned in 1873 after the death of his father, Mpande kaSenzangakhona, Cetshwayo presided over a squabbling nation. His great place, Ondini, is close to where Ulundi is today. It was vast, elliptical in shape, stretching from 650 metres in one axis, to 507 in another. The outer circumference of his ikhanda, the royal residence, was over two kilometers long. The second part of his great place was a smaller group of ikhanda, and called emaNgweni. The unusual point about emaNgweni is that the principal hut was actually a western style house. The Norwegian missionaries at Empangeni had helped build this, consisting of three rooms with glass windows, along with wooden doors and whitewashed walls, under a thatched roof. Cetshwayo went a step further at Ondini, where his special residence was build out of sun dried bricks burned black. These materials were given to Cetshwayo by Norwegian Mission Society's Reverend Ommund Oftebro. Ommund sounds like the uMondi, the Zulu word for a sweet, aromatic herb. This is a herb used to treat flatulance, ie farting, so there's some irony in the fact that Reverend Ommund Oftebro's mission station was acalled uMondi. It's on the outskirts of Eshowe. This black bricked building at Ondini was larger than his other retreat, four wallpapered rooms, glazed windows and verandahs at the back and the front. It also had two outside doors with locks. The rooms contained European furniture, a washstand and a large mirror. King Cetshwayo would hold court in this house, tending to the affairs of state, consulting his councillors. At night, the doors would be locked and guarded by two women, armed with guns. Yes folks, women with guns. Cetshwayo's chief gun-runner and a chief himself, John Dunne the English trader, personally trained Zulu VIP guards in how to shoot. The bodyguards would be instructed in musketry and were armed with short carbines, ideal for close quarter bodyguarding. Dunn took the women into the veld every day in the late afternoon, and target practice would follow which included peppering the local aloes. This echelon of women bodyguards accompanied Cetshwayo when he visited his chiefs ikhanda around Zululand with the intention of protecting him when the male amabutho were away. One of his maids in waiting, Nomguqo Dlamini, told of her life in the ikhanda in a rare book called Servant of Two Kings by Paulina Dlamini - she became a Christian and changed her name. The book is full of information about day to day life in the late 1870s, how the gatekeeper at onDini woke everyone by calling out the king's praises, Cetshwayo would emerge after the women of the isigodlo had swept up the yard, then he often went off his sporting guns to hunt birds. Later, the king would head off to a small enclosure in the Royal Kraal where he would stand on a stone and be washed with water from the Mbilane stream, and rubbed down. The young men who attended the king were trusted sons of senior chiefs of the Xulu line, as well as other sons of Mnyamana. At the meeting of amabutho warriors in 1875, Cetshwayo had granted permission for the INdlondlo ibutho to put on their headrings and marry. These were men in the 40s, the iNdlondlo regiment had been formed way back in 1857, and these men had waited patiently for their turn to take wives. The problem was, he gave them permission to seek brides from the iNgcugce ibutho, where the girls there had been born between 1850 and 1853. They were far younger than the grizzled warriors seeking their hands in marriage.

From Liz Stewart: I'm Crowning https://www.comedydynamics.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

“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/

A woman reached out to share her concerns about her bridesmaids seemingly turning against her. She desires for them to wear matching dresses in the same color, but now they are insisting on wearing different styles. What advice can we offer her? We welcome your calls and comments on this matter.The fun continues on our social media pages!Jeremy, Katy & Josh Facebook: CLICK HERE Jeremy, Katy & Josh Instagram: CLICK HERE

“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/

Is It Okay To Choose Grooms Men Or Brides Maids For Your Partner ??

“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/.

“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/.

Send us a textGary takes a look ahead to this year's Piping Live festival running in Glasgow from 11th - 17th August.PlaylistCala with Dusty from From the RiverShotts and Dykehead Caledonia with Show Time from Rise  Mairearad Green and Rachel Newton  with Ceit Bheag from Anna Bhan Gordon Duncan with Donal Og / Wild Irishman / Rakish Paddy / Madame Bonaparte / Richard Dwyers from Just For Seumas Kyiv Ethno Trio with the Raven from Kyiv Ethno Trio inB with Bochd Liath nan Godhar (or The Maids of Kintail)  and The Rock / O'Sullivan's from the Bothy Sessions 1Wolfstone with Hector the Hero from Unleashed  LinksPiping Live 2025For information on the James Scott Skinner memorial statue campaign contact charlie_ritchie@hotmail.com Shotts and Dykehead Solas Concert   Support the show

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