It’s Halloween season, so this week, Dean and Phil will get into the spooky spirit of things by celebrating “All of the Them Witches” – programming a dream film festival of witch-themed double-features! Of course, there is a ton of spooky, unsettling and downright terrifying show biz news for them to cover as well, including the potential resolution of the IATSE conflict with the AMPTP prior to almost all film and television productions getting shut down, the messy publicity slaughterhouse that continues to ensue following Dave Chappelle’s “The Closer” and Netflix CEO Ted Sarandos’ response to it, and a little bit of “inside” info regarding Marvel’s Black Widow. All that, plus really good box office news and a pioneering animator, a chart-topping bassist, and a best-selling YA novelist get remembered in “Celebrity Deaths”.

It’s the penultimate episode of the Australian Era of YOUR Chillpak Hollywood Hour and your friends in podcasting are offering something for everyone on this particularly nourishing and personal installment. First Dean Haglund shares a bit about what he will miss about being “Down Under” and regales with descriptions of some of his favorite places in Australia. Then, Phil Leirness shares an email from a loyal listener like you (yes, YOU) about editing techniques, a continuation of a discussion about how editing affects actors’ performances that began on last week’s show. Somehow both fascism and democracy get discussed in the context of film editing! From there, Phil celebrates the 25th Anniversary of “The X-Files” by asking Dean about his favorite episodes and who his favorite character is (other than “Langley”, of course). Dean’s answers might just delight you! Then, Dean and Phil weigh in on how the show’s influence is still being felt on television today in shows as disparate as Vince Gilligan’s “Better Call Saul” and NBC’s sitcom “The Good Place”. The final “Lawsuit of the Week” of the intercontinental era is a re-visitation of Shari Redstone’s efforts to re-merge CBS with Paramount and what the failure to do so means for the companies and for their flagship franchise, “Star Trek”. The show concludes with a fascinating discussion of prolific television writer, producer and show-runner Gregory Berlanti’s hit feature film Love, Simon. The film’s themes are celebrated, and what the film’s style says about the state of, and future of, big-screen storytelling is questioned.