Diana DiMuro and Mike Burdge discuss the latest project from writer/director Mike Flanagan: Netflix's The Midnight Club . Topics of discussion include the fresh cast, returning FlanaVerse favorites, the nature of death and hope and the director's collaborative nature in both the writing room and on the set. Listen on....

WARNING: Contains spoilers for Dual (2022). In an opening sequence that can only be described as Friday Night Lights meets The Hunger Games, a man (played by Theo James) fights for his life while fans cheer from the sidelines of what looks like a high school football stadium. Cameras are filming as he runs toward his opponent who has already shot him with a crossbow. He manages to stab his opponent to death and the duel is over. When we finally see the bloodied face of his opponent, we realize he looks exactly the same as the man we were just watching. As the winner is congratulated, the announcer asks, “Remind me again, are you the original or the double?” “The double,” he replies. Sarah (Karen Gillan) spends her nights alone. She orders Mexican takeout, dodges phone calls from her mom, and lies to her boyfriend Peter (played by Beulah Koale), who is somewhere overseas for work, about what she is really up to so she can drink whiskey and watch porn on her laptop in peace. This is her routine until she wakes up from a nightmare to find she has vomited blood all over her pillow. She goes to the doctor and pukes blood again while in the waiting room. The doctor tells her to rest and lay off alcohol for a few days while they run some tests. During that time, Peter seems to be dodging Sarah’s usual calls. When she finally speaks to him she learns that her doctor left him a voicemail (as her medical proxy) when she was unavailable. She’s dying and he didn’t know how to tell her. The humor of Riley Stearns’ writing shines through his awkward, stilted dialogue. As Sarah, Gillan speaks like a deadpan version of one of her more well-known characters: Guardian of the Galaxy’s Nebula. She robotically rattles off what she seems to think others want to hear or what makes her sound more normal. Her doctor tells her she is “most certainly going to die” (although there is a 2% margin of error). She delivers terrible news to her patient while trying to use ridiculous sports metaphors to comfort her. Stearns’ dialogue is often immensely ridiculous, yet delivered with a completely straight face by his cast. Sarah is told she should decide on her funeral arrangements and that she can have herself cloned so that her loved ones won’t have to go on without her. The fairly common but expensive procedure is known as “replacement.” Sarah is an only child so she decides to go for it and an hour later her “double” appears (also played by Gillan). Sarah’s double goes home with her so that she can learn all about her before essentially taking over her life upon Sarah’s death. The only way we are truly able to tell them apart is that the double accidentally received blue eyes vs. Sarah’s brown eyes. But as she spends more time with Sarah and asks her questions about her likes and dislikes, we realize that Sarah’s double seems to have her own plans; rather than trying to become a carbon copy of Sarah, she wants to become “better.” After 10 months, Sarah is still alive and so is her double. They're both living with her boyfriend Peter while Sarah watches, becoming more and more withdrawn on the sidelines of her life. It’s like her double is Single White Female only she is Sarah’s literal clone. Peter starts to prefer Sarah 2.0 who seems happier and eager to please him by liking all of the things that the original Sarah dislikes. Sarah’s double asks her if there are any updates on how soon she will die as she and Peter get ready to go out for a romantic dinner together and leave Sarah at home. When Sarah goes for a checkup she learns that she is no longer dying. Her doctor, who so confidently told her months ago that she was most certainly going to die now reminds her of that 2% margin of error. Because she is going to live, Sarah is able to return her double to be “decommissioned.” However, when she returns home she finds that her mother and Peter are there with her double. Her double has been pretending to be her for months while forming a relationship with her mother. Sarah did not want her mom to worry so she avoided her calls, while simultaneously, an eager double began gaining her mother’s affection. When Sarah tells them she has gone into remission and plans to decommission her double, Peter breaks up with her on the spot and locks her out of their house. Her mom even closes the blinds in Sarah’s face, sealing the decision. Sarah is on her own to figure this out. I love the completely ludicrous yet believable delivery of anger when Sarah learns she is well and her double has taken over her life. People so often compare themselves to others in good and bad ways. Stearns’ story proves that you are often your own worst enemy. Rather than be decommissioned, Sarah’s double decides to “file a motion to stay” alive with a lawyer. A duel to the death (like the one we watched in the film’s opening sequence) will take place in one year’s time to decide which Sarah gets to remain. Sarah, in the interim, must continue to make payments for the expensive procedure to create her double, as well as a sort of alimony to her for the cost of living while they are both still alive. Sarah’s lawyer recommends she attend personal combat training in preparation for their duel to ensure her success. Enter Aaron Paul. As her trainer Trent, Aaron Paul is soft-spoken and intense. Trent is less anxious than Breaking Bad’s Jesse Pinkman and less downtrodden than his character Caleb in Westworld . If you’ve seen Stearns’ 2019 film, The Art of Self-Defense , Trent has some of the same calm wisdom as Alessandro Nivola’s sensei, with a bit more patience and understanding thrown in for Sarah’s student. When Trent asks Sarah, “Do you want to live?” we are not so confident in her answer of yes. She is in terrible shape. She eats poorly and drinks too much alcohol. She seems depressed and unhappy with Peter despite saying that she loves him. Trent assures her that the first step to her success is to strengthen her body, then her mind. He puts her through a series of calisthenics and encourages her to find a method of exercise on her own. He sends her home with horror movies to watch to get her used to seeing blood and violence. When the duel actually happens, Sarah and her double will each have ten seconds to choose from one of the five weapons offered. Trent tells Sarah that a “properly trained human body is also a weapon.” Between training with Trent, taking a hip-hop dance class to stay active, and paying support for her double, Sarah is tight on money. Trent suggests perhaps they can “come to a mutually beneficial agreement” if needed. (Gulp.) He sets up a “field trip” for her to a morgue to watch an autopsy be done on a woman who looks a lot like Sarah. Whenever things become particularly intense for Sarah emotionally, the film’s score blasts loud industrial-sounding electronic music, almost like whenever Sebastian Stan enters the scene in Captain America: Winter Soldier. When the duel is postponed for another month Sarah must accept Trent’s offer of “alternate payment” to keep up with combat training. Much to my pleasant surprise, rather than sexual favors, she gives Trent hip-hop dance lessons. Sarah is ready. She has comically mimed fighting sequences with Trent, covering all of the options of weapon choices she and her double could choose. She has practically aced test after test of various methods of killing that could potentially be chosen as options for their duel. The most moving scene is when Sarah catches her double spying on her during a training session and chases her down. When they finally speak, her double reveals that Sarah’s life isn't quite what she hoped for. She describes her petty fights with Peter and her constant interactions with Sarah’s mother and how tedious they can be. She accepts blame for trying to “steal” Sarah’s life. At that moment, Sarah realizes that she has moved on and is making a new life for herself. At her request, Sarah and her double attend a “Duel Survivors Support Group.” Hearing the survivors speak about the loss of their other, along with her double’s own confession of guilt for her actions leads Sarah to ask: why do they have to fight to the death? Why can’t they both live? The next morning, Sarah picks up her double (who hasn’t learned how to drive) and they set off into the woods to cross the border and avoid the duel. When Sarah trips, her double instinctively reaches out and grabs her hand to steady her. We start to believe that maybe they can both live, but as Sarah rambles on about what might happen once they don’t show up for the duel, her double looks more and more troubled. At that moment, Sarah realizes her water bottle has been poisoned by her double. Poison, the weapon Trent suggested was the most unlikely to be chosen for the duel, is still an option out here in the woods. We don’t see Sarah die. But we watch her double appear at the duel, limping out of the woods, claiming to be the “original Sarah.” Saying that her double must have fled, “Sarah” is investigated by authorities and goes to court. Peter and her mother both testify that she is the “original Sarah.” In the film’s final sequence, we watch a limping “Sarah” get into a very banged-up car to drive herself to work. She ignores a call from her mother who leaves a voicemail stating that she has ordered more brown-colored contact lenses for her and that she loves her. “Sarah” starts to whimper and cry, driving in the wrong direction in a traffic circle. The scene is reminiscent of an earlier one where the original Sarah held back tears and screamed in the car after learning she was no longer going to die and her double had stolen her life. When all is said and done, Sarah’s double is just as unhappy and unfulfilled with her life as the original Sarah. Stearns’ film makes us look at humanity and our “sense of self” in a whole new light. Diana DiMuro Associate Editor Besides watching TV and movies, Diana likes plants, the great outdoors, drawing and reading comics, and just generally rocking out. She has a BA in English Literature and is an art school dropout. You can follow her on Instagram @dldimuro and Twitter @DianaDiMuro

Story Screen Reports is our team REACTING to the top 5 film, television and entertainment news stories of the month. Join us as we dissect and comb through everything from upcoming releases to studio drama. On this episode, Tim Irwin guests to discuss the recent hiring of some new gun(n)s over in the DCEUHQ, as well as a few other stories. You can find those stories, and the sourced articles, linked below. 1. The Next Star Wars Film Terrifies Lucasfilm Written by Matthew Belloni at Puck https://puck.news/the-next-star-wars-movie-terrifies-lucasfilm/ Also: Devotion filmmaker J.D. Dillard no longer developing Star Wars film Shawn Levy in talks to Direct Star Wars film 2. James Gunn and Petter Safran's 10 Year Plan Written by Aaron Couch at The Hollywood Reporter https://www.hollywoodreporter.com/movies/movie-news/dc-movies-james-gunn-peter-safran-1235259792/ 3. Henry Selick Wants More Credit for The Nightmare Before Christmas Interview by Todd Gilchrist at The AV Club https://www.avclub.com/henry-selick-nightmare-christmas-wendell-wild-burton-1849712802 4. Lionsgate Wants To Make A John Wick Video Game Written by Brian Welk at Indie Wire https://www.indiewire.com/2022/11/john-wick-video-game-lionsgate-1234779107/ 5. Avatar 4 & 5 May Be Cancelled If The Way Of Water Flops Written by Cameron Frew at Dextero https://www.dexerto.com/tv-movies/avatar-4-5-may-be-canceled-if-way-of-water-flops-james-cameron-warns-1978100/ Listen on....

Robby Anderson and Mike Burdge sit down for the big chat on the latest Marvel chapter, and more importantly the latest Ryan Coogler flick, Black Panther: Wakanda Forever . Along the way, they discuss the massively insane difficulties this film faced, what this whole story means for the MCU moving into Phase 5, how much they both want to sleep with Namor and, you guessed it, they talk about THAT ending. Listen on....

Fans of animation have always been lucky to count on studios such as Laika, Cartoon Saloon, and Studio Ghibli to provide alternative animated films. But with the advent of recent success stories like 2018’s Spider-Man: Into the Spider-Verse , major studios are now beginning to feel more comfortable in taking the risks that can take an otherwise serviceable film to the next level. The Bad Guys strives to deliver on that promise. As an adult watching a film intended for children, it can sometimes be difficult to separate critical thinking from mere enjoyment, but if the film is doing what it should (trappings of the children’s film genre, be damned), constructive criticism should be the furthest from one’s mind. In the case of The Bad Guys , the creative highs are staggeringly high, making the trappings of those childish restrictions that much more disappointing. Loosely based on Australian Aaron Blabey’s children’s book series of the same name, The Bad Guys follows the story of a gang of classically feared antagonists (Mr. Wolf, Mr. Snake, Ms. Tarantula, Mr. Shark, and Mr. Piranha) as they attempt to “break good” (or at least fake it) in order to avoid jail time for their most recent heist-gone-wrong. It’s a story that extols basic childhood lessons such as “don’t judge a book by its cover,” “people are capable of change if given the chance,” and “no man left behind.” But the bulk of the story follows Sam Rockwell’s Mr. Wolf as he begins to learn how it feels to be told that he’s good, despite being the Big Bad Wolf. The story opens with an impressive and record-holding long-shot (lasting 2 minutes, 25 seconds, and seven frames, Dreamworks Animation’s longest), dropping you immediately into a conversation between Wolf and Snake (Marc Maron firing on all cylinders) at a diner as they celebrate Snake’s birthday. You see Wolf and Snake in frame, finishing their meal, and as they get up to leave, the “camera” pans around the diner to reveal the rest of the diners (humans) frightened for their lives, and then we follow our two protagonists outside as they walk across the street to the bank they’re about to rob. A classic heist scene ensues where we’re introduced to the rest of the crew, Tarantula (or “Webs”), Shark, and Piranha (Awkwafina, Craig Robinson, and Anthony Ramos, respectively). It’s a great start to any film, let alone an animated one. The stakes are high, the animation is interesting, and the adults watching can understand the heist sendup the film is nailing, while children viewers can bypass that understanding and still have a great time. The opening scene of The Bad Guys is exactly what you want in an animated film, and it also happens to carry the same energy promised by its first trailer. What follows, unfortunately, muddies the waters. Animation, typically, has an advantage that sometimes conventional films have a difficult time accessing, in that it can openly design its own rules. At this point in time, in a world hardly untouched by Disney, most living people can easily associate animation with talking animals. But then there are the subsections of animated films with both talking humans and talking animals that interact, talking humans and talking animals that don’t interact or can’t speak with each other, and talking animals in a fully animalia world. The rules get a little blurred, however, when you have a film where animals are given anthropomorphic characteristics where they do speak and interact with the humans, but then there is a subspecies of animals that are only that, animals. The Bad Guys , obviously, falls into this category. Aside from our main five heist crew, there are two other anthropomorphic animals, Diane Foxington (Zazie Beetz) as the state governor and Professor Marmalade (Richard Ayoade) as a guinea pig who is up for receiving a do-gooder award at a philanthropic event. The rest of the film, however, is inhabited by humans and animal-animals. This was a conscious choice made by Blabey and the filmmakers, as Blabey wanted the reaction shots in the film to read as obvious as possible, fearing that if there were other anthropomorphic animals in the background, both adult and child minds would be first acknowledging the presence of the other animals before focussing on the pure reactions of the crowd. That explanation is understandable, but it leads to further confusion when, mid-movie, the gang is set on a task of do-gooding to prove their goodness which entails emancipating a large group of guinea pigs from an animal testing facility within the very same city that is about to award Professor Marmalade a prestigious award. Why does one guinea pig deserve an award while the rest are allowed to suffer? And why, out of all the possible animals, are there only guinea pigs and one lone cat? For a premise hinging on the audience’s ability to empathize with the gang as being misjudged because of their species, it’s difficult to understand how this particular society came to fear these creatures in a vacuum. Without the presence of other snakes or sharks, the film relies on our outside knowledge, as an audience, of our own experiences with tales of Red Riding Hood , the Bible, and even Jaws to frame the inhabitants of The Bad Guys' perspectives of their fellow citizens. The Bad Guys , one must assume, is not trying to get hung up in the semantics of the how of it all but rather why it’s wrong that the humans have never given the gang a chance, and why it’s wrong that the gang has used that as an excuse to lean into a world of crime, which they all acknowledge as bad. (They call themselves the Bad Guys, after all.) But, in this world, it’s all this gang has ever known, and they have never felt what it feels like to be accepted, loved, or told they’re capable of anything else. (Although, there is this moment where Snake laments about nobody ever showing up for his birthday parties when he was young, which begs the question: Snake must have had parents then, right? And they loved him enough to throw him birthday parties, right? So, wouldn’t that mean…oh, right. The Bad Guys isn’t about that.) Ultimately, the gang does rectify their lives’ devotion to being bad and do come over to the good side, but that is done more so through performative goodness rather than innate goodness. There are a few instances where Wolf chooses to help someone with seemingly nothing in it for himself, but it’s difficult to tell what the idea of being good is in the greater context of The Bad Guys ’ story. For the most part, the characters only seem to understand the benefits of being good when they are praised for being good. Under the rules of the film’s agreement (the gang will avoid jail time if they can prove they’ve changed their ways), the gang is judged under the court of public opinion, whether that be through social media engagement or attending a gala where the public receives them with cheering and open arms. It’s through this level of acceptance that the lesser-explored gang members (Tarantula, Shark, and Piranha) start to feel that maybe being good isn’t so bad. Arguably, the only truly good character is Diane Foxington, as she is someone who changed her ways for the sake of herself and chose to become the governor because she wanted to change herself and make a difference, but all of the other motives aren’t as clear as a children’s film should profess. Wolf seemingly goes good mostly out of the goodness of his heart, but he’s also trying to woo Diane. Snake goes good because he’s afraid he’ll lose his best friend if he doesn’t. They all claim to feel “the tingle” (that feeling of self-satisfaction of completing a good task), but the performative aspect of the good deeds shouldn’t be ignored. But I guess we’ve all gotta start somewhere. Viewed through the lens of a fun heist caper with an excellent voice cast that pokes fun at, while also honoring, all the films in the genre that have come before, The Bad Guys really works. It looks great, it generally gets its point across, and it’s fun to watch. But sadly, it doesn’t quite stick the landing as well as you’d think a well-oiled team like The Bad Guys should. It falls into the recent trappings of children’s films where it’s not a musical, but the characters feel the need to dance and break into modern song (a la the end of Megamind or, the most egregious of offenders, the “I Like To Move It” segment in Madagascar: Escape 2 Africa ), which always tends to feel out of place and seemingly intended to hook a child for repeat viewings, or even worse, for merchandising opportunities. There are also a lot of fart jokes (not the biggest gripe, but they do seem like low-hanging fruit). But besides a very active gut biome, The Bad Guys also has a lot of heart. The friendship story between Wolf and Snake is absolutely worth rooting for, and it’s fun to follow the gang as they move from heist to heist. If the film were to garner a sequel (it only covers the first four books in the series, which now has 16 installments), it would be interesting to see these characters and story evolve and move past the trappings that keep it from a perfect score. With the assembly of the perfect team, it’s definitely within reach. Bernadette Gorman-White Managing Editor Bernadette graduated from DePauw University in 2011 with a Film Studies degree she’s not currently using. She constantly consumes television, film, and all things pop culture and will never be full. She doesn’t tweet much, but give her a follow @BeaGorman and see if that changes.

On the latest episode of Hot Takes , Bernadette Gorman-White and Robby Anderson chat about Martin McDonagh's latest film, The Banshees of Inisherin , as well as his filmography in general. Along the way, they also discuss going through friendship break-ups, whether or not the film's story exists in our physical world or if it might lend itself to mysticism (and whether that even matters), and they get down to brass tacks: are you Team Colm or Team Pádraic? Listen on....

In this first episode of our new monthly series, Freakin' Out with Flanagan , co-hosts Diana DiMuro and Mike Burdge take a look at two of Mike Flanagan's earlier works which clearly lay the foundation for the types of stories and scares the director would be become so iconic for: Oculus and Oujia: Origin of Evil . Listen on....

I recently watched two films on Netflix concerning “friendships at odds,” the first, was Paul Feig’s adaptation of the YA book, The School for Good and Evil. I was excited by the allure of Charlize Theron as the leader of the “School for Evil,” but alas, the film proved to be pretty lackluster. The second movie I watched was Jennifer Kaytin Robinson’s Do Revenge, which proved to be much more entertaining. Do Revenge is a vengeance-driven friendship comedy starring Camila Mendes and Maya Hawke that owes as much of its DNA to the story “Strangers On A Train,” by Patricia Highsmith, as it does to several films of the eighties and nineties of similar ilk: Heathers, Clueless, Cruel Intentions, Jawbreaker and Mean Girls. The film revolves around Drea Torres, played by Mendes, and the aftermath of her sending her boyfriend a private nude video. Said video is circulated around her elite private school, Rosehill Country Day, and Drea loses her temper, punches her boyfriend, and becomes a social pariah. The film, however, is less 13 Reasons Why and more Dangerous Liaisons as Drea plots her revenge against her former boyfriend and friend group. In the process, she bonds with an unlikely ally, new student Eleanor (Hawke), who is also looking to exact revenge on a past flame who did her wrong. The two students decide to join forces to “do revenge” on each other’s targets and thus avoid blame. What makes Do Revenge so fun is its biting dialogue (frequently between Mendes and Hawke), along with its strong character performances. While the characters are often very mean to each other, they are also extremely self-aware which makes for a conundrum: do we feel any empathy towards any of them? Part of the reason why we might actually feel something is due to the cast’s strong performances. Here are a few of the star performers of Do Revenge that I feel make the film worth watching. (I’ll try to keep this list mainly spoiler-free): Camila Mendes Frankly, casting Camila Mendes as the film’s main character is the main reason I wanted to watch this film in the first place. Mendes started out strong as Veronica on the CW’s Riverdale , but I found her to have less and less to do as the series progressed. I think she has a lot of charisma and potential to move from TV to a film career and I hope Do Revenge is only the beginning of that transition. As Drea, Mendes is our stand-in for Molly Ringwald in Pretty in Pink, with a touch of Cher Horowitz from Clueless thrown in for good measure. Drea studies hard, hoping to be accepted at Yale, and lives in a small house while her mother works nights, all the while, sewing her own stylish outfits from thrift store finds and leading her posse of friends at Rosehill with an iron fist. She’s sassy and funny but mainly, she’s feared. She and Max (Austin Abrams) are the power couple of the Rosehill popular crowd. Until they aren’t. Maya Hawke As Eleanor, Maya Hawke is the Veronica to Drea’s cadre of Heathers. Eleanor is endearing with a touch of “Glennergy” thrown in for good measure (watch the movie to understand). She’s up for the challenge of befriending Drea’s ex-cronies and infiltrating their group to take revenge on its leader Max. She takes Drea’s makeovers in stride, modeling some pretty ridiculous outfits along the way and never batting an eye as she wins over the Rosehill “it crowd.” The film’s costume (Alana Morshead) and production (Hillary Gurtler) design are exhilarating extremes that only add to the film’s enjoyment: bubble-gum pinks and pastel plaids make up the students’ uniforms as Eleanor rocks berets and bucket hats, making sassy comments and stealing hearts. Talia Ryder Talia Ryder plays Gabbi, the younger sister of our villain Max. She’s cool without trying too hard and is the first to welcome Eleanor long before any of her extreme makeovers. You may remember Ryder for her excellent performance in Never, Rarely, Sometimes, Always and if not, check out my review here . Rish Shah Hot off of his role as Kamran on Ms. Marvel, Rish Shah continues to be, well, hot. This time he plays Russ, with blue hair! He and Drea dabble in a bit of anger management art therapy a la Ten Things I Hate About You that I won’t expound on here. Check it out. Sophie Turner Sansa Stark is in the house, friends, and she be crazy. That’s all I’ll say here. Sarah Michelle Geller Buffy’s back as the Headmaster of Rosehill Country Day School who attempts to guide Drea through the darkness of being 17 to channel her anger for good. Some of my favorite lines in the film are exchanges between Drea and Eleanor as they describe their infatuation with the Headmaster. Austin Abrams Austin Abrams is cringe-worthy as skeevy Max, the popular class president and fo-feminist lothario of Rosehill. He founds the “Cis Hetero Men Championing Women Identifying Students League,” in an attempt to appear as an “ally” while simultaneously reminding his classmates of Drea’s infamous video. Max and his friends use their new school organization to cover up their misdeeds against several of the school’s female students, including Drea. Abrams does such a good job as someone who could pass as sensitive and caring, while secretly being a major turd. Oscar Winner Olivia Colman No, unfortunately, no cameos are made by the fabulous Ms. Colman, but there’s still one unforgettable character in the film with her namesake. Enjoy. So, while it's not perfect, Do Revenge is highly enjoyable with strong character performances and enough nods to some of the best teen films of the eighties and nineties that at the very least, it will make you nostalgic to watch one of those movies afterward. Maya Hawke and Camila Mendes are the best baddies one could ever wish for and I hope they will go on to star in more female-driven films in the future. Diana DiMuro Associate Editor Besides watching TV and movies, Diana likes plants, the great outdoors, drawing and reading comics, and just generally rocking out. She has a BA in English Literature and is an art school dropout. You can follow her on Instagram @dldimuro and Twitter @DianaDiMuro

Story Screen Reports is our team REACTING to the top 5 film, television and entertainment news stories of the month. Join us as we dissect and comb through everything from upcoming releases to studio drama. On this episode, Bernadette Gorman-White guests to discuss the long-awaited reveal of Chris Pratt's Mario voice, as well as a few other stories. You can find those stories, and their sourced articles, linked below. 1. WE REACT TO THE SUPER MARIO BROS MOVIE TRAILER The Super Mario Bros. Movie | Official Teaser Trailer 2. BLADE PRE-PRODUCTION TEMPORARILY SHUT DOWN Written by Borys Kit at The Hollywood Reporter https://www.hollywoodreporter.com/movies/movie-news/blade-movie-on-hold-as-marvel-1235238872/ & Written by Rebecca Rubin at Variety https://variety.com/2022/film/news/disney-delays-blade-deadpool-3-fantastic-four-marvel-movies-1235399511/ 3. DC’s FUTURE Written by Borys Kit at The Hollywood Reporter https://www.hollywoodreporter.com/movies/movie-news/dc-movies-james-gunn-pithces-dwayne-johnson-1235243030/ & DC FILM BOSS EXITS Written by Anthony D’Alessandro at Deadline https://deadline.com/2022/10/dc-films-boss-walter-hamada-warner-discovery-david-zaslav-1235149111/ 4. ALAN MOORE IS DONE WITH COMICS Interview by Sam Leith for The Guardian https://www.theguardian.com/books/2022/oct/07/watchmen-author-alan-moore-im-definitely-done-with-comics 5. AHMED BEST TEASES TELL ALL FILM https://twitter.com/ahmedbest/status/1579981771458113541?s=46&t=2WMh-6a3V_1FbEjs8CoCRw & https://www.instagram.com/p/CjqRXzFLRxE/?igshid=YTgzYjQ4ZTY%3D Listen on....

Bernadette Gorman-White and Robby Anderson take one last trip to Haddonfield with Halloween Ends , where they discuss the thematic through-line in David Gordon Green's trilogy, subverting audience expectations in trailers, the merits of doubling down on storytelling, and if there's room for a new Halloween after this ending. And get ready, folks, because people REALLY don't like this movie... but we do!! That's always fun! Listen on....

In this episode of Cathode Ray Cast , Bernadette Gorman-White and Diana DiMuro talk about FX's phenomenal 2 season run of Reservation Dogs , honing in on the show's balance between comedy and drama, the natural talent of its cast, and how awesome it is to have this level of representation backed by such a kick-ass show. Listen on, shit asses....

Robby Anderson and Diana DiMuro discuss the 2022 motion picture that is a movie, Don't Worry Darling , including the controversy around the movie, the fact that it isn't as bad as people are saying (but it isn't that good either) and their unshakable love for Florence Pugh. Listen on....