It’s the symbolic final weekend of summer 2025 and your friends in podcasting commemorate in style with almost 70 minutes of rich podcasty goodness! They discuss how one of Dean’s all-time least favorite films might become a television series. They discuss how a Todd Haynes period detective film they would have loved to see might just be back from the dead. They discuss how and why Weapons has captured the cultural conversation in a way few movies do any more. They discuss how and why Netflix had the #1 film at the box office, why Netflix didn’t want you to know that, and what it might portend for the future. They discuss the merits of the new Netflix mystery The Thursday Murder Club. They discuss the 1987 classic River’s Edge and the 1949 all-time masterpiece The Third Man. In the return of the “Live Event of the Week”, Pink Martini performs under the stars at the Greek Theatre. In “Celebrity Deaths”, an Oscar-winning composer, a Tejano legend, a chart-topping flugelhorn player, a co-founder of “Derek and the Dominos”, and the jazz singer dubbed “the lady with the million-dollar ears” all get remembered. Finally, Dean and Phil pay tribute to the great Terence Stamp. Happy Labor Day, USA! Happy Monday, everyone else.

After a funny cold open where Dean tells about another of his haunted house adventures, Dean and Phil kick off this week’s show by sharing what they are thankful for during this Thanksgiving week, Dean battling Covid-19, Phil reflecting on his mother’s death two years ago. The career of Dean Martin, his work with Jerry Lewis, and a terrific TCM documentary “Dean Martin: King of Cool” all get discussed. A great jazz film from the 1980s, Round Midnight, and the “sacred” aspect of cinema get celebrated. The box office success of Ghostbusters: Afterlife and No Time to Die get analyzed through a very optimistic lens. In “Celebrity Deaths”, Dean’s love of funk gets exposed, as two great funk stars get remembered, along with a star of HBO’s “Oz”. And speaking of HBO, Dean and Phil tease an upcoming discussion about HBO’s “Succession” and about Will Ferrell’s considerable behind-the-scenes clout in Hollywood.