After a cold open wherein Phil sets the stage, the show gets started in mid-conversation as frequent contributor Jon Lawlor shares some of his thoughts about Aziz Ansari’s Good Fortune. The topic then turns to Paul Thomas Anderson’s 2002 film Punch-Drunk Love with particular emphasis paid to the way Anderson used music while shooting the film. This leads to Dean explaining the ways on-set music would be used in the silent film era, and how something called “click tracks” would be used in animation. In 2022 the great actor Stellan Skarsgard suffered a stroke and yet has been able to continue acting. The ways this has been achieved get discussed. The current heist picture The Mastermind from master filmmaker Kelly Reichardt is foremost in Phil’s thoughts, specifically why, despite universal critical praise, the film is being mostly hated by moviegoers, most of whom have seen it in multiplexes. Phil also shares with Dean and Jon the new set of questions he asks himself, and answers in writing, each night before bed.

This week’s epic, 80 minute long show begins with an hilarious update about Phil’s medical adventures before the return of “Live Event of the Week”, where classical music, Dean’s forthcoming live comedy show, and a sordid chapter of the Los Angeles Breakfast Club’s history get discussed. Then, the Chillpak Morgue is opened as character actress Sylvia Miles, heiress Gloria Vanderbilt and Jim Pike, lead singer of famed 60’s vocal group The Lettermen, are remembered in “Celebrity Deaths”. And speaking of “Lettermen”, David Letterman has returned to Netflix with season 2 of his series “My Next Guest …” Phil raves about an episode featuring Ellen DeGeneres, on that boasts a cameo by Clint Eastwood, which gets Phil thinking about Clint’s acting career. HIs films Where Eagles Dare and The Bridges of Madison County get discussed. And those are far from the only movies Dean and Phil discuss. They re-examine the classic Hong Kong actioner The Killer on its 30th anniversary. They also analyze the recent box office failures of several previously unassailable cinematic franchises and offer suggestions of what franchise producers and studios can learn from the success of the Marvel Cinematic Universe, as well as from the John Wick and James Bond series of films.