Afleveringen
-
Did you know people HATE Alejandro González Iñárritu's films, walked out of Amores Perros during its Premiere, and stopped being friends with Cole because of it? And on that note: we dig into why a movie this technically towering is so hard to actually love.
EPISODE SUMMARYAmores Perros (2000), starring Gael García Bernal and directed by Alejandro González Iñárritu, is Cole's birthday pick this season on The Arc (thearc.fm), and it does not go the way birthday picks are supposed to go. The film is a landmark of Mexican cinema, told in three interlocking stories connected by a single car crash — but we spend most of the episode arguing about whether its dog-as-metaphor structure is a stroke of genius or almost embarrassingly literal. Robby gets attached to the wrong story and never recovers, Jaclynn spends two years thinking the title meant "I Love Dogs," and Cole realizes live, on mic, that the film is basically about his parents.
WHERE TO WATCHStreaming availability as of 2026-07-08 (GOOD LUCK//SORRY)
Apple TV (rent or buy)Amazon Prime Video (rent or buy)Fandango at Home (rent or buy)Tubi (free streaming)
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryAmores Perros is Alejandro González Iñárritu's 2000 debut, three interlocking Mexico City stories bolted together by a single car crash — a dog-fighting kid trying to run away with his brother's wife, a supermodel whose lapdog vanishes under the floorboards of her new apartment, and El Chivo, an ex-guerrilla turned assassin with a pack of strays and a daughter he abandoned. It's the film that put Iñárritu, screenwriter Guillermo Arriaga, and cinematographer Rodrigo Prieto on the map, and, as Cole puts it, nearly every "raw, visceral, authentic" film made since has been speaking its language whether it knows it or not. You cannot legally stream or even buy it in the United States, which is how Cole ended up getting a library card specifically to check out a DVD, and how one very kind librarian stopped talking to him the moment she saw what he'd put on hold.
This is a birthday-film episode — each of us picks an all-time favorite to revisit, and this one is Cole's, which turns out to be the whole show. Robby found it electric and beautifully shot and was fully in until the story handed off to the second couple, at which point he got genuinely angry, a reaction he almost never has to movies. Jaclynn, who spent two years believing the title meant "I Love Dogs" because she's half Mexican and coasting on overconfidence, was out at the DVD menu and had to switch off her empathy to get through the dog violence at all. And then, somewhere in the third act — the dead father breaking into his daughter's apartment to frame a photo of himself over her bed, the assassin's whole arc — it stops being a movie about a movie and becomes Cole visibly split open, recognizing his own parents in the supermodel and the man who ruined himself caring for her. Watching a friend realize in real time that his favorite film is a diagnosis is not comfortable, and we don't pretend it is.
What we actually argue about is whether the dog-as-metaphor is too on the nose (each animal an externalized organ of its owner's suffering), whether it's just a less pop-culture-poisoned Pulp Fiction or something genuinely its own, and why nearly every shot sits at a strange, low, claustrophobic angle — Jaclynn's theory being that we're often at dog height, Cole's being that a frame taken from the eyeline of an average-height man has added nothing to anything, ever. There's a clip of Iñárritu himself in here talking about the banned bleach-bypass process that gave the film its milky, over-contrasted blue, and a running, affectionate grudge about how Cole's own best camerawork is quietly haunted by this movie's final shot. It ends where it began: Jaclynn asking Cole if he's okay. He isn't, and he'd like a good cry and a full night's sleep. We'd recommend the film, and we'd recommend not watching it alone.
WHAT WE DISCUSS02:12 — Who Brought Amores Perros, and How Do You Describe Amores Perros?
We describe Amores Perros as a maximalist film that mirrors its director's personality, then joke about our shared "killjoy" horoscope sign before comparing how graphically each of our two birthday-film picks handles a dog's death — Robby's film only implies it happens offscreen while Cole's shows the animal's visible suffering in bloody, sound-designed detail — with Cole noting he can tell a long story about what he already knew about the film going in.
04:33 — Robby Actually Reviews The Film!
Robby explains that he watched Amores Perros for the first time because it's Cole's favorite movie, praises how watchable, energetic, and visually striking it is (especially its portrayal of Mexico City), admits the dog violence shocked him but argues it works as a meaningful metaphor for how the characters treat each other, and then Jaclynn teases Cole for being visibly moved before comparing the experience of rewatching a beloved film as an adult to realizing it exposes uncomfortable truths about the person who loves it.
08:46 — How Jaclynn Found Out The Film Showed Dog Fighting
Jaclynn tells a long personal story about how, based on a matching-hat gift from Cole and her mistaken belief that "Amores Perros" translates simply to "I Love Dogs," she spent two years thinking his favorite film was a sweet movie about dog ownership until a friend's horrified reaction clued her in that it actually involves extensive dogfighting and animal death, which leads the group into a discussion of why on-screen animal harm disturbs audiences more than human violence and how convincingly the film's dog-death scenes were faked.
23:19 — When Were You In or Out for Amores Perros?
Jaclynn explains she was "out" on Amores Perros before even watching it (after hearing about the animal deaths and half-jokingly citing writing "the DVD menu" in our shared notes doc as her breakout point), listing the elements she normally likes in a film that this one still didn't win her over with, while the others push back and single out the movie's closing shot as a standout, with one host arguing it visibly influenced Cole's own cinematography (comparing it to a shot he later used), which Cole first denies and then half-admits.
27:19 — Audiences Walked Out of the Film
We rib Cole for picking such an on-the-nose, stylistically maximalist favorite, then play a clip of Iñárritu describing how audiences actually walked out during screenings at Cannes and the New York Film Festival, before comparing our own entry points into his filmography (mostly starting with Birdman, which we disagree about) and debate whether Amores Perros is a weaker, more stylistically derivative cousin of Pulp Fiction.
29:06 — The Original Instagram Filter?
We (joined by a clip of director Alejandro González Iñárritu) discuss how the film's bleach-bypass color processing gave it a high-contrast, blue-tinted look we associate with early Instagram filters, then pivot into analyzing how tightly framed, claustrophobic shots (including ones apparently filmed from a dog's-eye perspective) reinforce the characters' trapped circumstances, before riffing into a personal tangent about hating photographs shot from generic average-adult-eye-level height.
41:03 — The Dogs Are a Metaphor.
We debate whether Amores Perros' dogs function as heavy-handed but effective metaphors for their owners' suffering (using the scorpion-and-frog fable to explain the "rehabilitated killer" dog), then Robby admits he lost investment when the film jumped between its three interlocking stories, while Jaclynn describes being annoyed by the film's self-conscious stylistic flourishes before deciding that "announcing itself" as a film can still be valid craft, and we praise the movie's gritty, lived-in production detail before Cole starts to argue, through tears he can't fully explain, that the film invented the modern raw, visceral style so many later films have chased.
58:06 — The Craziest Thing About The Story
We marvel incredulously at the film's Daniel storyline, arguing it makes no sense that a character would let a dog starve under his floorboards for days rather than immediately tearing them up to save it, one host suggests this is a deliberate Tell-Tale Heart-style literary allusion rather than a plot hole, and we then play a clip of Iñárritu explaining that the dog-under-the-floor detail was drawn from a real story a friend told him about an abandoned family whose floor had to be broken open after their dog died and started to smell.
CHAPTERS / TIMESTAMPS0:00 - Can a Movie Ruin a Friendship? (natural: 0:23)
2:12 - Who Brought Amores Perros, and How Do You Describe Amores...
-
This episode argues that Airplane isn't a joke machine bolted onto a plot but a plot that never once stops being played straight — the "clothing line" every single joke hangs from — and that's precisely why deadpan dramatic actors, not comedians, were the only people who could have made it work.
EPISODE SUMMARYIs Airplane! (1980) actually the funniest movie ever made — and does it hold up? In this episode, three hosts break down the disaster-parody classic joke by joke, arguing that its real genius isn't the gags (though by their count there's a new one every 20 seconds) but the fact that it plays a completely straight, lifted-from-a-real-drama plot dead serious underneath all of them. They also dig into which of its dated jokes still land and which ones don't. You don't need to have seen the film to follow along — though you'll probably want to watch it after.
WHERE TO WATCHStreaming availability as of 2026-07-04.
Paramount+ (subscription)MGM+ (subscription)Peacock (Premium tiers)Kanopy (free with library card)Tubi (free with ads)Pluto TV / fuboTV (free with ads)Rent or buy: Amazon Prime Video, Apple TV, Fandango at Home, Google PlayThis one's not hiding from you — it's on basically every platform, free tier, paid tier, and rental storefront simultaneously, which feels appropriate for a movie built on the philosophy of throwing every joke technique at the wall at once. If you don't already have a library card for Kanopy, honestly, that's the real crime here — free is free, Shirley.
CTANew episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
EDITORIAL OPENERAirplane! is the 1980 disaster-movie parody where a traumatized war pilot has to land a passenger jet after everyone in the cockpit gets food poisoning — and where, roughly every twenty seconds for eighty-eight minutes, someone tells a joke. It's the one with "Surely you can't be serious" / "I am serious, and don't call me Shirley." It's the one where the whole ridiculous machine works because the actors — Leslie Nielsen, Robert Stack, Lloyd Bridges, men who'd spent decades playing things dead straight — play it dead straight here too. The dramatic plot is real, and it never wobbles; the film just hangs joke after joke off it like a clothing line. Nearly every comedy that came after it, from Naked Gun to the Farrelly brothers to Family Guy, is standing on this movie's shoulders whether it knows it or not.
We watched it three in a room, laughing harder than usual, and did not fully agree about it — which turned out to be the point. Robby grew up quoting it off a friend's Betamax; it's a foundational text for him. Jaclynn thinks it's a genuine comedy masterclass and also didn't especially like it, because she wants a movie to take her somewhere darker than "here is a joke, here is another joke." Cole spent the entire episode confidently insisting it was a 1976 Mel Brooks film and a sequel to Blazing Saddles, which it is none of — a bit he committed to so thoroughly that when his own landlord (an MIT-and-Wharton-educated woman) correctly told him three guys from Wisconsin actually wrote it, he decided she must be wrong.
So somewhere between counting the jokes (a minimum of 264, we did the math), arguing about whether the film's uglier gags are punching at something or just punching, and Robby quoting himself quoting Seth Rogen on why comedy has to live a little outside of proper society, we ended up talking less about whether Airplane! is funny — it is — and more about what it actually takes to make something look this easy. Turns out it takes a lot, and turns out you can spend two hours finding that out and still keep looking at Dad for approval afterward.
WHAT WE DISCUSS04:47 — Robby Actually Reviews The Film!
Robby, Cole, and Jaclynn drift from talk about how Robby's friend and his tough Michigan girlfriend will react to the podcast into a long tangent about Jaclynn's road trip through Detroit and the Upper Peninsula, then troubleshoot mic/recording noise issues with jokes about head-mounted mic gear, before circling back to note that Robby (with his friend Sean) grew up watching and quoting this movie constantly.
13:34 — DID JACLYNN NOT LIKE AIRPLANE???
Cole, Robby, and Jaclynn get sidetracked joking about casting Allison Williams in a hypothetical remake before untangling a mixed-up back-and-forth over who's supposed to answer the question of what they knew going into Airplane, eventually landing on Robby's take that the film works because its jokes grow directly out of a genuinely earnest story (which is what influenced comedians like Seth MacFarlane and Adam McKay), while Jaclynn admits she thought she'd seen the movie before but realizes she'd only ever caught its most famous clips.
17:24 — Airplane! is a remake? A parody? No?!?!
Jaclynn and Cole compare Airplane!'s serious plot to a "clothing line" that jokes hang on, estimate the film has at least 250 jokes (maybe closer to 480), and Jaclynn recalls specific gags she already knew before seeing the movie—like the inflatable autopilot and "don't call me Shirley"—which leads her into a tangent about how the nun/boy reading joke reminded her of the Australian comedy show Danger 5.
19:36 — It's a Dramatic Movie!
Cole and Robby recommend other spoof comedies like Danger 5 and Inspector Ike as similar in style, then Jaclynn brings up how Airplane's influence shows up in later memes, describing the recurring gif of a woman being repeatedly slapped harder each year as a joke about escalating chaos.
23:30 — Kareem Abdul-Jabbar Also Makes Fun of Cole
Robby, Cole, and Jaclynn go back and forth on their differing reactions to Airplane, with Jaclynn admitting she prefers darker, more emotionally complex stories over pure comedy while Robby and Cole push back and needle each other about it, before the three debate whether the film's uncomfortable jokes—especially a running pedophilia gag and moments of misogyny and racial humor—work as self-aware satire or just haven't aged well.
34:29 — Problematic? Not Sooo Much
Cole tells a story about his highly educated landlord insisting Airplane was written by three people from her Wisconsin hometown, which Cole wrongly took as confirmation of his mistaken belief that it's a Mel Brooks movie, and Robby and Jaclynn tease him for not questioning his own error and for dismissing her correct expertise, while also comparing the film's influence to later comedies like Hot Shots and The Naked Gun.
43:11 — Dad Explains Post-Modernism Bit
The three hosts riff on a shared bit of dialogue with lots of overlapping repetition, then veer into a tangent about Alex Jones and InfoWars being bought by The Onion, before settling into a discussion of whether each of them stayed awake through Airplane and how they personally rate it as a comedy versus a drama with jokes layered on top.
53:17 — The Meanest Joke Ever?
Cole, Robby, and Jaclynn go back and forth on whether a joke in the film still lands today, joking about the characters' Jewish identity, and Jaclynn says her real complaint about the "Air Israel beard" joke isn't that it's offensive but that it was shot too cheaply to do the joke justice, a point Cole then repeats back word for word.
CHAPTERS / TIMESTAMPS0:00 - Can a Movie Ruin a Friendship? (natural: 0:23)
4:47 - Robby Actually Reviews The Film!
9:30 - FUNNIEST MOVIE EVER MADE
11:05 - WHAT JACLYNN KNEW GOING IN
13:34 - DID JACLYNN NOT LIKE AIRPLANE???
17:24 - Airplane! is a remake? A parody? No?!?!
19:36 - It's a Dramatic Movie!
20:46 - Unhinged Mel Brooks Bit
23:30 - Kareem Abdul-Jabbar Also Makes Fun of Cole
29:00 - Why Robby Loved The Film This Time Around
30:52 - When Was Cole In or Out?
34:29 - Problematic? Not Sooo Much
43:11 - Dad Explains Post-Modernism Bit
53:17 - The Meanest Joke Ever?
53:58 - Jaclynn Flies a Plane
CREATIVESDirectors (co-directed, also co-writers) — "ZAZ":
- David Zucker — also known for co-creating The Naked Gun franchise, and directing The Kentucky Fried Movie (1977), Ruthless People (1986), and BASEketball (1998).
- Jerry Zucker — went on to direct Ghost (1990) and First Knight (1995).
- Jim Abrahams — later co-created Top Secret! and the Naked Gun series with the Zuckers.
Screenwriters: Jim Abrahams, David Zucker, and Jerry Zucker, adapting Zero Hour! (1957), credited to Hall Bartlett and John C. Champion.
Producers:
- Jon Davison (Producer) — also RoboCop (1987), Starship Troopers (1997), The 6th Day (2000).
- Howard W. Koch (Executive...
-
Zijn er afleveringen die ontbreken?
-
THE ARC'S TAKE
This episode argues that Back to the Future's whole plot is smuggled into the audience's lap before Marty's face even appears onscreen, you get literally the whole film encapsulated in one shot.
EPISODE SUMMARYWe revisit Back to the Future (1985) — and discover, mid-recording, that half the room has never actually seen it. Robby comes in ready to argue it's "the most perfect movie ever made," while Jaclynn realizes she'd spent years confusing it with a Huey Lewis jukebox musical. It's a close, funny look at why the film's opening ten minutes might be the tightest piece of screenwriting in blockbuster history — no prior viewing (or memory of viewing) required.
WHERE TO WATCHStreaming availability as of 2026-07-04.
Sources conflict a bit on the exact home platform (some say Netflix, some Peacock, some neither), but rental/purchase options across Amazon, Apple TV, and others are consistently confirmed.
Where to watch:
- Rent or buy: Amazon Prime Video, Apple TV, Google Play, Fandango at Home, YouTube
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
EDITORIAL OPENERBack to the Future (1985) is the one where a kid named Marty McFly accidentally rides Doc Brown's plutonium-powered DeLorean back to 1955, nearly erases himself from existence by getting between his teenage parents, and has to engineer them into falling in love before he fades out of the family photo. It's the movie Carl Sagan reportedly called the most accurate depiction of theoretical time travel he'd ever seen, and its opening two minutes — clocks ticking before you see anything, a coffee pot that never fills, dog food piling up, a skateboard rolling past the missing plutonium — quietly contain the entire film before a single face appears on screen. We spend a good while on exactly that sequence, because once you notice the burnt toast toasting itself over and over, you can't un-notice it.
Here's the thing this episode is actually about, though. We committed to watching the trilogy out of order — you can't watch Part II without first watching the original, so obviously we started with the original — and somewhere in the first two hours Jaclynn realized she had never actually seen this movie. She was certain she had. She'd talked about it at parties. She thought she and Cole had seen it together on Broadway (that was The Heart of Rock and Roll; different Huey Lewis entirely). Robby, meanwhile, has this film memorized across formats and cable-TV reruns and arrives with a prepared list of controversial takes and unilateral decisions about which franchises you're allowed to watch out of order — which is how the episode opens with Jaclynn sarcastically welcoming everyone to "Robby's solo podcast on Back to the Future."
So this is less a review than three people watching a beloved classic more seriously than anyone has in years — Robby cataloging every format he's seen it on, Jaclynn coming out of what she describes as an amnesia coma, and Dad bringing a movie he then admits he's never technically watched, right before delivering the Carl Sagan–was-a-Cornell-scientist fact he was clearly saving. If you've never seen Back to the Future, you'll leave knowing why its clockwork screenplay still holds up. If you've seen it a hundred times on cable, you may want to double-check that you actually have.
CREATIVESRobert Zemeckis — Director — also: Back to the Future (1985), Forrest Gump (1994), Who Framed Roger Rabbit (1988)Robert Zemeckis — Screenwriter — also: Back to the Future (1985), Romancing the Stone (1984), 1941 (1979)Bob Gale — Screenwriter — also: Back to the Future (1985), Back to the Future Part II (1989), Back to the Future Part III (1990)Bob Gale — Producer — also: Back to the Future (1985)Neil Canton — Producer — also: Back to the Future (1985), Back to the Future Part II (1989), Back to the Future Part III (1990)Steven Spielberg — Executive Producer — also: Back to the Future (1985), Who Framed Roger Rabbit (1988), Jurassic Park (1993)Kathleen Kennedy — Executive Producer — also: Back to the Future (1985)Frank Marshall — Executive Producer — also: Back to the Future (1985)Dean Cundey — Cinematographer — also: Back to the Future (1985), Romancing the Stone (1984), Jurassic Park (1993)Alan Silvestri — Composer — also: Back to the Future (1985), Forrest Gump (1994), Who Framed Roger Rabbit (1988)
CASTMichael J. Fox — Marty McFly — also: Family Ties (1982), Back to the Future Part II (1989), Spin City (1996)Christopher Lloyd — Dr. Emmett "Doc" Brown — also: One Flew Over the Cuckoo's Nest (1975), Taxi (1978), Who Framed Roger Rabbit (1988)Lea Thompson — Lorraine Baines McFly — also: Red Dawn (1984), Howard the Duck (1986), Switched at Birth (2011)Crispin Glover — George McFly — also: Willard (2003), Charlie's Angels (2000), Alice in Wonderland (2010)Thomas F. Wilson — Biff Tannen — also: Back to the Future Part II (1989), Back to the Future Part III (1990), Freaks and Geeks (1999)Claudia Wells — Jennifer Parker — also: Back to the Future (1985)Marc McClure — Dave McFly — also: Superman (1978), Superman II (1980), Freaky Friday (1976)Wendie Jo Sperber — Linda McFly — also: Bosom Buddies (1980), Undercover Angel (1988)James Tolkan — Mr. Strickland — also: Top Gun (1986), WarGames (1983)George DiCenzo — Sam Baines — also: Murder, She Wrote (1984), Law & Order (1990), NYPD Blue (1993)Harry Waters Jr. — Marvin Berry — also: Back to the Future (1985)Billy Zane — Match — also: Titanic (1997), Dead Calm (1989)
AWARDSBack to the Future (1985) — Awards HistoryAcademy Awards (Oscars)
- Best Sound Effects Editing — WIN At the 1986 Academy Awards, Back to the Future received one award for Best Sound Effects Editing (Charles L. Campbell and Robert Rutledge).
- Best Original Screenplay — NOMINATION Best Original Screenplay (Gale and Zemeckis)
- Best Sound (Mixing) — NOMINATION Best Sound (Bill Varney, B. Tennyson Sebastian II, Robert Thirlwell, and William B. Kaplan)
- Best Original Song ("The Power of Love") — NOMINATION Best Original Song ("The Power of Love")
Golden Globe Awards (43rd, 1986)
- Best Motion Picture – Musical or Comedy — NOMINATION
- Best Actor in a Motion Picture – Musical or Comedy (Michael J. Fox) — NOMINATION
- Best Screenplay — NOMINATION
- Best Original Song ("The Power of Love") — NOMINATION
Back to the Future received four nominations at the 43rd Golden Globe Awards, for Best Motion Picture (Musical or Comedy), Best Actor in a Motion Picture (Musical or Comedy) (Fox), Best Original Song ("The Power of Love"), and Best Screenplay (Gale and Zemeckis).
BAFTA Awards (39th, 1986)
- Best Film — NOMINATION
- Best Original Screenplay — NOMINATION
- Best Editing — NOMINATION
- Best Production Design — NOMINATION
- Best Special Visual Effects — NOMINATION
At the 39th British Academy Film Awards, Back to the Future received five nominations, including Best Film, Best Original Screenplay (Gale and Zemeckis), Best Visual Effects (Pike and Ralston), Best Production Design (Paull), and Best Editing (Schmidt and Keramidas).
Writers Guild of America Awards
- Best Original Screenplay — NOMINATION Writers Guild Awards (WGA) - Movies from 1985 · nom. Best Original Screenplay (Robert Zemeckis, Bob Gale)
National Board of Review
- Top Ten Films — WIN/RECOGNITION NBR (National Board of Review) - Awards for 1985 · nom. Top Ten Films
Saturn Awards (13th, Academy of Science Fiction, Fantasy & Horror Films)
- Best Science Fiction Film — WIN
- Best Actor (Michael J. Fox) — WIN
- Best Special Effects — WIN
- Best Director (Robert Zemeckis) — NOMINATION
- Best Supporting Actress (Lea Thompson) — NOMINATION
At the 13th Saturn Awards, the film won three awards: Best Science Fiction Film, Best Actor (Fox), and Best Special Effects (Pike).
Hugo Award
- Best...
-
The real argument here is that the stage play and the TV show only look like the same story wearing two outfits, when they're actually two different animals entirely — one built to survive a guinea pig's murder in a way the other never could.
It's not quite "a very special episode," but something about this one feels much more personal, but also there is a Chekhov's Gun dance break so don't take it too seriously, please.
A filmed version of the Fleabag stage play was broadcast by the National Theatre UK and Amazon, but these days you have to search something like "Fleabag National Theatre Live (Phoebe Waller-Bridge 2019)" and read a little bit of very obvious Russian. For instance "Видео" means video.
EPISODE SUMMARYBefore it was a TV show, Fleabag was a one-woman play — and on this episode of The Arc, the hosts dig into why the two are actually different animals, not just different formats of the same story. That means a long, close look at the guinea pig's death, the bank manager framing device, and the character of Boo, plus the real backstory of how Phoebe Waller-Bridge and director Vicky Jones built the show from scratch. If you love Fleabag, or you've just always wondered what got cut for TV, this is the episode.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning to get to know the show and find your new favorite film to pretend you've watched.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
EDITORIAL OPENERFleabag exists in three forms, and this episode is about the friction between two of them: Phoebe Waller-Bridge's original one-woman stage play, where a woman sits in a chair and does not get up, and the BBC television series most people mean when they say the name. We spent this one on the stage show — the raw thing, the version where the guinea pig gets killed by human hands and the BBC would later say, no, that's not television. If you've only seen the show, you may not know Hillary the guinea pig ever died at all. Jaclynn, who watched the play three times from the second row (close enough, she'll tell you, to have reached out and touched Phoebe Waller-Bridge, and who chose those seats specifically to stare the performer down), forgets it happens every single time.
That forgetting turns out to be the whole argument. On stage there's no literal guinea pig — just Fleabag cradling a fistful of air until "the chattering stops, everything is quiet and she is safe" — so the killing stops being about a guinea pig almost immediately and becomes about grief nobody's processing, a friendship that's already dead, the last thing she loved. Cole makes the case that the guinea pig is a Chekhov's gun that has to go off, that in the play everything is dead and dead, and that on television, surrounded by a cafe wall of guinea pig photos, all you'd be left with is she killed an animal with her bare hands. The three of us don't fully agree — there's a running disagreement about whether Boo's death is a death or, as Cole puts it, "literary murder" — and the not-agreeing is the point.
Jaclynn found this whole thing by accident, going down a rabbit hole looking for a different show entirely, and watched season one hundreds of times through two bottles of Prosecco a night before she got sober in 2019 and finally saw the ending clearly; Robby, on record, spends a good stretch of this episode being deeply uncomfortable, which he insists is great. You don't need to have seen the play — you almost certainly haven't; it's the version that got mislabeled in 2013 as a show about porn's effect on modern women when it's really just a woman living her life, sometimes having sex, mostly grieving. Stay for the part where we forget how it ends, remember we went out afterward and got served ants, and then spend a full minute arguing about whether they were ants or Chipotle-marinated grasshoppers.
CREATIVESPhoebe Waller-Bridge — Screenwriter — also: Fleabag (2019), Killing Eve (2018), Crashing (2016)Phoebe Waller-Bridge — Producer — also: Fleabag (2019)Vicky Jones — Director — also: National Theatre Live: Fleabag (2019), Run (2020)Tony Grech-Smith — Director — also: National Theatre Live: Fleabag (2019)Megan Ellison — Producer — also: National Theatre Live: Fleabag (2019)Sue Naegle — Producer — also: National Theatre Live: Fleabag (2019)Dawn Davis — Producer — also: National Theatre Live: Fleabag (2019)Skye Optican — Producer — also: National Theatre Live: Fleabag (2019)Francesca Moody — Producer — also: National Theatre Live: Fleabag (2019)Kevin Emrick — Producer — also: National Theatre Live: Fleabag (2019)Isobel Waller-Bridge — Composer/Sound Designer — also: National Theatre Live: Fleabag (2019)
CASTPhoebe Waller-Bridge — Fleabag — also: Fleabag (2016), Killing Eve (2018), Solo: A Star Wars Story (2018)
AWARDSThis episode is specifically about the stage play ("Fleabag: The Original Play"), not the TV series — so I'll focus on the play's own awards history, separate from the TV show's Emmy/BAFTA/Golden Globe wins (which belong to the television adaptation, a different work).
Here is the awards history for Fleabag: The Original Play (the stage show):
Awards & Nominations — Fleabag: The Original PlayScotsman Fringe First Award — WIN (2013)The Stage Award for Best Solo Performer — WIN (2013)Off West End Theatre Award ("Offie") for Most Promising New Playwright — WIN (2013)Off West End Theatre Award ("Offie") for Best Female Performance — WIN (2013)Critics' Circle Award for Most Promising Playwright — WIN (2013)Susan Smith Blackburn Prize — NOMINATION (Special Commendation)Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre — NOMINATION (2014)Evening Standard Award for Most Promising New Playwright — NOMINATION (Finalist)Lucille Lortel Award for Outstanding Solo Show — WIN (2019, off-Broadway/New York run)Drama Desk Award for Outstanding Solo Performance — NOMINATION (2019)Drama League Award, Distinguished Performance Award — WIN (2019)Theatre World Award for Outstanding Broadway or Off-Broadway Debut Performance — WIN (2019)Laurence Olivier Award for Best Actress — NOMINATION (2020, for the West End revival at Wyndham's Theatre)The play won the Scotsman Fringe First Award, was given a special commendation for the Susan Smith Blackburn Prize, and was nominated for the Olivier Award for Outstanding Achievement in an Affiliate Theatre in 2014, plus Best Entertainment or Comedy Play and Best Actress nominations at the 2020 Oliviers, alongside wins for The Stage Best Solo Performer, an Offie for Most Promising New Playwright, an Offie for Best Female Performance, the Critics' Circle Award for Most Promising Playwright, and the Lucille Lortel Award for Outstanding Solo Show during its 2019 New York run. Waller-Bridge landed a Best Actress nomination for the 2020 Olivier Awards for the show's return to the West End, and the New York transfer also brought nominations/wins including the Drama Desk Award for Outstanding Solo Performance, the Drama League's Distinguished Performance Award, the Theatre World Award for Outstanding Broadway or Off-Broadway Debut Performance, and an Evening Standard Award nomination for Most Promising Playwright.
Note: the play itself was not eligible for and did not receive Academy Award, BAFTA Film, Golden Globe, WGA, or DGA recognition — those bodies honor film/TV, not stage plays. The numerous Emmy, Golden Globe, and BAFTA TV wins associated with "Fleabag" belong to the separate television adaptation, not this original stage production.
FUN FACTS / PRODUCTION TRIVIAthe Kickstarter origins, BBC's refusal of the guinea pig scene, and the Fringe First award/interview details.Here's a set of confirmed, specific production trivia items about Fleabag: The Original Play:
The BBC required the guinea pig to survive on TV — unlike the play, where Fleabag kills it. In the original stage version, Fleabag crushes her injured guinea pig Hilary to death by hand after "Tube Rodent" (called "Bus Rodent" in the TV version) kicks it, but when the BBC commissioned the series, one condition was that unlike the original stage play, the series couldn't kill off Hilary the guinea pig at the end, and Waller-Bridge admits this was probably a good call. [Source]The whole show began as a dare, not a planned project. Fleabag began as a dare: in 2012, Phoebe's friend the comedian Deborah Frances-White, now host of the Guilty Feminist podcast, was organising a stand-up night as part of the London Storytelling Festival, and challenged Phoebe to write a 10-minute piece. -
Our argument is that Freaky Friday has "so much plot, no story" — and that its real, unplanned achievement isn't the mother-daughter reckoning it announces but the sibling truce it never bothers to take credit for.
EPISODE SUMMARYOn The Arc, three hosts finally watch the original 1976 Freaky Friday — the Barbara Harris and Jodie Foster body-swap comedy that started it all — to complete a franchise arc they'd accidentally done backwards. They dig into Jodie Foster filming this the same year as Taxi Driver, Barbara Harris's Second City roots, and why the film has "so much plot, no story." If you've ever wondered whether a candy-colored Disney comedy from 1976 has anything to say about feminism, nostalgia, or driving with your eyes closed, this is the episode.
WHERE TO WATCHStreaming availability as of 2026-07-04.
1. Where to watch Freaky Friday (1976):
- Disney+ (streaming with subscription) — https://www.disneyplus.com/browse/entity-d2969b02-9276-4625-b718-1406382986b3
- Amazon Prime Video (rent or buy) — https://www.primevideo.com/detail/Freaky-Friday-1976/0OFN8X2HDOCSCFOU9UJRQ3XKFG
- Apple TV (rent or buy)
- Fandango at Home (rent or buy)
Confirmed via "Watch Freaky Friday with a subscription on Disney+, rent on Fandango at Home, or buy on Fandango at Home" and "Currently you are able to watch 'Freaky Friday' streaming on Disney Plus... It is also possible to buy 'Freaky Friday' on Amazon Video, Apple TV Store, Fandango At Home as download or rent it on Amazon Video, Apple TV Store, Fandango At Home online."
No surprises here — the original tucks in neatly on Disney+ right alongside its own sequels, which is honestly the least chaotic thing about this franchise's release history.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
EDITORIAL OPENERFreaky Friday (1976) is the Disney body-swap comedy where a mother and daughter — Barbara Harris and a very young Jodie Foster — wish, at the exact same moment, that they could switch places, and then do. It's the original: the movie that came before the Lindsay Lohan and Jamie Lee Curtis remake most people picture, before the musical, before Freakier Friday, based on a 1976 novel and, if you go looking, part of a much longer body-swap lineage that reaches back to a 1931 novel and an 1882 one before that. It's also the reason Jodie Foster wasn't Princess Leia — she was under contract to Disney to finish this and Candleshoe the same year she filmed Taxi Driver, which is either a delightful fun fact or the single most jarring double bill in her career, depending on how you feel about watching her play a luminous teenager and then refusing to believe it's the same actress.
We came to it out of order, on purpose — we'd already done the remakes and worked our way backward — and Jaclynn walked in ready to study it like an intellectual, hunting for depth of meaning and Freytag's Pyramid, before the movie gently informed her it was cotton candy that had told her exactly what it was up front. So this is the episode where we argue about whether a series of hijinks with no real arc counts as a story (Cole's verdict: one straight line, so much plot and no story), where Robby fell for the body doubles so completely he'll go to his grave insisting Barbara Harris did her own skateboarding, and where the whole thing detours — as these things do — through 1970s emergent feminism, a genuinely sharp "male chauvinist pig" monologue, the disquieting amount of the word "daddy," and a full accounting of why none of us will let Cole drive.
If you've never seen the film, none of that requires you to. If you have, we'd bet you've never watched it argued over by three improvisers who treat a Disney comedy with the same seriousness they'd bring to Lynch, land on the one genuinely tender thing it's actually doing — that the mother and daughter learn less about each other than about themselves — and then immediately ruin the moment. Jaclynn ironically loves it. Dad found the whole thing dumb and was, against his will, charmed anyway.
CREATIVESGary Nelson — Director — also: Freaky Friday (1976), The Black Hole (1979), Washington: Behind Closed Doors (1977)Mary Rodgers — Screenwriter — also: Freaky Friday (1976)Ron Miller — Producer — also: Freaky Friday (1976), The Black Hole (1979), Pete's Dragon (1977)Tom Leetch — Producer — also: Freaky Friday (1976), The Watcher in the Woods (1980), Snowball Express (1972)Charles F. Wheeler — Cinematographer — also: Freaky Friday (1976)Johnny Mandel — Composer — also: Freaky Friday (1976)
CASTJodie Foster and Patsy Kelly info needed.Barbara Harris — Ellen Andrews — also: Nashville (1975), Family Plot (1976), A Thousand Clowns (1965)Jodie Foster — Annabel Andrews — also: Taxi Driver (1976), The Silence of the Lambs (1991), Contact (1997)John Astin — Mr. Andrews — also: The Addams Family (1964), West Side Story (1961), The Frighteners (1996)Patsy Kelly — Mrs. Schmauss — also: Rosemary's Baby (1968), Pigskin Parade (1936), The North Avenue Irregulars (1979)Dick Van Patten — Mr. Joffert — also: Eight Is Enough (1977)
AWARDSAwards History — Freaky Friday (1976)### Golden Globe Awards (34th Golden Globe Awards, 1977)
- Best Actress in a Motion Picture – Musical or Comedy (Jodie Foster) — NOMINATION
- Best Actress in a Motion Picture – Musical or Comedy (Barbara Harris) — NOMINATION
- Best Original Song ("I'd Like to Be You for a Day") — NOMINATION
At the 34th Golden Globe Awards, it received three nominations: Best Actress – Comedy or Musical (for both Foster and Harris), and Best Original Song ("I'd Like to Be You for a Day").
### Academy Awards
The film received no nominations, though both Foster & Harris (and the Original Song "I'd Like to Be You for a Day") were nominated for Golden Globes, so it was relatively close to inclusion.
### Other Major Ceremonies (BAFTA, Writers Guild, Directors Guild, National Film Registry, major festivals)
No wins or nominations from these bodies turned up in the search results for this film.
Summary: Freaky Friday (1976)'s formal competitive awards recognition is limited essentially to its three Golden Globe nominations (two for Best Actress – Musical/Comedy, one for Best Original Song), with no wins and no Oscar or other major-ceremony recognition.
SOURCE MATERIALThe 1976 Freaky Friday film is based on Mary Rodgers' 1972 novel of the same name, with the screenplay also written by Rodgers herself, telling the story of 13-year-old Annabel Andrews and her mother, Ellen, who switch bodies for a single day following an argument, leading to a series of comedic mishaps as each navigates the other's responsibilities.
Source novel: Freaky Friday by Mary Rodgers – Wikipedia
Bookshop.org search: https://bookshop.org/beta-search?keywords=Freaky%20Friday
FUN FACTS / PRODUCTION TRIVIAJodie Foster was almost Princess Leia — but her Disney contract blocked it. Jodie Foster was offered the Princess Leia role in Star Wars: Episode IV around the time this movie was in development, when George Lucas wanted to make the character younger, but it was realized that Foster was still under contract to Disney. There may have been a way for Foster to get out of the contract, but her mother decided to honor it, so Foster completed the film as planned. [Source]Neither lead actress actually water-skied — the film's signature stunt was smoke and mirrors. Neither Barbara Harris nor Jodie Foster did any actual water skiing in the film; in both cases, these scenes were achieved with the use of professional water skiers in long shot on location, and cutaway shots of the actresses in front of a rear projection effect. However, Foster did play field hockey in the film herself. [Source])Foster shot this and Taxi Driver in the same year — a fact Disney's publicity conveniently ignored. She made Freaky Friday the same year that she made Taxi Driver, which the PR people at Buena Vista presumably did not mention. [Source]Debra Winger auditioned for the lead role that went to Foster. Debra Winger auditioned for the role of Annabel Andrews, which... -
THE ARC'S TAKE
This episode asks whether Marty Supreme is Spielberg's version of Uncut Gems — sumptuous instead of feral, but just as committed to a hero who never actually becomes one — and finds a genuinely tragic American Dream story hiding inside all that Safdie chaos.
EPISODE SUMMARYWe tackle (backhand?) Marty Supreme, the Safdie brothers' Timothée Chalamet-led ping-pong biopic, and argue about whether its narcissistic, self-destructive protagonist actually earns his Best Original Screenplay nomination. It's a chaotic, funny, occasionally uncomfortable conversation covering Jewish identity, the American Dream gone wrong, and why one host had to stop watching halfway through and sleep on it. If you like Uncut Gems, awards-season debates, or just want to hear three friends disagree about whether a guy deserves redemption for holding a crying baby, this one's for you.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Confirmed current streaming/rental/purchase options for Marty Supreme:
HBO Max (streaming with subscription)Amazon Prime Video (rent or buy)Apple TV (rent or buy)Fandango at Home (rent or buy)YouTube TV (streaming)The film's currently streaming on HBO Max Amazon Channel and YouTube TV, and can be bought or rented digitally on Apple TV Store, Fandango At Home, and Amazon Video.
For the podcast episode itself, worth noting: Marty Supreme currently sits at #40 on the JustWatch Daily Streaming Charts, having jumped 35 spots in a single day — a nice little coda for a movie whose entire thesis, per the hosts, is a guy clawing his way up a leaderboard against his own better judgment.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
A Long SummaryMarty Supreme is the Safdie brothers' — well, Josh Safdie's, this time flying without his brother — chaotic, two-and-a-half-hour period piece about a table tennis hustler played by Timothée Chalamet, a man who wants one thing (to compete, to win, to matter) and destroys nearly everything in his path chasing it. It's loosely based on a real person, shot in the claustrophobic, tight-close-up style of a 1970s car chase even though the sets are enormous and the budget was clearly unlimited, and it earned a Best Original Screenplay nomination — a category, we'd argue, this exact kind of movie was invented for. If you've seen Uncut Gems, you already know the feeling: the propulsive dread, the awful protagonist you find yourself rooting for anyway. If you haven't, one of us hadn't either, and it shows.
What we actually spent the episode on is the gap between admiring a screenplay and enjoying the experience of sitting through it. Cole came in on the filmmaking itself — what a movie chooses to point its camera at, why every nameless "bartender number two" deserves a name, and how a line like "I'm Hitler's worst nightmare" is worth building a whole script around. Robby, who loved Uncut Gems, kept circling the thing the movie withholds: no hero's journey, no growth, a man propelled through the universe rather than steering it, holding a crying baby at the end without a shred of evidence he's changed. And Jaclynn — who paused the film halfway through, went to bed, and gave herself a twelve-hour palate cleanser before finishing it — declared it "the most safty of all safties," a claim she cheerfully admits she has no standing to make, having never finished a single Safdie film. Somewhere in there we also worked out that the climactic match, held in India in real life, was relocated to Japan and stocked with a David Mamet cameo purely, obviously, to torment Jaclynn personally. The Safdies have done so much for her.
So it's an argument about whether a movie can be exceptionally well-made and still leave you glad the popcorn's gone. We land in three different places on that and don't pretend to reconcile them, and along the way we get into the film's Jewishness — two of us are Jewish, both non-practicing — the discomfort of rooting for a repulsive man, the dog that starts smelly in a hotel and ends up driving the entire plot, and the eternal question of what a little kid would say if you asked them for four words to build this scene around. (Dog. Blood. Bathtub. Ping pong.)
CREATIVESJosh Safdie — Director; Screenwriter — also: Uncut Gems (2019), Good Time (2017), The Pleasure of Being Robbed (2008)Ronald Bronstein — Screenwriter; Producer; Editor — also: Uncut Gems (2019), Good Time (2017), Daddy Longlegs (2009)Eli Bush — Producer — also: Uncut Gems (2019), Licorice Pizza (2021), The Souvenir (2019)Anthony Katagas — Producer — also: 12 Years a Slave (2013), Uncut Gems (2019), Ad Astra (2019)Timothée Chalamet — Producer — also: Marty Supreme (2025)Darius Khondji — Cinematographer — also: Uncut Gems (2019), Se7en (1995), Midnight in Paris (2011)Daniel Lopatin — Composer — also: Uncut Gems (2019), Good Time (2017), The Curse (2023)
CASTTimothée Chalamet — Marty Mauser — also: A Complete Unknown (2024), Dune (2021), Call Me by Your Name (2017)Gwyneth Paltrow — Kay Stone — also: Avengers: Endgame (2019), Shakespeare in Love (1998), Iron Man (2008)Odessa A'zion — Rachel Mizler — also: I Love L.A. (2025)Kevin O'Leary — Milton Rockwell — also: Shark Tank (2009)Tyler Okonma (Tyler, The Creator) — Wally — also: The Mindy Project (2015), Big Mouth (2017)Abel Ferrara — Ezra Mishkin — also: Bad Lieutenant (1992), King of New York (1990)Fran Drescher — Rebecca Mauser — also: The Nanny (1993), Saturday Night Fever (1977), This Is Spinal Tap (1984)David Mamet — Glenn Nordmann — also: Glengarry Glen Ross (1992), Beau Is Afraid (2023)Géza Röhrig — Béla Kletzki — also: Son of Saul (2015)Isaac Mizrahi — Merle — also: Sex and the City (1998), Gossip Girl (2007)Sandra Bernhard — JudyEmory Cohen — Ira MizlerKoto Kawaguchi — Koto EndoPenn Jillette — HoffPico Iyer — Ram SethiJohn Catsimatidis — Christopher Galanis
AWARDSThe film earned nine Oscar nominations for the 2026 awards, including best picture, and best actor for Timothee Chalamet. Josh Safdie is nominated for best director. Miyako Bellizzi of Marty Supreme earned the nomination for best costume design. Ronald Bronstein and Josh Safdie scored another nomination for best film editing. Additional nominations included Best Original Screenplay, Best Casting, Best Cinematography (Darius Khondji), and Best Production Design (Jack Fisk and Adam Willis). Despite this haul, the film was completely shut out, not winning a single one of its nine nominations at the 2026 Oscars.
Best Picture — NOMINATIONBest Director (Josh Safdie) — NOMINATIONBest Actor (Timothée Chalamet) — NOMINATIONBest Original Screenplay — NOMINATIONBest Film Editing — NOMINATIONBest Cinematography — NOMINATIONBest Production Design — NOMINATIONBest Costume Design — NOMINATIONBest Casting — NOMINATION
Golden Globe AwardsTimothée Chalamet won the first Golden Globe of his career for playing a hustling ping-pong phenom in the frenetic comedy "Marty Supreme." The film also received nominations for Best Motion Picture — Musical or Comedy and Best Screenplay.
Best Motion Picture, Musical or Comedy — NOMINATIONBest Actor, Musical or Comedy (Timothée Chalamet) — WINBest Screenplay — NOMINATION
BAFTA (British Academy Film Awards)Josh Safdie's ping-pong caper Marty Supreme earned 11 BAFTA nods. These included Best Film, Best Director, Best Original Screenplay, Best Leading Actor, and Best Supporting Actress for Odessa A'zion.
Best Film — NOMINATIONBest Director (Josh Safdie) — NOMINATIONBest Original Screenplay — NOMINATIONBest Leading Actor (Timothée Chalamet) — NOMINATIONBest Supporting Actress (Odessa A'zion) —... -
THE ARC'S TAKE
This episode's argument is that Project Hail Mary only pretends to be hard sci-fi about a dying sun — strip away the spaceships and it's La La Land with an alien, and our real case is that the film's quiet radical move isn't the science, it's refusing to make the alien the villain.
EPISODE SUMMARYWe watch Project Hail Mary — Ryan Gosling's big-budget adaptation of Andy Weir's bestselling novel (from The Martian screenwriter Drew Goddard and the directing team behind The Lego Movie and 21 Jump Street) — and argue that despite the dying sun and one-way space mission, it's really "La La Land in space": a small, character-driven love story wrapped in a huge movie. Expect a close read of the alien sidekick Rocky (voiced by Meryl Streep), a debate over whether Gosling was miscast against the book's nerdier protagonist, and a real appreciation for a sci-fi film that, for once, doesn't make its aliens the enemy. No prior podcast knowledge, book-reading, or even movie-liking required — just come for the argument.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Prime Video (streaming with subscription, as of July 3)MGM+ (streaming with subscription)Apple TV (rent or purchase)Fandango at Home (rent or purchase)The rollout here is a little bureaucratic for a movie about a guy racing to save the sun: Project Hail Mary premiered on Prime Video on July 3, a 105-day theatrical window, after hitting MGM+ first on June 18 as part of Amazon's traditional windows system moving from theaters to PVOD to the pay-one MGM+ window. So if you caught it on MGM+ two weeks ago, congrats on being an early adopter of "the obscure streaming service" — it's finally graduated to the app basically everyone already has.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
A Long SummaryProject Hail Mary is Amazon MGM's adaptation of Andy Weir's novel — the guy who wrote The Martian — directed by the Lego Movie and 21 Jump Street team, shot by Greg Fraser, and starring Ryan Gosling, who acquired the rights before the book was even published because he and Weir share an agent. The premise: the sun is dimming, another ice age is coming, and Earth's only hope is a middle-school science teacher who wakes up alone on a spaceship twelve light-years from home with amnesia and, eventually, a rock-shaped alien named Rocky for company. It's a thousand-page novel that occurs mostly inside one man's head, compressed into a sub-three-hour buddy comedy — and against the odds, it works. Weir has gone on record calling this and The Martian "very, very different" stories. Two men stuck in space. Okay, Andy.
We came at this one sideways: Jaclynn brought it to the arc because she'd just been on a first double date with Robby's group of "normal, cool Americans who like cool movies" — the couple picked the film, Jaclynn played it cool and did the one thing no podcaster has ever done, which is not immediately mention she has a podcast. The through-line of our conversation is the argument between reading the book first or going in blind — Robby says know nothing, let the surprises land; Cole says for this one know everything, because the movie is doing more than you'll catch cold; Jaclynn splits the difference by reading fifty pages and then quitting, which we all somehow agreed was correct. Along the way you get Cole sitting arms-crossed judging it like it's Casablanca until the moment he gives up and worships at its feet, the Meryl Streep cameo that cost a fortune and was worth every cent, the puppeteer from Into the Woods' cow who voices Rocky, and a genuinely good point about how rare it is for an American film to make aliens a friend instead of a stand-in for whoever we've decided to be afraid of that decade.
We also got into the parts of the book the film smooths over — the non-consensual coma, the relativity that breaks Rocky's brain, the fact that a man with no family is a very convenient hero to throw at a suicide mission — and whether any of us would've gone back to Earth or stayed. Jaclynn's bringing the seven-pound dog. Robby's a better husband than the rest of us combined. And Dad, for the record, would absolutely not come get you, because one time Jaclynn took three days to reply to a message he sent from the top of an Alaskan glacier — she was in Russia, the time difference was wild, and she couldn't stop listening to Childish Gambino. Some grudges follow you twelve light-years.
CREATIVESPhil Lord — Director; Producer — also: The Lego Movie (2014), 21 Jump Street (2012), Spider-Man: Across the Spider-Verse (2023)Christopher Miller — Director; Producer — also: The Lego Movie (2014), 22 Jump Street (2014), Spider-Man: Across the Spider-Verse (2023)Drew Goddard — Screenwriter — also: The Martian (2015)Ryan Gosling — Producer — also: La La Land (2016), Barbie (2023), Blade Runner 2049 (2017)Amy Pascal — Producer — also: Spider-Man: No Way Home (2021), Little Women (2019)Aditya Sood — Producer — also: The Martian (2015)Rachel O'Connor — Producer — also: 22 Jump Street (2014)Greig Fraser — Cinematographer — also: Dune (2021), The Batman (2022), Rogue One: A Star Wars Story (2016)Daniel Pemberton — Composer — also: Spider-Man: Into the Spider-Verse (2018), Spider-Man: Across the Spider-Verse (2023)
CASTRyan Gosling — Ryland Grace — also: Blade Runner 2049 (2017), La La Land (2016), Drive (2011)Sandra Hüller — Eva Stratt — also: Anatomy of a Fall (2023), The Zone of Interest (2023), Toni Erdmann (2016)James Ortiz — Rocky (voice/performer) — also: Into the Woods (2014)Milana Vayntrub — Olesya Ilyukhina — also: Project Hail Mary (2026)Ken Leung — Yao — also: Project Hail Mary (2026)Lionel Boyce — Carl — also: Project Hail Mary (2026)Priya Kansara — Mary — also: Project Hail Mary (2026)
SOURCE MATERIALThe film Project Hail Mary is based on a 2021 hard science fiction novel by American writer Andy Weir that centers on science teacher and former biologist Ryland Grace, who wakes up aboard a spacecraft, afflicted with amnesia. You can find the novel here: https://www.penguinrandomhouse.com/books/611060/project-hail-mary-by-andy-weir/
Bookshop.org search link: https://bookshop.org/beta-search?keywords=Project%20Hail%20Mary
FUN FACTS / PRODUCTION TRIVIAHere are five solid, confirmed production trivia items about Project Hail Mary:
1. The puppeteer voicing Rocky was never supposed to be the final voice.
Rocky was brought to life by theater puppeteer James Ortiz, who wasn't hired to voice Rocky but acted as the working voice on set so Gosling could have a scene partner speaking to him. He recited Rocky's dialogue for actor Ryan Gosling to play against, believing the lines would be replaced by a more famous actor, but directors Phil Lord and Christopher Miller kept his performance in the film. Ortiz is also the same artist who designed the Milky White cow puppet for the 2022 Broadway revival of Into the Woods. (https://www.hollywoodreporter.com/movies/movie-features/james-ortiz-project-hail-mary-rocky-interview-1236553879/, https://en.wikipedia.org/wiki/James_Ortiz)
2. Meryl Streep's cameo voice was a real, unpublicized favor.
During the scene where Grace tests translation voices for Rocky, one of the rejected options is genuinely Meryl Streep — producer Amy Pascal had done "The Post" and many, many movies with her, and after they asked, she said yes, and did many different versions of the line. Director Phil Lord admitted "You have never seen a group of filmmakers procrastinate longer" before working up the nerve to ask her. [Source]
3. The film's first assembly cut ran nearly four hours and was called "embarrassing" by other filmmakers.
Lord and Miller subjected some filmmaker friends of theirs to a three hour and 45-minute cut of the movie, which was embarrassing, and the feedback the directing duo got was unanimous: "Get it way shorter." Miller noted "You just don't know how the scenes are...
-
THE ARC'S TAKE
This episode's whole argument boils down to Jaclynn'ss tagline, repeated like a confession — "this movie is smarter than me" — and we spend an hour proving that the vampires are the least scary thing in Sinners, since Coogler already gave the real monster a name: Mississippi.
EPISODE SUMMARYWe tackle Sinners, Ryan Coogler's Oscar-nominated vampire movie starring Michael B. Jordan in a dual role — and argue that the Jim Crow South it depicts is scarier than any bloodsucker in it. It's a horror movie, a heist movie, a Western, and a musical all executed "at a foundational level" before Coogler braids them together, and The Arc breaks down how a story about a juke joint becomes a full allegory for cultural exploitation, assimilation, and who gets to own the blues. No prior viewing required, but good luck not immediately renting it afterward.
WHERE TO WATCHStreaming availability as of 2026-07-05.
HBO Max (streaming with subscription)Amazon Prime Video (rent or buy)Apple TV (rent or buy)YouTube (rent or buy)Fandango at Home (rent or buy)The subscription option comes with an unusually thoughtful footnote for a horror blockbuster: HBO Max also has a Black American Sign Language version of the movie to stream, making it, per coverage of the release, the first-ever Black American Sign Language version of a major film. Worth knowing before you queue it up for the group.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning because you do not have to have seen the film we're talking about to enjoy the episode — heck, sometimes some of us haven't even watched the film we're talking about.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
A Long SummarySinners is Ryan Coogler's 1932 Mississippi vampire movie — twin brothers, both played by Michael B. Jordan, come back from Chicago to open a juke joint in a barn for one night, and then the vampires arrive. That's the setup, and it is also almost beside the point. The film works completely as a vampire movie you could watch without thinking twice about it; it also keeps opening up, on a second and third viewing, into something about white supremacy, appropriation, and what it means to turn a people's music — and a people themselves — into property to be bought and sold. Coogler pulls tropes from the Western, the heist, the musical, and horror and does each so cleanly that the film stops feeling like a mishmash and starts feeling like its own thing. Nominated for Best Original Screenplay, which is how it landed here: we set out to do something Oscar-centric, Robby has loved that category since high school, and — Cole's theory — Jaclynn had been looking for a reason to talk about Sinners for eleven months anyway. Not untrue.
What we kept circling is that the real horror isn't the vampires. Vampires have rules — sunlight, garlic, a stake — and the 1930s Jim Crow South does not. The chain gang, the cotton fields, the Klan that shows up at the very end after the supernatural threat is already dead: that's the part that stays with you, and the part that still felt true watching it in 2026. Robby walked out of the theater the first time saying he'd seen it all before, a well-made vampire movie he recognized — and the argument of the whole episode is what happens when you look again and realize it was an allegory the entire time. Jaclynn kept coming back to one line: this movie is smarter than me. She found her way into loving the two brothers through Annie, who humanizes them, and we spend real time on how the scene where Sammy plays and the music opens a door across the past, present, and future of Black music is doing the actual heavy lifting.
We are not the people to explain this film to you — Coogler and his cast and crew are, and honestly we'd rather just listen to him talk about it. What we can offer is three of us watching it more than once and disagreeing productively about it: whether "mishmash" or "tapestry" is the fairer word (Dad lobbies hard for tapestry; Jaclynn holds out because a tapestry is too neat), whether the ending should have stopped when it first seemed to, and why the bookend structure feels elegant here in a way it feels like a magic trick in Fleabag. You do not have to have seen Sinners to follow along — though if you haven't, do yourself a favor and don't read any further about it before you do. Then come back.
CREATIVESRyan Coogler — Director — also: Sinners (2025), Black Panther (2018), Creed (2015)Ryan Coogler — Screenwriter — also: Sinners (2025), Black Panther (2018), Fruitvale Station (2013)Ryan Coogler — Producer — also: Sinners (2025)Zinzi Coogler — Producer — also: Sinners (2025)Sev Ohanian — Producer — also: Sinners (2025)Autumn Durald Arkapaw — Cinematographer — also: Sinners (2025), Loki (2021), Teen Spirit (2018)Ludwig Göransson — Composer — also: Sinners (2025), Black Panther (2018), Oppenheimer (2023)
CASTMichael B. Jordan — Smoke / Stack — also: Creed (2015), Black Panther (2018), Fruitvale Station (2013)Hailee Steinfeld — Mary — also: True Grit (2010), Bumblebee (2018), Pitch Perfect 2 (2015)Miles Caton — Sammie "Preacher Boy" Moore — also: Sinners (2025)Jack O'Connell — Remmick — also: Unbroken (2014), '71 (2014), Skins (2007)Wunmi Mosaku — Annie — also: Loki (2021), Lovecraft Country (2020), Batman v Superman: Dawn of Justice (2016)Jayme Lawson — Pearline — also: The Woman King (2022), The Batman (2022), Farewell Amor (2020)Omar Benson Miller — Cornbread — also: Ballers (2015), 8 Mile (2002), CSI: Miami (2007)Delroy Lindo — Delta Slim — also: Da 5 Bloods (2020), Malcolm X (1992), Get Shorty (1995)Li Jun Li — Grace Chow — also: Babylon (2022), Minority Report (2002)Yao — Bo Chow — also: Sinners (2025)Lola Kirke — Joan — also: Mozart in the Jungle (2014), Gone Girl (2014)Buddy Guy — Old Sammie — also: Sinners (2025)Saul Williams — Jedidiah Moore — also: Slam (1998)
AWARDSRyan Coogler) real awards history:
Academy Awards (98th, 2026)Sinners garnered a record-breaking 16 nominations at the 98th Academy Awards, winning four: Best Actor (Jordan), Best Original Screenplay (Coogler), Best Cinematography (Autumn Durald Arkapaw, who became the first woman to win in the category), and Best Original Score (Göransson). Additional nominations included best picture; director; supporting actress (Wunmi Mosaku); actor in a supporting role (Delroy Lindo); casting; production design; costume design; film editing; makeup and hairstyling; sound; visual effects; and original song for "I Lied to You".
Best Picture — NOMINATIONBest Director (Ryan Coogler) — NOMINATIONBest Actor (Michael B. Jordan) — WINBest Supporting Actor (Delroy Lindo) — NOMINATIONBest Supporting Actress (Wunmi Mosaku) — NOMINATIONBest Original Screenplay (Ryan Coogler) — WINBest Cinematography (Autumn Durald Arkapaw) — WINBest Original Score (Ludwig Göransson) — WINBest Original Song ("I Lied to You") — NOMINATIONBest Casting — NOMINATIONBest Production Design — NOMINATIONBest Costume Design — NOMINATIONBest Film Editing — NOMINATIONBest Makeup and Hairstyling — NOMINATIONBest Sound — NOMINATIONBest Visual Effects — NOMINATION
BAFTA Awards (79th)Sinners received thirteen nominations at the 79th British Academy Film Awards and won three awards at the ceremony (for Best Actress in a Supporting Role, Best Original Screenplay and Best Original Score), making it the film with the most nominations and wins for a film by a Black director in BAFTA history.
Best Original Screenplay — WINBest Supporting Actress (Wunmi Mosaku) — WINBest Original Score — WIN10 additional nominations across... -
THE ARC'S TAKE
In the grand tradition of this show, we watched this out of order in order to celebrate springing forward for Daylight Savings Time so true fans of "Back To The Future," please, be nice in the comments section because we have nothing but love for the genre (yes, "Back To The Future" is a genre unto itself).
We ask whether Back to the Future Part II is even a movie or just a very expensive, very confident first act — all hoverboards and fax machines standing in for the character work it never bothers to do.
EPISODE SUMMARYOn The Arc, three friends watch movies out of order on purpose — this time it's Back to the Future Part II, tackled cold with no rewatch of the original. The verdict: a technical marvel of practical effects and hoverboards that's all plot and no story, functioning less like a movie than an extended, very fun first act. Expect a genuine defense of fax machines, a rant about Jennifer getting treated like a piece of luggage, and an argument about whether wealth is really just a failure of imagination. You don't need to have seen either Back to the Future film to enjoy this one — though it helps.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Peacock (streaming with subscription)Amazon Prime Video (rent or buy)Apple TV (rent or buy)Fandango at Home (rent or buy)All three trilogy entries live together on Peacock, which tracks — Back to the Future, Back to the Future Part II, and Back to the Future Part III are currently available to stream via Peacock, so anyone inspired to finally watch the movies in order has no excuse.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning to get to know the show and find your new favorite film to pretend you've watched.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
A Long SummaryBack to the Future Part II is the 1989 middle child of Robert Zemeckis's trilogy — the one that picks up in the exact garage where the first movie left off, launches Marty McFly into a 2015 of hoverboards and self-lacing shoes and, apparently, multiple household fax machines, then folds back on itself into the 1955 of the original film. It was a technical marvel when it arrived, and, watching it in 2025 — a year that has now come and gone without the flying cars — it's become a document of what 1989 hoped and feared: that Japan would economically eat America, that the future would just be the past with more faxes. We came to it the way we come to most things, which is to say backwards and out of order: this is a podcast that started Freakier Friday before Freaky Friday and watched a Marvel movie having seen no other Marvel movies, so of course we began Back to the Future with the second one and have no firm plans to ever watch the first.
What we actually spent the hour on is the gap between plot and story — the thing this movie has a genuine surplus of one and a real shortage of the other. Robby, who was fascinated and on high alert the whole time, kept circling how it's exposition, exposition, exposition until the last three minutes, when a single kite string floating silently down finally delivered the stakes the whole film had been withholding. Cole, who tried to research it as a Film and gave up by the second shot, had the most fun he's had watching a movie in ages and then landed the episode's best idea anyway: that wealth and jealousy and poverty are never absolute, they're measured against whatever your imagination can reach — the future McFlys have seventeen fax machines and a drive-by shooting on the same street. And Jaclynn watched the plot mechanics of two Martys stranded in the same timeline quietly break her brain, while also refusing to let the movie off the hook for how it treats Jennifer, whose unconscious body gets dumped on porches like a prop. We also spend real time on the parts that don't hold up — the Reagan-era anxieties and the ugly caricature of Marty's Japanese boss — without pretending they aren't there.
If you've seen this movie a dozen times and never questioned it, or you've never seen it and are wondering whether it's worth two hours, this is three friends taking a "silly" sequel seriously enough to find both the racism and the accidental philosophy in it — plus a genuine argument that Back to the Future Part II isn't a second act at all, it's act one of a story that doesn't pay off until the third film. Also Dad brags at length about renting a DeLorean for a Broadway musical that never got shot, learns that people get married inside them, and gets caught rolling his eyes at his own pun.
CREATIVESRobert Zemeckis — Director — also: Back to the Future (1985), Forrest Gump (1994), Who Framed Roger Rabbit (1988)Bob Gale — Screenwriter — also: Back to the Future (1985), Back to the Future Part III (1990), 1941 (1979)Bob Gale — Producer — also: Back to the Future (1985), Used Cars (1980)Neil Canton — Producer — also: Back to the Future (1985), The Witches of Eastwick (1987), The Adventures of Buckaroo Banzai (1984)Steven Spielberg — Executive Producer — also: Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), Jaws (1975)Kathleen Kennedy — Executive Producer — also: Poltergeist (1982), Raiders of the Lost Ark (1981), Indiana Jones and the Temple of Doom (1984)Frank Marshall — Executive Producer — also: Back to the Future (1985), Raiders of the Lost Ark (1981)Dean Cundey — Cinematographer — also: Back to the Future (1985), Who Framed Roger Rabbit (1988), Romancing the Stone (1984)Alan Silvestri — Composer — also: Back to the Future (1985), Back to the Future Part III (1990), Forrest Gump (1994)
CASTMichael J. Fox — Marty McFly / Marty McFly Jr. / Marlene McFly — also: Back to the Future (1985), Family Ties (1982), Spin City (1996)Christopher Lloyd — Dr. Emmett "Doc" Brown — also: Back to the Future (1985), One Flew Over the Cuckoo's Nest (1975), Who Framed Roger Rabbit (1988)Lea Thompson — Lorraine Baines McFly / Lorraine Tannen — also: Back to the Future (1985), Red Dawn (1984), Howard the Duck (1986)Thomas F. Wilson — Biff Tannen / Griff Tannen — also: Back to the Future (1985), Back to the Future Part III (1990)Elisabeth Shue — Jennifer Parker — also: The Karate Kid (1984), Adventures in Babysitting (1987), Cocktail (1988)Jeffrey Weissman — George McFly — also: Back to the Future Part II (1989)Harry Waters Jr. — Marvin Berry — also: Back to the Future (1985)
AWARDSAcademy Awards (Oscars): Best Visual Effects — NOMINATION It was nominated in 1990 for an Academy Award for Best Visual Effects (John Bell, Steve Gawley, Michael Lantieri and Ken Ralston), but lost to The Abyss.BAFTA Awards: Best Special Visual Effects — WIN The film won the BAFTA Award for Best Special Visual Effects (Ken Ralston, Michael Lantieri, John Bell and Steve Gawley)- Saturn Awards (Academy of Science Fiction, Fantasy & Horror Films):
- Best Special Effects — WIN The film won the Saturn Award for Best Special Effects (for Ken Ralston, the special effects supervisor)
- Best Science Fiction Film — NOMINATION
- Best Costumes (Joanna Johnston) — NOMINATION
- Best Make-Up — NOMINATION
These last three Saturn nominations are drawn from the film's official awards record.
FUN FACTS / PRODUCTION TRIVIAHere are five verified, surprising production trivia items about Back to the Future Part II:
Crispin Glover's absence sparked a landmark Hollywood lawsuit. When Crispin Glover declined to return as George McFly, the production reused old footage from the first film and had another actor, Jeffrey Weissman, play George with prosthetics and camera tricks, going so far as to hide his face by having him "wearing sunglasses, from the back, upside-down in an Ortho-lev harness, or out of focus in the background." Glover sued, and the suit led to new clauses in Screen Actors Guild agreements barring producers from reproducing another actor's likeness without permission — a case still cited today as a key precedent in personality rights for actors amid increasing use of special effects and digital techniques. [Source]
The film's opening scene is a shot-for-shot remake necessitated by a real-life family...
-
Jaclynn made the most viral reel about our friendship, and Robby has never seen Instagram until now- this is a GREAT (all caps episode) about telling a story in less than thirty seconds. The view count is well over a million and shows no signs of stopping.
This reel is so popular that it is actively making near strangers ask questions and have very strong opinions about our personal lives, which is astounding because Cole is the most boring person on the planet. "Movie magic" can do anything.
Jaclynn is really fun though, so watch it for yourself here: https://www.instagram.com/reel/DR-C6OWieXl/?igsh=YXU4b2J1OWJnZjMw
And it may sound like we're being overly self-effacing about it, but we're also all in awe of anyone who *can* tell impossibly short stories.
Cole made us watch and (deeply) analyze a vine for a whole episode, and we haven't finished editing them yet but we have episodes coming about Lydia Davis' effortlessly infuriating micro-fiction and Ernest Hemingway's "perfect" six-word short story, "Baby Shoes."
Sound Attribution: S: Beach Dance - EDM Dance Cinematic Party Eletro Chill Happy 120bpm Music - EQ Mastered.wav by szegvari | License: Creative Commons 0
-
THE ARC'S TAKE
We argue that David Lynch made his most experimental film by removing every tool he usually relies on — no surrealism, no dread-tricks, just a man on a lawnmower — and dread showed up anyway, because it turns out the weirdness was never the trick, it was him.
EPISODE SUMMARYLynch is the master of the eery, absurd, surreal dream film, but he himself says that his most "experimental" film is "The Straight Story," a film that's ostensibly about a kind, elderly gentleman slowly riding his lawn mower across the country to see his brother. It is a G-rated Disney film about a real man who rode a lawnmower 300 miles to reconcile with his dying brother, and, according to Lynch himself, his most experimental movie ever made. The hosts unpack how a film with no surrealism, no non-linear tricks, and none of Lynch's usual chaos still manages to be the "Lynchiest" thing he's ever done, from a deer-crash scene that hooked all three of them instantly to the quiet horror lurking under its sweetness. If you've ever wondered what David Lynch looks like with all his usual tools taken away, this is the episode for you.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Disney+ (streaming with subscription)The Criterion Channel (streaming with subscription)Apple TV (rent or buy)Amazon Prime Video (rent or buy)Fandango at Home (rent or buy)A Disney G-rated existential-horror movie sitting on Disney+ next to Marvel and Moana is exactly the kind of tonal joke the algorithm will never understand but Lynch absolutely intended — the deer lady is one row over from a talking raccoon.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning to get to know the show and find your new favorite film to pretend you've watched.
Spotify (link needed)
Pocket Casts (link needed)
RSS
Start from Episode 01: The Princess Bride
A Long SummaryThe Straight Story is the David Lynch film that Disney put its name on: a G-rated, true-to-life road movie about Alvin Straight, an elderly man in ill health who — no driver's license, legally blind, not much money — welds a trailer to his riding lawnmower and drives it over three hundred miles across Iowa and Wisconsin, at roughly three miles an hour, to make peace with the brother he hasn't spoken to in ten years. Lynch called it his most experimental film, which sounds like a joke until you sit with it: it's the one film he directed that he didn't write (the screenplay is Mary Sweeney's, his editor and producer of twenty years), it strips away every surreal tool he's known for, and what's left is somehow the most unmistakably him. Richard Farnsworth plays Alvin, and it's especially heartbreaking to learn afterward that he was carrying real cancer through the shoot and never disclosed it — a piece of information one of us admitted we wish we didn't have, because it blurs the line between what's performance and what's a man near the end of his life.
We came at this one from three different angles and, mercifully, three different opinions. Robby had seen every Lynch film except this one and was quietly hoping it would be the one that finally made him like Lynch — a genuinely funny confession to open with, and the tension the whole conversation pays off. Cole saw it in 35mm at some absurdly boutique Brooklyn screening and would very much like you to know that (Dad's regular life is just extremely artsy). And the moment that hooked all of us was the woman who's hit fourteen deer in seven weeks, standing over a fresh one in an open field with nowhere for a deer to have possibly come from, wailing where do they all come from — a line that, it turns out, is lifted straight from real life, which makes it the single most Lynchian thing in the movie. That scene became a whole bit; ask Robby, who mimed it at strangers on the subway.
What the conversation circles back to, and what we think earns the two hours, is one small true thing about the storytelling: Alvin doesn't change. He makes one choice decades before the film starts and one more to begin it, and every other beat flows from that — so the movie isn't about a man being transformed by the road. We're the ones who change, watching each person he meets slowly reveal what's at stake, until the reunion (his brother says only "sit down, Alvin," then looks up at the stars) lands as earned as anything you'll see. We also spend real time on Mary Sweeney, who wrote, edited, and produced this and edited most of Lynch's canon, and got a fraction of the flowers — because editing was once dismissed as unimportant, which is precisely why women so often did it. If you've heard the take that Lynch is always just messing with his audience, we'd push back on that here, on the record, and probably lose a few Lynch purists in the process. Sweet.
CREATIVESDavid Lynch — Director — also: Blue Velvet (1986), Mulholland Drive (2001), Twin Peaks (1990)Mary Sweeney — Screenwriter — also: Lost Highway (1997), Mulholland Drive (2001), Twin Peaks: Fire Walk with Me (1992)John Roach — Screenwriter — also: The Straight Story (1999)Mary Sweeney — Producer — also: Lost Highway (1997), Mulholland Drive (2001), Twin Peaks: Fire Walk with Me (1992)Neal Edelstein — Producer — also: Mulholland Drive (2001), The Ring (2002), Twin Peaks: Fire Walk with Me (1992)Freddie Francis — Cinematographer — also: The Elephant Man (1980), Glory (1989), Cape Fear (1991)Angelo Badalamenti — Composer — also: Blue Velvet (1986), Twin Peaks (1990), Mulholland Drive (2001)
CASTRichard Farnsworth — Alvin Straight — also: The Grey Fox (1982), Misery (1990), Comes a Horseman (1978)Sissy Spacek — Rose Straight — also: Carrie (1976), Coal Miner's Daughter (1980), In the Bedroom (2001)Harry Dean Stanton — Lyle Straight — also: Paris, Texas (1984), Alien (1979), Repo Man (1984)
AWARDSBest Actor (Richard Farnsworth) — NOMINATION
Golden GlobesBest Actor in a Motion Picture, Drama (Richard Farnsworth) — NOMINATIONBest Original Score (Angelo Badalamenti) — NOMINATION
Cannes Film FestivalPalme d'Or — NOMINATION
Independent Spirit AwardsStraight Story was nominated for four Independent Spirit Awards for Best Film, Best Director (Lynch), Best Actor (Farnsworth) and Best First Screenplay (John Roach & Mary Sweeney).
- Best Feature — NOMINATION
- Best Director (David Lynch) — NOMINATION
- Best Male Lead (Richard Farnsworth) — WIN
- Best First Screenplay (Mary Sweeney & John Roach) — NOMINATION
New York Film Critics CircleRichard Farnsworth won Best Actor and Freddie Francis won best Cinematography for Straight Story in the New York Film Critics 1999 Awards.
- Best Actor (Richard Farnsworth) — WIN
- Best Cinematography (Freddie Francis) — WIN
British Independent Film AwardsWinner British Independent Film Award, Best Foreign Independent Film - English Language
- Best Foreign Independent Film (English Language) — WIN
European Film AwardsAt the European Film Awards on Saturday, December 4 1999, The Straight Story won the Best non-European film award.
- Best Non-European Film (Screen International Award) — WIN
Chicago Film Critics AssociationBest Picture — NOMINATIONBest Actor (Richard Farnsworth) — NOMINATIONBest Director (David Lynch) — NOMINATION
Los Angeles Film Critics AssociationBest Actor (Richard Farnsworth) — NOMINATION
Golden Frog (Camerimage)Best Cinematography (Freddie Francis) — NOMINATION
Bodil Awards (Denmark)2000 Winner Bodil, Best American Film
Guldbagge Awards (Sweden)Best Foreign Film — NOMINATION
San Diego Film Critics SocietyDavid Lynch won the 1999 San Diego Film Critics Society Award for Best Director for Straight Story.
- Best Director (David Lynch) — WIN
The film received no nominations from BAFTA, the Writers Guild, or the Directors Guild, and was not selected for the National Film Registry.
SOURCE MATERIALThe Straight Story is based on a true story: in 1994, 73-year-old Alvin Straight rode a...
-
Everything you need to know about David Lynch's style in five minutes! You really should watch the whole film eventually, but a five minute scene that appears fifteen minutes into David Lynch's masterpiece "Mulholland Drive" is all you really need.
That said, you really should also know about Lynch's producer, editor, and sometimes screenwriter of twenty years, Mary Sweeney!
Please, note: this scene is a little bit scary, but aren't almost all thing David Lynch?
LINKS TO FULL INTERVIEWS WITH MARY SWEENEY:
Director's Club - "Editor of Lost Highway"
The Third Story - 2018
The Third Story - Mary Sweeney Returns
DePaul University - David Lynch's Producer
CREATIVES:
Director & Writer: David Lynch
Producers: Neal Edelstein, Tony Krantz, Michael Polaire, Alain Sarde, and Mary Sweeney
Composer: Angelo Badalamenti
Cinematographer: Peter Deming
Editor: Mary Sweeney
Production Designer: Jack Fisk
Costume Designer: Amy Stofsky
CAST:
Naomi Watts as Betty Elms / Diane Selwyn
Laura Elena Harring as Rita / Camilla Rhodes
Justin Theroux as Adam Kesher
Ann Miller as Coco Lenoix
Mark Pellegrino as Joe
Robert Forster as Detective McKnight
Dan Hedaya as Vincenzo Castigliane
Monty Montgomery as The Cowboy
Lee Grant as Louise Bonner
Billy Ray Cyrus as Gene
Patrick Fischler as Dan
Melissa George as Camilla Rhodes
Michael J. Anderson as Mr. Roque
Rebekah Del Rio as Herself
Bonnie Aarons as The Bum
SOUND DESIGN ATTRIBUTION:
S: Cicadas_20200531-145928.mp3 by rabban625 | License: Creative Commons 0
-
Content & Trigger Warning: this episode discusses sexual assault in the film and in real life.
THE ARC'S TAKEWe argue that "Women Talking" only looks plotless if you're measuring plot by what happens on screen instead of what it costs to decide anything at all — and that the film's real subject isn't the assault but the coerced forgiveness that lets it keep happening.
EPISODE SUMMARYWomen Talking, Sarah Polley's quiet, devastating film about the women of a Mennonite colony who discover they've been drugged and assaulted by the men in their community — and who spend two days in a barn deciding whether to do nothing, stay and fight, or leave. Cole and Robby dig into the film's craft, its late-in-editing narration switch, and why "plotless" might be the wrong word for a story built entirely around the fact that Jaclynn didn't watch it — and the reasons behind that choice is essentially the episode — it is one of the more personal episodes The Arc has put out. Content warning: this film discusses sexual assault directly, both in the film and in real life.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Prime Video (rent or purchase)Apple TV (rent or purchase)Tubi (streaming free with ads)Plex (rent)RSSStart from Episode 01: The Princess Bride
A Long SummaryWomen Talking is Sarah Polley's 2022 adaptation of Miriam Toews' novel, and its premise is almost aggressively unpromising as cinema: the women of an isolated Mennonite colony, drugged and assaulted by the men of their own community, are given two days to decide whether to forgive their attackers, stay and fight, or leave. The men are away in town posting bail. The women gather in a hayloft. They talk. Roll credits. Cole, who brought the film to us, will tell you it has zero plot — "we gather in a barn, we talk, roll credits" — and he means that as the highest compliment, since he has a long-running and, per Robby, possibly incoherent theory that plot is just Mad Libs and story is the thing underneath it. The film looks like a Dorothea Lange photograph, it never once puts violence on screen, and it takes a decision most viewers assume is obvious and makes you sit inside how genuinely impossible it is — when you can't read or write, when leaving means forfeiting heaven, when forgiveness that's demanded of you starts to look a lot like permission.
What this episode became was not the tidy storytelling-craft conversation Cole had planned. He'd pitched it, by his own accounting, mostly to tee up nine reasons to praise and gently torment the two people he does this with — number nine being that Jaclynn gets "so effing excited about Sarah Polley" and had, at that point, never actually watched a Sarah Polley film. She still hadn't. Jaclynn tried to watch Women Talking several times and couldn't; her body wouldn't let her, and partway through the episode she says why, plainly and without flinching, in a way that reframes everything Cole thought he was assembling. So we ended up doing something closer to an experiment than a review: two of us who saw it walking a third of us — and you — through what it does and why it lands, while the person who couldn't watch it turns out to have the sharpest read in the room on forgiveness, complicity, and why people get so defensive about this movie in the first place. Robby, who watched it twice, is the one insisting there's a plot in here after all, and the argument the three of us have about that is the spine of the whole thing.
There is a content warning at the top for a reason — this episode discusses sexual assault, in the film and in real life. It is also, somehow, warm, and funny, and full of the kind of care that only shows up when people trust each other completely. Dad, as ever, brought something beautifully gift-wrapped and slightly impossible, and got called pretentious as fuck for his trouble, and was thanked for it sincerely by the end. If you found this looking for whether Women Talking is worth your time, or whether you can handle it, the honest three-way conversation we had about exactly that question is the reason to stay.
CREATIVESSarah Polley — Director — also: Women Talking (2022), Away from Her (2006), Stories We Tell (2012)Sarah Polley — Screenwriter — also: Women Talking (2022), Away from Her (2006), Alias Grace (2017)Dede Gardner — Producer — also: Women Talking (2022), 12 Years a Slave (2013), Moonlight (2016)Jeremy Kleiner — Producer — also: Women Talking (2022), 12 Years a Slave (2013), Moonlight (2016)Frances McDormand — Producer — also: Women Talking (2022), Nomadland (2020)Luc Montpellier — Cinematographer — also: Women Talking (2022), Away from Her (2006), Take This Waltz (2011)Hildur Guðnadóttir — Composer — also: Women Talking (2022), Joker (2019), Chernobyl (2019)
CASTRooney Mara — Ona — also: Carol (2015), The Girl with the Dragon Tattoo (2011), Nightmare Alley (2021)Claire Foy — Salome — also: The Crown (2016), First Man (2018), The Girl in the Spider's Web (2018)Jessie Buckley — Mariche — also: Wild Rose (2018), The Lost Daughter (2021), Men (2022)Judith Ivey — Agata — also: Brighton Beach Memoirs (1986), Hello Again (2017)Ben Whishaw — August — also: Perfume: The Story of a Murderer (2006), Skyfall (2012), No Time to Die (2021)Sheila McCarthy — Greta — also: I've Heard the Mermaids Singing (1987), The Umbrella Academy (2019), The Broken Hearts Gallery (2020)Frances McDormand — Scarface Janz — also: Fargo (1996), Three Billboards Outside Ebbing, Missouri (2017), Nomadland (2020)Michelle McLeod — Mejal — also: Don't Talk to Irene (2018), My Spy (2020)Kate Hallett — Autje — also: Women Talking (2022)Liv McNeil — Neitje — also: Women Talking (2022)August Winter — Melvin/Nettie — also: Women Talking (2022)Emily Mitchell — Miep — also: Women Talking (2022)Vivien Endicott-Douglas — Clara — also: Women Talking (2022)Kira Guloien — Anna — also: Women Talking (2022)Shayla Brown — Helena — also: Women Talking (2022)
AWARDSHere's the film's real awards history:
Academy Awards — Best Picture — NOMINATIONAcademy Awards — Best Adapted Screenplay — WIN (Sarah Polley) — at the 95th Academy Awards the film was nominated for Best Picture and Polley won the award for Best Adapted ScreenplayGolden Globes — Best Screenplay — NOMINATION (Sarah Polley)Golden Globes — Best Original Score — NOMINATION (Hildur Guðnadóttir) — the film was also nominated for Best Screenplay and Best Original Score at the 80th Golden Globe AwardsBAFTA — the film received no nominations; Sarah Polley had a notable response when one person suggested her film was snubbed by the BAFTA Film AwardsWriters Guild of America Awards — Best Adapted Screenplay — WIN (Sarah Polley) — the film won Best Adapted Screenplay at the Critics' Choice Awards, Writers Guild of America Awards, and the Academy AwardsDirectors Guild of America — no nomination found for this filmScreen Actors Guild Awards — Best Ensemble Cast — NOMINATION — the film was nominated for Best Ensemble Cast of a Motion Picture at the 29th Screen Actors Guild AwardsCritics' Choice Awards — Best Picture — NOMINATIONCritics' Choice Awards — Best Director — NOMINATION (Sarah Polley)Critics' Choice Awards — Best Acting Ensemble — NOMINATIONCritics' Choice Awards — Best Score — NOMINATION (Hildur Guðnadóttir)Critics' Choice Awards — Best Adapted Screenplay — WIN (Sarah Polley) — 2023 Winner Critics Choice Award · Best Adapted Screenplay · Sarah Polley · 2023 Nominee Critics Choice Award · Best Acting Ensemble · 2023 Nominee Critics Choice Award · Best Score · Hildur Guðnadóttir · 2023 Nominee Critics Choice Award · Best Director · Sarah Polley · 2023 Nominee Critics Choice Award · Best PictureIndependent Spirit Awards — Best Feature — NOMINATIONIndependent Spirit Awards — Best Director — NOMINATION (Sarah Polley)Independent Spirit Awards — Best Screenplay — NOMINATION (Sarah Polley)Independent Spirit... -
THE ARC'S TAKE
We spend most of Carol braced for the tragic, closeted ending 1950s convention demands, so when Highsmith and Haynes hand the women the reins instead, it recasts everything we just watched as an argument that withholding psychology isn't distance — it's trust.
Carol takes place in the "liminal space" that floats between Christmas and the start of the new year, and it occupies the space held for best films ever made that didn't win and weren't even nominated for Best Picture at the Academy Awards... possibly because it is a classic story told in a slightly unconventional manner or because of the same conscious or unconscious prejudices that the characters in the story itself must live through. You can and should watch this film any (and arguably multiple) times per year: once for the holidays, once for the visual story, and once for every time you you want to feel like you're falling in love but it's complicated.
If you love the film already, then please, also listen to Subtextual's episode about "Carol" because they do an even longer breakdown and find it to be a warm Christmas hug and they're one of the best film review podcasts in general as well!
https://www.instagram.com/subtextualpod/EPISODE SUMMARYWe watch Todd Haynes' Carol and find a movie so visually perfect it borders on distracting — gorgeous, glacial, and quietly radical for giving its women an ending where nobody has to hide. They dig into Patricia Highsmith's original pseudonymous novel, the 1950s photographers who shaped the film's look, and why an ending they expected to be tragic turned out to be the twist of the whole thing. No familiarity with the film required — just bring patience for a debate about gloves left behind "on purpose."
WHERE TO WATCHStreaming availability as of 2026-07-05.
Netflix (streaming with subscription)Amazon Prime Video (rent or purchase)Apple TV (rent or purchase)Fandango At Home (rent or purchase)Somehow the movie about repressed feelings and things left unsaid has landed on Netflix without anyone making a fuss about it — no farewell tour, no expiring-soon countdown clock, just sitting there in the queue like it's always been there. For a film so obsessed with what people don't announce out loud, that feels almost on brand.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryCarol (2015, directed by Todd Haynes) is a love story told in the liminal week between Christmas and New Year's — that no-man's-land of time when nobody quite knows what year it is or who they're supposed to be. Adapted from Patricia Highsmith's The Price of Salt, a novel she first published under a pseudonym and only put her own name to decades later, it follows Therese (Rooney Mara), a young shop girl who can't decide her own lunch, and Carol (Cate Blanchett), an upper-class New Jersey woman who is, in Jaclynn's words, gay as the day is long and about to lose custody of her daughter over it. Carol leaves her gloves behind at the department store — accidentally or on purpose, though we spend a good while settling firmly on on purpose, on purpose — and the whole thing unspools from there. It's a movie that was passed over entirely at the Oscars, which feels like either a coincidence or exactly the kind of quiet punishment the film itself is about.
What we actually spent the hour on is the strange trick at the center of it: this is a film where almost nothing is said out loud, where the characters announce they want to ask questions and then don't ask them, and yet none of us ever felt lost for a second. Robby came in ready to argue that the constant shifts in perspective stretched the story too thin — a Brechtian "you are watching something, not living it" — while Cole and Jaclynn pushed back that the whole structure is a con that pays off, a fake-out opening scene we all misread completely until the ending rewrote it into a genuine plot twist. Robby also, at some length, describes the movie he actually wanted (Sarah Paulson's Abby, a cigarette, and the drive home nobody filmed), which is a movie that does not exist. Somewhere in there Cole confesses to a war story about handing off a camera rig in shame after trying to shoot a wobbly B-cam himself, which is the closest this show gets to a director's commentary track.
The honest thing we keep circling is whether something being beautiful makes it interesting — because Carol is shot like Vivian Maier and Esther Bubley photographs come to life, every frame a still you'd hang on your wall, and two of us cheerfully admit we didn't much like either lead and mostly just wanted to stare at them and get to the sex scene. If you want a warm-Christmas-sweater reverence, that's not quite us; if you want three people taking a gorgeous movie apart to figure out how it knows so much while showing so little, and disagreeing honestly about whether that's a feat or a limitation, this is the conversation. As always, you don't need to have seen it — though about five minutes in, you'll want to.
CREATIVESTodd Haynes — Director — also: Far From Heaven (2002), I'm Not There (2007), Carol (2015)Phyllis Nagy — Screenwriter — also: Carol (2015), Mildred Pierce (2011)Elizabeth Karlsen — Producer — also: Carol (2015)Stephen Woolley — Producer — also: Carol (2015)Christine Vachon — Producer — also: Carol (2015), Far From Heaven (2002)Edward Lachman — Cinematographer — also: Far From Heaven (2002), I'm Not There (2007), Carol (2015)Carter Burwell — Composer — also: Carol (2015)
CASTCate Blanchett — Carol Aird — also: Blue Jasmine (2013), The Aviator (2004), Elizabeth (1998)Rooney Mara — Therese Belivet — also: The Girl with the Dragon Tattoo (2011), The Social Network (2010)Sarah Paulson — Abby Gerhard — also: American Horror Story (2011–), Ocean's 8 (2018)Kyle Chandler — Harge Aird — also: Friday Night Lights (2006–2011), Argo (2012), Zero Dark Thirty (2012)Jake Lacy — Richard Semco — also: The Office (2012–2013), The White Lotus (2021)John Magaro — Dannie McElroy — also: Not Fade Away (2012), First Cow (2019)Cory Michael Smith — Tommy Tucker — also: Gotham (2014–2019)Carrie Brownstein — Genevieve Cantrell — also: Portlandia (2011–2018)
AWARDSHere's Carol's awards history:
Best Actress (Cate Blanchett) — NOMINATIONBest Supporting Actress (Rooney Mara) — NOMINATIONBest Adapted Screenplay (Phyllis Nagy) — NOMINATIONBest Cinematography (Ed Lachman) — NOMINATIONBest Original Score (Carter Burwell) — NOMINATIONBest Costume Design (Sandy Powell) — NOMINATION(Carol received six Academy Award nominations, including Best Actress, Best Supporting Actress, Best Cinematography, and Best Adapted Screenplay.)
Golden Globes
- Best Motion Picture – Drama — NOMINATION
- Best Actress in a Motion Picture – Drama (Cate Blanchett) — NOMINATION
- Best Actress in a Motion Picture – Drama (Rooney Mara) — NOMINATION
- Best Director (Todd Haynes) — NOMINATION
- Best Original Score — NOMINATION
(It led the Golden Globe Award nominations with five, for Best Motion Picture – Drama, Best Actress for Blanchett and Mara, Best Director, and Best Original Score)
BAFTA Awards
- Best Film — NOMINATION
- Best Direction (Todd Haynes) — NOMINATION
- Best Leading Actress (Cate Blanchett) — NOMINATION
- Best Supporting Actress (Rooney Mara) — NOMINATION
- Best Adapted Screenplay (Phyllis Nagy) — NOMINATION
- Best Cinematography (Ed Lachman) — NOMINATION
- Best Production Design — NOMINATION
- Best Costume Design (Sandy Powell) — NOMINATION
- Best Makeup & Hair — NOMINATION
(Steven Spielberg's war drama Bridge of Spies and Todd Haynes' Carol led all nominees with nine nominations each, including nominations across Best Film, acting, screenplay,...
-
THE ARC'S TAKE
We argue Michael Caine playing Scrooge dead straight, like Shakespeare, is exactly why the Muppets around him are allowed to be so funny — and why this version, not the somber ones, earns its ending.
EPISODE SUMMARYThe Muppet Christmas Carol is, against all odds, one of the most emotionally sincere adaptations of Dickens ever put to film — and this week on The Arc, we figure out why. Michael Caine plays Scrooge dead straight, like he's doing Shakespeare, while Gonzo narrates as Charles Dickens and Beaker somehow steals the whole movie with a scarf. It's a conversation about villain origin stories, Dutch angles, and why letting the Muppets play it sincere makes the sad parts sadder and the redemption actually land. You don't need to have seen it since childhood, or ever, to enjoy this one.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Disney+ (streaming with subscription)Amazon Prime Video (rent or buy)Apple TV (rent or buy)Fandango At Home (rent or buy)Here's the detail worth knowing before Robby cues this one up: Disney+ isn't just streaming the movie, it's quietly streaming two versions of it. The service added the "full-length version" of Brian Henson's 1992 film, though unlike some other new releases, it's not that easy to find. Even if you search for the title, you'll first land on the edited cut — you have to scroll down and click "Extras" to find the 89-minute full-length version. That's the one with "When Love Is Gone" back in it, the Belle breakup song the episode spends real time mourning. The song plays during Scrooge's scenes with the Ghost of Christmas Past and his fiancée Belle, and Disney originally cut it for being a bit too adult. So if we want the cut they actually wished existed, it's already sitting on their own Disney+ app, buried one tab deeper than default.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryThe Muppet Christmas Carol (1992) is Michael Caine playing Ebenezer Scrooge with total, unblinking sincerity opposite a cast of felt puppets — Gonzo narrating as Charles Dickens, Kermit as Bob Cratchit, a tiny crutched Kermit-nephew as Tiny Tim — in a version of Dickens' story so faithful it lifts language verbatim while still finding room for a joke about business being "the American way," then correcting itself to "the British way." It's the movie a lot of people absorbed so young they stopped seeing it, which is exactly the thing we found so worth talking about: it tricks you into paying attention to the original again. Robby brought it because he loves the Muppets and because he'd rewatched it as an adult and been genuinely shocked at how good it is, and about ninety seconds in he tried to declare "end of podcast" on the grounds that there's no story reason — we just love the Muppets. That did not hold.
What we actually got into is why this Scrooge lands harder than the George C. Scott or Scrooged versions most of us grew up on. Caine, by his own account, plays the human rock the Muppets bounce off — the more real he is, the funnier and sadder everything around him gets — and the argument here is that he changes gradually, with each ghost, rather than only when confronted with his own grave. Jaclynn's point is that the usual "oh no, I die, better change" beat is narcissistic, and that this version earns something quieter: a man realizing he has an effect on people and belongs to the world. Cole, who came in assuming he'd seen this a thousand times and had not, gets the film's structure (three ghosts announced up front, and you still feel every beat), clocks the relentless Dutch angles, and learns mid-episode that the poignant, careful writer he'd been praising as "the Muppets" is, in fact, Gonzo. Along the way: the line "darkness was cheap and Scrooge liked it," a cut song called "When Love Is Gone" that most broadcast versions quietly remove, a serious case for Caine deserving a 1992 Oscar nomination (the field was Pacino, Denzel, Eastwood — we ran the math), and a scene where a child freezes under newspaper that the film refuses to soften.
Cole scared the dickens out of everyone, apologized, and did it again. Somewhere in there we all admitted we cried — Tiny Tim, the schoolroom, the red scarf Beaker hands over to a man who's clearly never been given anything in his life — and then wished aloud we could haunt every billionaire on Christmas Eve and wake up to a world full of generosity. If you searched this film hoping someone would take a puppet movie as seriously as it takes itself, that's the whole show.
CREATIVESBrian Henson — Director, Producer — also: Muppet Treasure Island (1996), The Happytime Murders (2018)Jerry Juhl — Screenwriter — also: The Great Muppet Caper (1981), The Muppets Take Manhattan (1984), Muppet Treasure Island (1996)Martin G. Baker — Producer — also: The Muppet Christmas Carol (1992)Frank Oz — Executive Producer — also: Little Shop of Horrors (1986), The Great Muppet Caper (1981), The Muppets Take Manhattan (1984)John Fenner — Cinematographer — also: The Muppet Christmas Carol (1992)Miles Goodman — Composer (Score) — also: Footloose (1984), Big (1988), Muppet Treasure Island (1996)Paul Williams — Composer (Songs) — also: The Muppet Movie (1979)
CASTMichael Caine — Ebenezer Scrooge — also: The Dark Knight (2008), Hannah and Her Sisters (1986), Alfie (1966)Dave Goelz — Gonzo (as Charles Dickens) — also: The Muppet Movie (1979), The Great Muppet Caper (1981), Muppet Treasure Island (1996)Steve Whitmire — Kermit the Frog (as Bob Cratchit) / Rizzo the Rat / Beaker — also: Muppet Treasure Island (1996), Muppets from Space (1999), The Muppets (2011)Frank Oz — Miss Piggy (as Emily Cratchit) / Fozzie Bear (as Fozziwig) / Sam the Eagle / Animal — also: The Muppet Movie (1979), The Great Muppet Caper (1981), Muppets Take Manhattan (1984)Jerry Nelson — Ghost of Christmas Present / Statler / Robin the Frog (Tiny Tim) — also: The Muppet Movie (1979), The Dark Crystal (1982), Muppets Take Manhattan (1984)David Rudman — Bunsen Honeydew / Additional Muppet Performer — also: Muppet Treasure Island (1996), Muppets Most Wanted (2014), The Muppets (2011)Meredith Braun — Belle — also: The Muppet Christmas Carol (1992)Robin Weaver — Young Belle — also: The Muppet Christmas Carol (1992)Steven Mackintosh — Fred — also: The Muppet Christmas Carol (1992), Lock, Stock and Two Smoking Barrels (1998), Underworld (2003)
AWARDSGrammy Award for Best Spoken Word Album for Children (soundtrack/story album) — NOMINATIONBeyond that, no Academy Award, Golden Globe, BAFTA, Writers Guild, Directors Guild, or National Film Registry recognition turned up in the film's awards record. The film's story album of the movie was nominated for a Grammy Award for Best Spoken Word Album for Children in 1994, but no wins or nominations from the major film ceremonies exist for this title.
SOURCE MATERIALThe Muppet Christmas Carol is adapted from the 1843 novella A Christmas Carol by Charles Dickens, with the screenplay taking artistic license to suit the aesthetic of the Muppets while otherwise following Dickens' original story closely. You can find the original novella here: https://www.gutenberg.org/ebooks/46 and search for it on Bookshop.org here: https://bookshop.org/beta-search?keywords=A%20Christmas%20Carol
FUN FACTS / PRODUCTION TRIVIAMichael Caine wasn't just serious on set — he actually didn't realize until halfway through filming that this was Brian Henson's directorial debut, an oversight that speaks to how confidently the 28-year-old Henson carried himself despite privately calling the shoot "completely terrifying" [Source] and admitting he'd begged other people to direct it instead [Source].
Before shooting began, Caine told Henson he intended to play the role completely straight — "I will never wink, I will never do anything Muppety" — treating it as if he were performing with the Royal Shakespeare Company rather than acting opposite puppets.
-
We put a six-second Vine of a guy falling outside a 7-Eleven up against Hemingway's baby shoes and argue the getting-up is the whole story — the difference between a joke and a hero's journey is one extra beat of dignity.
EPISODE SUMMARYThis week on The Arc, we throw out the usual movie-review format entirely and spend an episode dissecting a six-second Vine — the one with the glitching GameCube logo and a guy falling outside a 7-Eleven. What starts as a joke turns into a genuine argument about why this clip is a perfect piece of storytelling, complete with Hemingway, Lydia Davis, and a Greek chorus acting exercise nobody asked for. If you've ever wondered how much narrative you can pack into six seconds, this one's for you.
WHERE TO WATCHWoe to all who took Vine for granted, and watch the Vine we discuss here.
Because as Jaclynn says, in this episode "we didn't know what we had."
In this episode we look back and break apart what Cole would argue was the best Vine of all time, "The" GameCube Vine.
What we consider the best is baked into the start of the episode (and it plays twice on purpose), but a compilation of all of the rest can be found here.
If aliens arrive to rummage through our digital bones, let them see this creativity so that they might know what it is to be human.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
Or since you liked "The" GameCube Vine, try Freaky Friday (1976) — another slice of comedy that ages into pure nostalgia, same way that one Vine somehow still gets us.
A Long SummaryVine was a social app that lived and died on a single constraint: six seconds, looping, no more. It's gone now — folded, absorbed, outlasted by TikTok and YouTube and everything else that figured out how to get monetized by an algorithm. Cole brought us one specific Vine to sit with for a whole episode, promising it would be the most relatable, lowbrow thing he'd ever made us watch. It is neither of those things, which is the joke. What actually happens is this: the GameCube startup logo begins its little purple cube-snake assembly, hiccups partway through the way a real GameCube does, and cuts hard to a man tripping in front of a 7-Eleven and dropping his Big Gulp. Then he starts to get up. Then it loops.
That last detail is the whole thing, and Robby is the one who names it — the getting up is what turns a man falling down into a story rather than a joke at a stranger's expense. From there we end up somewhere none of us planned: Robby describing an exercise he did studying theater in Italy, the verticality of a Greek chorus, a person shouting a line to the gods and being shoved back to the ground and rising and being shoved again, which is apparently also what's happening to a guy and his Big Gulp outside a 7-Eleven. Jaclynn quotes Hemingway's "For sale, baby shoes never worn" at Cole, as she reportedly does often, and Cole finally has an excuse to talk about Lydia Davis. Somewhere in here we make fun of Cole for scratching his neck beard like a pretentious Italian theater student, and Cole insists it isn't pretentious if you mean it in your heart.
If you came here looking for a straight explanation of what a Vine is, you now have one, and you can leave. What you'd be leaving is the more interesting question underneath it — whether the shortest possible story is a lesser form or just a harder one, and what it means that a whole medium built entirely around telling stories in six seconds couldn't survive while the ones built around holding your attention did fine. Cole says short-form storytelling has been quietly killed while long-form has never been healthier, cites the four-hour Brutalist without a trace of irony, and Robby brings up Laurence Olivier walking behind his own camera in a Shakespeare film to show you he knows it's a camera. It's the same argument, really: a thing made perfectly for the medium it's on, and the small talent it takes to see that and pull it off. We spend an entire episode proving you can take six seconds of a man and his soda as seriously as anything else, right up until Robby has to go and we throw him out the door.
FUN FACTS / PRODUCTION TRIVIAVine's founders actually spent weeks testing different clip lengths — including ten, nine, and five seconds — before landing on six. [Source]
The looping playback that makes a fall-and-recovery clip like this one feel like a complete arc wasn't part of the original plan — it was a fix for a problem the founders noticed almost by accident. "The next thing that we noticed was that the videos start quickly but they also end very quickly and that felt anti-climactic," said Hoffmann. "It didn't feel right." That's when the founders added a loop. [Source]
The recording mechanism itself was built for exactly the kind of stop-motion or matched-cut editing we point out in the copycat Vines — to record, users held their finger on the screen and took it off to pause. The ability to quickly pause and resume filming allowed users to easily record stop-motion animation. [Source]
The very first Vine ever posted wasn't a comedy bit at all — Dick Costolo, the then-CEO of Twitter, created the first Vine. It was a video of someone preparing steak tartare at a French restaurant in NYC called Les Halles. [Source]
Dive Deeper into "The" GameCube VineVine: Six Seconds That Changed the World (Global Player / all major podcast apps) — this eight-part documentary series, hosted by Benedict Townsend, digs into the genius, chaos and betrayal behind Vine's rise and its sudden collapse, and features exclusive interviews with Vine's co-founder Rus Yusupov, prominent Vine creators, and the Twitter executives who ran the meeting that signaled the app's unraveling — worthwhile if you want the real backstory on why a medium built entirely around six-second storytelling could rise and vanish so fast.
Know Your Meme's entry on Gamecube Intro Remixes — a reference page tracing the video meme based on the Nintendo GameCube startup screen, useful as a quick primer if you want to see how widely that specific visual gag got remixed beyond the fall-and-recovery format the episode focuses on.
RELATED ARC EPISODESWe also covered Freaky Friday (1976) — another slice that ages into pure nostalgia, same way that one Vine somehow still gets us.
New to The Arc? Start with Episode 02: The Fantastic Four if you like Marvel movies — and want to hate us forever and tell your friends how lame we are.
SOUND DESIGN ATTRIBUTIONCRWDReac_Crowd Groan In Disagreement by ShangusBurger | License: Creative Commons 0
sitting in a desk chair.wav by nickrave | License: Attribution 4.0
Office Chair.wav by AndreaBezuidenhout | License: Attribution NonCommercial 4.0
Indoor adult murmur, large group.wav by SpliceSound | License: Creative Commons 0
Rolling Office Chair by SduggySounds | License:
-
Robert Weinstein, our far too humble host and resident storytelling teacher has written yet another play, which was performed by the Barrow Group, and we get to talk about it, celebrate it, and accidentally tear into it.
Read the play here: https://drive.google.com/drive/folders/1O_pb-vqXSIgZY2o9UsmZRMpkdBG1STGN?usp=sharing
THE ARC'S TAKEWe dig into a ten-minute play about an angry old woman recording an iPad message instead of just calling her granddaughter, and argue the whole thing works precisely because Robby never decided why — the best writing choices are the ones you don't consciously make.
EPISODE SUMMARYThis week on The Arc, an elderly woman records a message to her granddaughter on an iPad, and somehow that's the whole play — no plot, just a furious 67-year marriage's worth of regret, delivered in ten minutes. Robby wrote it under deadline pressure and still isn't sure it's finished, but we argue it's close to perfect, right down to a running gag lifted from David Mamet. You don't need to have read the script first, though we give you the link if you want to.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryRobby wrote a ten-minute play called Hymns to the Obvious, and this episode is the three of us sitting inside it — the script, the staging, the drinks after with the performer and the playwright — trying to figure out how a thing with almost no plot ends up being all story. Janice Tenexis is a woman in a nursing home recording a video reply to her granddaughter's letter asking for relationship advice, while the attendant, Teresa, quietly narrates the whole thing and, less quietly, the transfer papers sitting on Janice's desk. Janice was married sixty-seven years to a man whose optimism annoyed the hell out of her, and only now, too late, does she miss him. She hates ducks. She calls people morons and figures they know where she stands. She describes a town singing hymns in the church of the obvious and slinging gin fizzies at the cocktail lounge of heavenly matches — lines so good that one of us threatened to get a tattoo of one.
What the conversation is actually about is where writing comes from and when you're allowed to stop. Robby says he writes characters the way he wishes people existed — more patient, more articulate — and that the best line in the play arrived because he heard Janice say it, not because he built it. There's a running device where every mention of the senior center drags along the name of the town and its elementary school and a mandatory "Go Hooks," which the actress found nearly impossible to perform and which Robby refused to cut, because some things feel too good to let go. Cole calls that bit the closest the play gets to the Platonic form of a play itself; Jaclynn, who's realized she can only ever write in her own voice and has made peace with it by embodying the cruel voices in her head instead, keeps circling how you get the picture in your head out into the world without losing it.
The best part, and the reason to spend the time, is Cole asking why Janice records a video instead of just calling — a question so pointed it plays like a profound story choice, until Robby admits, flatly and repeatedly, that he never thought of the other options at all. Cole cannot stop making it worse. It becomes a small essay on the difference between what an artist intends and what an audience swears they meant, complete with a Phoebe Waller-Bridge appearance and Dad digging the hole several feet deeper before anyone can get him to put down the shovel. If you found this searching for the film, know that we treat ten minutes of it more seriously than most people treat features — and that Robby blushes on tape at least once.
CREATIVESRobert Weinstein — PlaywrightThe Barrow Group — Producing TheaterFull cast and director information was not available for this production.
SOURCE MATERIALHymns to the Obvious is an original short play written by Robert Weinstein — our far too humble host and resident storytelling teacher — performed by The Barrow Group. Read the play here.
FUN FACTS / PRODUCTION TRIVIAThe recurring "Go Hooks" civic-pride tic that drives Janice crazy is explicitly modeled on a device from David Mamet's State and Main — that film's fictional town of Waterford has its own nonsensical all-purpose chant, connected to the town's history, with "Go you Huskies!" serving as the town's all-purpose rallying cry. Critics have noted this is a hallmark of how Mamet builds comedy through repetition, misdirection, and his own unique dialogue rhythm rather than punchlines — precisely the mechanism Robby borrows for the "Palmer McKinney" refrain.
The Stephen Colbert/Phoebe Waller-Bridge anecdote we use to describe Robby's unintentional depth is also real. During a 2020 remote interview, Colbert asked Waller-Bridge what the fox in Fleabag means, and she declined to answer, then asked Colbert what he thought it meant. Colbert offered that he thought the fox was the "Hound of Heaven," then recited the Francis Thompson poem of that title as his evidence, and Waller-Bridge said she was "completely blown away," responding "Yes, that's what it is!" — she then asked him "Can you do that whenever anyone asks what I said the fox was?", essentially adopting his reading as her own on the spot, which is the exact dynamic we are pointing to when we compare it to Robby's iPad choice.
Sources:
- https://www.avclub.com/david-mamet-s-state-and-main-engineers-a-perfect-punchl-1798240443
- https://collider.com/stephen-colbert-phoebe-waller-bridge-fleabag-fox-explained/
- https://startefacts.com/news/stephen-colbert-s-take-on-fleabag-s-biggest-mystery-is-so-lit-even-phoebe-waller-bridge-gave-up_a138
RELATED ARC EPISODESNew to The Arc? Start with Episode 02: The Fantastic Four if you like Marvel movies — and want to hate us forever and tell your friends how lame we are.
SOUND DESIGN ATTRIBUTIONCRWDReac_Crowd Mmm In Agreement 01 by ShangusBurger | License: Creative Commons 0
CRWDApls_Snapping 02 by ShangusBurger | License: Creative Commons 0
-
We put Jaclynn's favorite writing-room legend on trial — that Phoebe Waller-Bridge scrapped three finished episodes of Fleabag season 2 to open on a 90-second dinner-table gut-punch instead — and end up asking whether "cut everything until you hit the marrow" is a universal law of good storytelling or just a very expensive miracle only one person on Earth could afford to pull off.
EPISODE SUMMARYThis week on The Arc, we spend an entire episode on roughly ninety seconds of television: the cold open of Fleabag season 2, episode 1. What looks like a throwaway montage turns out to be one of the most efficient pieces of writing on TV — three scrapped episodes' worth of story compressed into a single scene — and the conversation spirals into Dickens, Ted Lasso, and whether "cut the first three episodes" is actually good advice or just a nice thing to say. You don't need to have seen Fleabag to enjoy this one, but you'll want to by the end of it.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Amazon Prime Video (streaming with subscription)Apple TV (purchase or rental)Amazon Video (purchase or rental)Home base is Prime, full stop — a fitting arrangement, since the show is currently available streaming on Amazon Prime Video, Amazon Prime Video with Ads, or as a download purchase through Amazon Video and the Apple TV Store. No free option exists anywhere right now, so if Jaclynn's going to keep citing that origin story on a loop, at least Amazon's paying rent for it.
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryThis one isn't a film — it's the first seven minutes of season two, episode one of Fleabag, Phoebe Waller-Bridge's show about a sharp, guilt-ridden woman who talks directly to the camera and would rather make a joke at a grave than admit anything is wrong. What we sat with is a single opening sequence that pulls off something close to a magic trick: a title card ("371 days, 19 hours, 26 minutes later"), a bloody nose in a bathroom, a stranger kneeling on the floor, a woman turning to the lens to tell us "this is a love story" while it looks for all the world like a crime drama — and then ninety seconds that catch you up on a year of a life without ever boring you through it. Waller-Bridge reportedly wrote three full episodes to bridge that gap, decided they were good, and threw them in the bin. The show starts where those episodes would have ended.
That decision is the whole argument, and it's the one Jaclynn has apparently been texting Cole about at 9:47 p.m. on Tuesdays for roughly a decade — "they should have thrown out the first three episodes" being, by Cole's count, the only note she ever gives anything. Watching him get sent over the edge about the note, and then watching Jaclynn quietly walk it back mid-episode — from "this is the measuring stick for all television" to "this is a standard I hold myself to and shouldn't weaponize against writers on a deadline" — is most of what happens here, alongside a genuinely useful detour into why the trick works: the sequence isn't a montage so much as a monologue, a recap, a visual story, and a character reintroduction happening at once, and it only lands because the show already trained you in its own grammar. Robby, mostly, keeps the peace and lands the sharpest observation of the night — that you campaign in poetry and govern in prose, which is to say we critique art in one language and actually make it in a much less glamorous one.
Where it opens up past the clip is the part worth arriving for: Cole once dragged Jaclynn to in-person Edgar Wright screenings to discover she "really likes match cuts"; Jaclynn once handed Cole a technically perfect edit of her own short film and, on his suggestion, threw it out and started over, which is the note enacted on herself. The conversation quietly turns into the thing underneath the argument, which is that the notes we give other people's work tend to be the abusive things we say to ourselves. You do not need to have seen a second of Fleabag to follow any of it. Five minutes in, you'll probably want to.
WHAT WE DISCUSS00:00 — Cold Open
The two hosts joke about a scrapped earlier recording and a habit one of them has of texting angry complaints mid-edit, then explain that this episode centers on the opening minutes of Fleabag season two because one host, Jaclynn, so often cites it as an example of a show that should have cut its first few episodes that the other host, Cole, wanted to finally unpack that recurring reference on air.
02:15 — Jaclynn's Only Note Ever
One host teases the other for repeatedly bringing up the same recurring piece of writing advice about a five-minute scene, joking that it's practically her only criticism of anything she watches, while she pushes back that she has plenty of other notes and defends this one as a genuinely useful lesson about starting a story in the middle, drawn from her improv background and her admiration for Phoebe Waller-Bridge's writing.
04:18 — Phoebe Waller-Bridge Wrote Three Full Episodes & Threw Them Out
The hosts discuss how Phoebe Waller-Bridge scrapped three fully written episodes that would have caught viewers up on a year of missed story, and instead compressed that information into a brief opening title card and the first few minutes of the season, with the two agreeing that cutting the completed material, rather than using it, made the season stronger and reflects a broader creative principle that not everything a writer produces needs to make it into the final work.
06:43 — Jaclynn Taking Her Own Note
The hosts discuss how Jaclynn, one of the podcast's participants, redid a "technically perfect" edit of her short film after being told it felt boring and impersonal, deliberately making it messier and funnier instead, which leads into a debate about whether the film's opening sequence counts as a montage, with one host arguing it's actually a more sophisticated device that gives the audience information quickly without being tedious, while another host is teased for how strongly he reacts to praise of that opening.
10:57 — Why Cole Was "Sent Over The Edge"
One host admits to firing off angry texts late at night when a TV show frustrates her, then the two hosts get sidetracked into recalling how Cole once dragged her co-host to Edgar Wright screenings, before circling back to debate a comparison someone made between modern serialized TV and Charles Dickens's newspaper serials, with one host countering that Dickens wrote that way because he was paid by the word, not for artistic reasons, and they end up agreeing that the comparison isn't really a compliment to TV writing but rather an observation about writing to fit a commercial format.
16:09 — Beat-By-Beat Breakdown
The two hosts walk through the opening minutes of the Fleabag season two premiere shot by shot—the bathroom scene with the bloody nose and the priest's offscreen voice, Fleabag's fourth-wall line "this is a love story," and the rapid 90-second dinner-party montage—then discuss how the show's established visual shorthand and fourth-wall device let it convey a season's worth of character updates almost instantly, before comparing how season one ended on an unresolved, non-redemptive note versus season two's more resolved arc.
25:49 — Robby's Practical Side
The two hosts debate whether Phoebe Waller-Bridge's famous habit of discarding good material to find the best version of a story is a realistic standard to hold all writing to, with one host admitting she initially found the advice frustrating because it glosses over how hard and expensive that kind of ruthless editing actually is, before they settle on treating it as a personal aspiration rather than a universal rule, and one host connects this to lessons on storytelling efficiency learned from working in Broadway marketing, where a show has to be pitched in 30 seconds.
33:20 — Robby Quotes Cuomo & Predicts Mamdani's Victory Speech
Robby recites the Mario Cuomo line about campaigning in poetry and governing in prose that Mamdani used in his victory speech, and this leads us into a discussion of how criticism tends to be poetic while actually making art is more like prose work, with one host admitting he once wrote harsh, regretted reviews for a site called newyorktheater.com.
CHAPTERS / TIMESTAMPS0:00 - Cold Open
2:15 - Jaclynn's Only Note Ever
4:18 - Phoebe Waller-Bridge Wrote Three Full Episodes & Threw Them Out
6:43 - Jaclynn Taking Her Own Note
10:57 - Why Cole Was "Sent Over The Edge"
16:09 - Beat-By-Beat Breakdown
25:49 - Robby's Practical Side
33:20 - Robby Quotes Cuomo & Predicts Mamdani's Victory Speech
35:13 - Outro - Robby Tries & Fails To Be Mean
CREATIVESPhoebe Waller-Bridge — Writer — also: Killing Eve,... -
THE ARC'S TAKE
We bring on an actual Chicago improviser to argue that "Don't Think Twice" gets the community right and the improv itself completely wrong — and end up debating whether the film's jealous, unsupportive troupe is a realistic portrait of ambition or just a group chat full of people who need therapy.
EPISODE SUMMARYThis week on The Arc, Sophie Long joins the crew from Sydney by way of Chicago improv school to talk about Mike Birbiglia's "Don't Think Twice" — a movie about a scrappy improv troupe that fractures the moment one member gets cast on a Saturday-Night-Live-style show. The conversation drifts from Buddhist sand mandalas to who actually deserves to make it, and lands somewhere between jealousy, capitalism, and what it means to be happy for your friends. You don't need to have seen the film, or done a single improv class, to follow along — you just need to have ever wanted something a friend got instead.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Netflix (streaming with subscription)Tubi (free streaming)Amazon Prime Video (rent or purchase)Apple TV (rent or purchase)Google Play (rent or purchase)Fandango at Home (rent or purchase)
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
A Long SummaryDon't Think Twice is Mike Birbiglia's 2016 film about a New York improv troupe called The Commune — six people who love each other, do bits together, pat each other on the back and say "got your back" before every show — right up until a scout from Weekend Live (the film's Saturday Night Live) sends two of them to audition, and only one gets cast. From there the group's whole gravity shifts. It's ostensibly a movie about improv, but what it's really about is jealousy, capitalism, and whether any of this is fair: some people make it, some people don't, and Birbiglia's own line for it is that "life is capitalism." Keegan-Michael Key, Gillian Jacobs, Chris Gethard, Kate Micucci, and Tami Sagher fill out a genuine ensemble — the kind you could rewatch six times, once from each person's point of view, and get a whole coherent story every time.
For this one we brought in our first guest, Sophie Long — an improviser and solo-show artist who came up in Chicago (where, as we keep insisting, comedy is born) and now lives in Sydney, and who happens to have actually met and worked with Jaclynn at Second City back when the two of them were hugging at parties promising each other they'd be on Saturday Night Live in five years. Which is the exact plot of this movie. Jaclynn is in this movie — she's in the scene where Ben Stiller shows up — so we had someone on the call who watched them shoot it methodically, camera angle by camera angle, and can confirm the film contains no actual improv and that the fake improv isn't good, which the four of us agreed was hilarious given the subject. We got Sophie to define "mandala" for the 99.9% of us who needed it, argued about whether the improv onscreen reads as New York or Chicago, and watched Jaclynn declare, with total conviction, that she hated every single character and they all need therapy and new friends — which turned out to be the most useful thing anyone said all night, because it's the same self-sabotaging jealousy the movie is quietly about.
The honest disagreement is the whole episode. Robby found Gethard's character — the one working the Whole Foods samples counter by day, torn between ambition and a father he loves — profound, and Cole (who claims not to find funny things funny, and avoids them for that reason) recognized the double life of the retail job from his own before he met these two. Jaclynn saw her own shadow in Miles and couldn't forgive him for it; Sophie, who trained as a therapist and talks about improv as a Buddhist mandala with a straight face, saw two wolves inside every one of them and landed somewhere gentler. If you've ever been in a room full of talented friends and felt happy and jealous at the exact same time, this is the conversation about it. And yes — we're apparently doing Crocodile Dundee next, a film exactly one person in this conversation has seen.
CREATIVESMike Birbiglia — Director & Screenwriter — also known for: Sleepwalk with MeMike Birbiglia — ProducerMiranda Bailey — ProducerAmanda Marshall — ProducerIra Glass — Producer — creator of NPR's This American LifeJoe Anderson — Cinematographer
CASTKeegan-Michael Key — Jack — Known for Key & PeeleGillian Jacobs — Samantha — Known for Community, LoveMike Birbiglia — Miles — Known for his stand-up and storytellingKate Micucci — Allison — Known for Garfunkel and Oates, The Big Bang TheoryChris Gethard — Bill — Known for The Chris Gethard ShowTami Sagher — Lindsay — Known for writing on 30 Rock and Inside Amy SchumerCameos: Lena Dunham, Ben Stiller, Pete Holmes
AWARDSCritics' Choice Award: Best Comedy — NOMINATIONThe film also holds a 100% score on Rotten Tomatoes from its initial release — not an award, but worth noting alongside the above.
FUN FACTS / PRODUCTION TRIVIAFour of the six lead actors—Keegan-Michael Key, Chris Gethard, Tami Sagher, and Birbiglia himself—came in with real improv backgrounds, but Gillian Jacobs and Kate Micucci had none; Birbiglia explained that "four of the six key cast people had improv experience," while "the two that didn't were" Jacobs and Micucci. [Source]
The stage-set improv scenes weren't shot like typical dialogue coverage — Birbiglia had a Steadicam operator stay at eye level with the actors on stage the whole time, specifically so the audience would feel like "the seventh member of the group" rather than a spectator watching a play. The film's line about art and money traces back to his wife's real comment after watching his UCB improv group perform, pointing out that everyone in the group was "sort of equally funny and talented," yet some were on Saturday Night Live or movie stars while others were "barely paying their rent." [Source]
Gethard's own life practically mirrors his character's arc: his real-life friendship with Bobby Moynihan survived and thrived since Moynihan got SNL while Gethard didn't, and his own group, The Stepfathers, also saw Zach Woods leave for The Office. [Source]
WHAT THEY DID NEXTSince Don't Think Twice, Mike Birbiglia has stayed almost entirely in the realm of solo stage-to-screen specials. He premiered The Old Man and the Pool at Chicago's Steppenwolf Theatre in 2022, then took it to Broadway and later London's West End, before it premiered on Netflix in November 2023. That special picked up real awards attention — it earned a 2024 Emmy nomination for Outstanding Writing for a Variety Special. He followed it with another one, as his fourth Netflix special, "The Good Life," premiered on May 26, 2025. Outside his own specials, he's kept busy as a producer and supporting player — serving as executive producer on Alex Edelman: Just for Us and on Jacqueline Novak's Get on Your Knees, and acting in films like A Man Called Otto.
We haven't covered The Old Man and the Pool yet — but we probably should.
FAMOUS QUOTES"[T]he biggest thing to get over is the fear. I think every improviser has that." — Rachel Dratch, as quoted on IMDb [Source]
Critic Sheila O'Malley, writing for RogerEbert.com, connected the film's spirit of generosity to a broader idea about how people might treat one another:
"What would it be like if we accepted one another's contributions with generosity and openness?" — Sheila O'Malley, RogerEbert.com [Source]
RELATED ARC EPISODESNew to The Arc?...
-
We argue about whether Freaky Friday is a "film" or a "movie" — Cole makes his case on the strength of the cinematography, Robby makes his on how much interior life every character gets — and end up crying, more than once, over a body-swap comedy we all showed up ready to make fun of.
EPISODE SUMMARYWe revisit Freaky Friday (2003) fresh off watching its sequel, Freakier Friday, and only one of us had actually seen the original before this rewatch. What starts as an on-air apology for past dismissiveness turns into a genuine argument over whether this counts as a "film" or just a "movie," a serious question about what communication even means, and a Britney Spears tangent that goes places — including Robby's confession about his own "sexy Britney Spears summer" teaching English in Italy. We also own up to the film's -isms (racism, classism, ageism, all present and accounted for) while still landing on it as an early-2000s classic despite them. You don't need to have seen either Friday to enjoy this one — but you'll probably want to watch the Jamie Lee Curtis café scene again immediately after.
WHERE TO WATCHStreaming availability as of 2026-07-05.
Disney+ (streaming with subscription)Prime Video (rent or purchase)Apple TV (rent or purchase)Google Play (rent or purchase)Fandango at Home (rent or purchase)
New To The Show?New episodes of The Arc arrive roughly once a week, but they are ephemeral beings that sometimes take longer — you're encouraged to start from the beginning with Episode 01: The Princess Bride.
RSS
Or since you liked Freaky Friday (2003), try Freaky Friday (1976) — the original adaptation of the same Mary Rodgers novel, and the film this one remade.
A Long SummaryFreaky Friday, the 2003 one, is the body-swap comedy where Jamie Lee Curtis and Lindsay Lohan wake up in each other's lives — an overworked psychologist mother and her band-playing, misunderstood teenage daughter — and have to survive a day as the other person. It's a joyful Disney movie made by two actors at the height of their powers, and it does the thing the genre keeps failing to do: the reveal is an actual reveal, the waking-up-in-the-wrong-body shot is filmed with a queasy, disoriented camera hug pulled straight out of the commercial-world playbook, and the alarm-clock open Robby swears no screenwriter should ever be allowed to use again somehow earns its keep. We came back specifically to talk about Chad Michael Murray, and we're not sorry.
The central argument of the episode is whether Freaky Friday is a "film" or a "movie" — Cole's case rests on the cinematography, which he thinks is more disciplined and purposeful than the genre gets credit for; Robby's case rests on the fact that every character, even the small ones, gets a real interior life instead of a punchline. Underneath that argument is the thing the movie keeps raising and then refusing to dig into — a kid grieving a dead father while her mother remarries three years later, a daughter who's provided for and not once seen or heard. Robby, who has a master's in communication, kept wanting the film to fire the guns it kept loading; Jaclynn made the case that the earthquake only shakes the two of them because they're the only two who matter to each other yet, and pulled it back to empathy and the cafe scene where a forty-year-old woman is flirting with a nineteen-year-old boy and the movie just... lets it sit; Dad, whose own inner critical voice he'll tell you died about a year ago, cried at the beginning, at a rich kid whose needs simply don't register — and honestly, all three of us cried more than once rewatching this. Somewhere in there is the "money buys happiness up to a point" detour (with an impromptu sketch to go with it), a Britney Spears origin story that stops the whole episode cold because there's genuinely no way to make fun of it, and Robby's own confession about a "sexy Britney Spears summer" spent teaching English to teenagers in Italy while she was inescapable.
Robby and Cole originally saw this in a theater packed with teenage girls and their mothers, and both still want a T-shirt that just says "Jaclynn is making me see this movie." We don't pretend the film's -isms — the racism, the classism, the ageism, all quietly present — aren't there; we just land, collectively, on it still being an early-2000s classic anyway. We are three friends — Cole, Robby, Jaclynn — who take movies far too seriously on purpose, then watch that seriousness collapse into the group chat we actually are. You do not need to have seen Freaky Friday to follow along, though we'd bet five minutes in you'll want to. Bring the nostalgia cupcakes. Root canal — that's not fair, they're not our teeth.
WHAT WE DISCUSS00:27 — What You Need To Know Before Watching
The hosts introduce Freaky Friday (2003) as a nostalgic, era-specific mother-daughter body-swap comedy, with one host admitting she'd previously dismissed the film but has now warmed to it and jokingly apologizes to her co-host for having been dismissive, while another says she still didn't enjoy it despite being impressed by the detail her co-hosts brought to discussing it.
01:39 — What Robby, A Storytelling Teacher Thinks
Robby, who teaches storytelling, explains that he judges finished, professionally made work more harshly than students' rough drafts, and uses that framing to praise the film's tight, economical structure and a well-executed reveal, before the group compares it to its "Freakier Friday" remake, debating whether an aging-related joke lands as funny or feels mean in each version, and closes by joking that the original barely even counts as a "movie."
08:12 — Is "Freaky Friday" A Film or a Movie?
The hosts debate whether "Freaky Friday" (2003) counts as a "film" versus a "movie," then dissect specific technical choices — the opening alarm-clock cliché, a torso-mounted tracking-camera shot they compare to the British show "Peep Show" and to cinematographer Matthew Libatique's work, and an earthquake gag that only some characters notice — with one host offering a defense of the earthquake's inconsistent logic as reflecting the mother-daughter relationship, while the others push back that the film raises serious emotional stakes (grief over the dead father) without fully following through on them.
18:18 — When Did We All Cry?
The hosts go around sharing which specific moment in the movie made them cry — pointing to a speech, a guitar scene, and a father's emotional admission — then debate whether the daughter's storyline about feeling unseen by her mother despite material comfort was more emotionally effective than the film's ending, while also picking apart a plot inconsistency about whether the rehearsal dinner or the wedding itself is supposed to be the "most important day," and questioning whether the mother remarrying so soon after the father's death, and dismissing her daughter's big audition, reads as bad parenting.
23:30 — Does Money Buy Happiness + Sketch
The hosts riff on the "money buys happiness only up to a point" statistic to mock a movie character's trivial rich-person problem, then act out a mocking sketch about it, before shifting into a semi-serious discussion of how the film (and their own podcast) tends to introduce heavy topics like dead parents without really sitting with them, which leads one host to reference his mother's recent death and the group to briefly worry, half-joking, that they do the same emotional-deflection thing on their own show.
27:41 — Serious Question: What Is Communication?
The hosts, one of whom mentions holding a master's degree in communication, debate what "communication" actually means, agreeing it involves listening and responsiveness rather than just stating one's feelings out loud, and they use a scene from the film where the mother asks her daughter about a boy but then criticizes her answer as an example of someone claiming to want communication while actually shutting it down.
31:04 — The Big Takeaway: Chad Michael Murray
The hosts discuss how the film includes an unnecessary male love-interest subplot, then dig into the cafe scene where Jamie Lee Curtis's character (Lindsay Lohan in her body) flirts with Chad Michael Murray's character, debating whether the actress's performance worked, sharing their own real-life stories of inappropriate teacher-student flirtations, and ultimately criticizing the scene for playing the "older woman flirting with a teen" awkwardness for a beat and moving on rather than using it to deepen the mother-daughter relationship at the story's core.
35:03 — Jaclynn's Love of BRITNEY SPEARS
Jaclynn explains to her co-host why Britney Spears means so much to her, describing how her resemblance to Spears in college became a running joke and identity among...
- Laat meer zien
