Hindsight, like this episode, is 20/20 (Year 20 Episode 20, get it?) and so Dean and Phil begin this week’s show with a clip from the long-running ABC news magazine show “20/20” from the mid-1980s and remark upon just how contemporary those clips sound! From there, the upcoming “Blade Runner 2099” television series gets previewed and the latest in the lawsuit surrounding Paramount’s on-hold merger with Warner Bros. gets analyzed (and laughed about). Phil wants to know why Dean isn’t watching the terrific “Lanterns” on HBO. The brilliance of director Zach Cregger and the success of his new Resident Evil get appraised. Then, Kiyoshi Kurosawa’s The Samurai and the Prisoner (just in time for its return to cinemas, this time in black and white) and DC’s Supergirl both get reviewed. Finally, the great Ang Lee and his landmark Sense and Sensibility get reappraised (just in time for a new adaptation to get released).

Dean will be heading to Los Angeles this week and plans to deal with a “haunted vacuum”? Paramount Pictures (and its parent company) are for sale. Dean and Phil discuss the ramifications of this. Many great films premiered in competition at the recent Cannes Film Festival. Dean and Phil examine the award-winners. A film festival favorite available now on Netflix is Richard Linklater’s dark romantic comedy Hit Man. Dean and Phil discuss it. Then, they take a deep dive look at three “art house” films of recent vintage and use that dive as the vehicle for exploring the function, importance and failure of critics. The films in question are Joanna Hogg’s ghost story The Eternal Daughter and Jane Schoenbrun’s coming-of-age psychodramas We’re All Going to the World’s Fair and the current theatrical release I Saw the TV Glow.

This week’s show will pick up right where last week’s Season 4 Episode 6 left off, with a pre-recorded segment wherein Dean Haglund reveals his top two films of 2023, and Phil Leirness reveals his number one choice. Then, Dean and Phil hook up live on digital audio to discuss a wide array of topics, including: the choreography of Pina Bausch, the German nominee for the Best International Film Oscar, the Mardi Gras jazz of Delfeayo Marsalis (and a real-life backstage mystery!), the Houdini Estate in Hollywood, “Bicycle Thieves”, the French classic “Diva”, and why February 10 was a terrible day for breakfast!

Phil has been chasing trains all over California and he has stories. St. Patrick’s Day was this past week and Dean and Phil have jokes about that. In “Celebrity Deaths”, Oscar-winning actor William Hurt gets remembered and the controversy surrounding celebrations of his legacy will get examined. Star of the original “Godzilla” and a great story about him get discussed, and before the Chillpak Morgue closes, R&B great Timmy Thomas has his praises sung. This is, of course, the biggest week in Hollywood and Dean and Phil “go to the movies” to discuss Steven Spielberg’s next film (a sequel to a 1960s classic), the brilliance and pain and artistry of Richard Pryor as seen in Richard Pryor Live on the Sunset Strip and the inspiring visual storytelling on display in the works of Paolo Sorrentino, specifically his current Oscar nominee for Best International Film, The Hand of God.

Since it is Valentine’s Day, it’s only fitting that Dean and Phil are offering up a show that is nothing less than a love letter to movies, movie-going AND great comedic acting on television! In addition to a great story about Howard (“Dr. Johnny Fever”) Hesseman that involves the legendary Jack (“Dragnet”) Webb, and analysis of a handful of nominated films, shows and performances, Dean and Phil also engage in free-wheeling discussion about how we judge film and TV, how these works are consumed and what awards shows need to be moving forward. All that, plus a legend of visual effects and the Queen of Italian Cinema both get remembered in “Celebrity Deaths”.