It was a big weekend, and your friends in podcasting have a lot of big topics to discuss, from the World Cup to the art of Caravaggio, from a masterpiece of German literature to the creation of synthetic life that demonstrates most of the hallmarks of actual life, from the ten films that best define America to a couple of the all-time greatest film noirs. Finally, Dean and Phil go long singing the praises of, and asking questions about, the independent film dominating the global box office, Obsession.

There are two Carolinas in the USA. North and South. Phil is exploring both of them. So, this week’s show was pre-recorded quite a few days earlier than usual. In it, Dean and Phil discuss The Actor’s Gang, a well-respected theater company and training ground for talented performers (like their pal, Steve Benaquist). Dean and Phil continue to talk about the late, great artist David Hockney, his love of smoking, and the ways in which he taught the world to think of Los Angeles, namely as it pertains to light. Light and its interplay with shadows is absolutely top of mind for your friends in podcasting and they go deep into film noir, talking about such great actors as George Raft, Humphrey Bogart, Burt Lancaster, Edmond O’Brien, and Edward G. Robinson, and such great directors of noir as Fritz Lang and Robert Siodmak. The movies They Drive by Night, The Killers and Scarlet Street all get appraised. Finally, Phil holds court about the 1980 neo-noir The First Deadly Sin, which was the final motion picture produced by Frank Sinatra, and the final lead performance for Sinatra as an actor. It was supposed to have been directed by Roman Polanski, which has Phil asking, “What if it had been?” He also suggests another young director (at the time) who would have been a better choice than the film’s eventual director, Brian G. Hutton. Nevertheless, Hutton did director a couple of Dean’s favorite movies, so Phil shares the quite interesting details of Hutton’s career.

In a rather shocking cold open, Phil reveals not only that he has World Cup Fever, but also that he is genuinely thrilled about the early tournament achievement accomplished by Team Canada! Brief remembrances of artist David Hockney and journalist Gene Shalit (both of whom died during the past few days) are offered. Then, things turn dark, as Dean and Phil explore some of the shabbiest corners of show business, with the latest on the impending Paramount merger with Warner Bros. and the return of the It Ends With Us lawsuit between director Justin Baldoni and star Blake Lively. Last week Dean and Phil talked about actress Ann Savage, who starred in Dean’s all-time favorite My Winnipeg. This week, Phil reveals to Dean that the Academy Museum will be hosting a “Weekend with Guy Maddin” featuring four of this master filmmaker’s greatest works. Dean convinces Phil to attend the entire weekend. A couple weeks back, Dean and Phil discussed the all-time classic Some Like it Hot and in so doing, Dean made some comments about that film’s indelible supporting player Joe E. Brown that inspired friend of the show Maurice Terenzio to hunt and peck his way through a lengthy, fascinating and rewarding missive about this great comic actor (and humanitarian). Film noir has been foremost on Phil’s mind of late, and he offers detailed appreciations for two of his all-time favorite actors: Sterling Hayden (in the process analyzing the revered Nicholas Ray-directed and Joan Crawford-starring western Johnny Guitar and the classic John Huston crime procedural The Asphalt Jungle) and Veronica Lake (with particular attention paid to the Raymond Chandler original The Blue Dahlia). Finally, it’s no secret that Dean loves action, and he offers a full report on the just-released action film The Furious.

Phil was actually worried he and Dean wouldn’t have enough to discuss to fill this week’s show and wow was his worry unfounded! The gentlemen get the conversational ball rolling with the return of “What We’re Reading” wherein four quite fascinating and quite disparate works get covered, leading to in-depth discussion about such topics as painting watercolors, epistolary novels, the comedic genius of Norm Macdonald, and life in Austria-Hungary of the early 1900s. All the major prizewinners at Cannes 2026 get discussed, and the early summer U.S. box office gets celebrated. Then, however, the tone turns darker, as the need for a full-on boycott of Paramount and its properties gets expressed, and the ramifications of waiting for the Warner Bros. merger to launch said boycott get explored. Dean saw The Sheep Detectives and shares his thoughts. Phil watched the classic 1945 film noir Detour and spills the dirt on its director’s fall from grace, hails the film as a must-watch for aspiring filmmakers, and regales Dean with a delightful fact about the career of the film’s lead actress, Ann Savage.

Even we are impressed at the ground covered in only 74 minutes this week by your friends in podcasting! They start by going deep into the improvisational jazz of Sun Ra and dissecting comments Sonny Rollins made in a podcast about jazz being “ a music of freedom”. The Coen Brothers’ 1991 masterpiece Barton Fink gets revisited at 35 and is found to be better than ever. The film genre of neo-noir gets analyzed, and the all-too-overlooked Hickey & Boggs (directed by Robert Culp and co-starring Culp and Bill Cosby) gets championed as an outstanding exemplar of that genre. The death of certain kinds of horror tropes are foremost on Dean’s mind after seeing Scream 7, whereas Phil is intrigued by the new generation of horror exemplified by the current box office sensations Backrooms and Obsession. Then, Dean and Phil switch genres yet again, and examine cinematic comedy through two documentaries (Mel Brooks: The 99 Year Old Man! and Marty, Life is Short), one all-time classic (Some Like it Hot) and two current releases in theaters (I Love Boosters and The Sheep Detectives).

On this second episode of Year 20 (“the year we get it right!”), Dean and Phil have crime on their minds! They start with an appreciation of director Jules Dassin’s classic film noir Night and the City. Then a Hitchcockian thriller, Mirage, by Edward Dmytryk, the man largely responsible for Jules Dassin getting blacklisted gets analyzed. Both films show telltale signs of having been directed by men with quite different experiences of the Hollywood blacklist. A neo-noir that never disappoints is Robert Altman’s Philip Marlowe adaptation The Long Goodbye. Dean and Phil discuss the film as a “satire of melancholy” and share many stories about the filmmakers and actors’ remarkable approaches to telling the story. Another 1970s mystery film, the ill-fated Agatha about the real-life disappearance of the great mystery novelist Agatha Christie for 11 days in 1926 gets reviewed. The final suspense picture on the Chillpak crime blotter this week is Henri-Georges Clouzot’s masterful The Wages Fear. Dean reviewed it several weeks back, and now it’s Phil’s turn to compare and contrast it with William Friedkin’s 1977 adaptation of the same source material, Sorcerer. Finally, one new blockbuster, the crowd-pleasing The Devil Wears Prada 2 gets analyzed both as a legacy sequel and as a very hopeful harbinger for the summer movie season.

Dean Haglund is back in Los Angeles and he and Phil Leirness went up to the rooftop studio high atop the historic neighborhood of Los Feliz to get their drink on and to record this episode all about travel, commuter trains and movies. Dean sings the praises of Waymo, tells tales of getting “upgraded” during his flights, and says the word “bathhouse” way too many times for Phil’s liking or comfort. Phil discusses a potato chip brand he really enjoys and shares the cocktail recipe for a “Manhattan Noir”. In between, the film noir classic Odds Against Tomorrow, the current Japanese movie Exit 8, and the Japanese classics Spirited Away and Shall We Dance? all receive deep-dive discussion. The great Harry Belafonte and the brilliant Koji Yakusho are both celebrated, and Dean explains a bit about Noetic Science as depicted in Dan Brown’s The Secret of Secrets.

Dean and Phil got together high atop a certain “historic building” in downtown Los Angeles to watch the sunset on the winter solstice, to enjoy a lovely bottle of Malbec, and to record this week’s show! They discuss Dean’s holiday travels, the big forthcoming change to the annual Oscars telecast, and the changes in the beaks on songbirds at UCLA! After that, they discuss the unique legacy of actor-turned-filmmaker Rob Reiner, and take the time to analyze several of his films. Then, two film noirs (Tension and Where Danger Lives), a fairly bizarre war film (36 Hours) and the biggest box office hit of Brad Pitt’s career all get reviewed!

Dean and Phil compare notes on their Thanksgivings and reveal how (and probably why) Phil got sick on his birthday! Then, they discuss a wide array of brand new and classic movies from various genres and from locales around the world, including Richard Linklater’s Nouvelle Vague, Joachim Trier’s Sentimental Value, the noir classic The Postman Always Rings Twice, the groundbreaking indie Chan is Missing, the all-time masterwork Au hasard Balthazar, and a Netflix doc about Eddie Murphy. In “Celebrity Deaths”, an unforgettable and prolific character actor and one of the greatest playwrights of all time get remembered.

This week’s episode picks up where last week’s show left off with a deep dive into Charles Laughton’s 1955 masterpiece The Night of the Hunter the ending to which Dean greatly misunderstood. In fact, a special guest stops by to help explain the ending and to discuss the film through the prisms of expressionism, surrealism and absurdism. Then, Dean, Phil, and (frequent collaborator) Jon Lawlor discuss several filmmaking and film distribution and film marketing topics pertaining to Paul Thomas Anderson’s One Battle After Another. In 1964, the United Nations produced four movies for television. One of them featured an all-star cast and a script by Rod Serling. Carol for Another Christmas gets discussed. Finally, the recent conversation the gents had about Carl Theodore Dreyer’s The Passion of Joan of Arc inspired a thoughtful email from a loyal listener.