After making his MCU debut in Civil War, Tom Holland was given his own full-length cinematic debut with Spider-Man: Homecoming the following year. It was a big success for Marvel and well-liked, but what purpose does it serve beyond wedging everyone's favorite neighborhood superhero into the overall MCU? Guest and industry insider Ivan Calixto joins the pod to talk about his experience working on the trailer for this film.

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In a first for the podcast, we're hitting the Kalshi prediction market. Our first predictions are for two films releasing very soon: The Odyssey and Spider-Man: Brand New Day.

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The 20th Bond film was supposed to be a celebration of the series. Die Another Day was an enormous financial success but ended up being Pierce Brosnan's final film. EON decided to reboot the series. But why? Did Brosnan deserve another shot? Why wasn't it better? Guest Kai Wang returns to the podcast for our Season Eleven premiere as we discuss Die Another Day.

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Miami Vice should have been a slam dunk. Michael Mann adapting his own iconic television series with Colin Farrell and Jamie Foxx in the lead roles sounds like a guaranteed hit. Instead, audiences got a moody, digitally-shot crime film that cared far more about atmosphere, professionalism, and vibe than plot or nostalgia. But over the years, the movie has developed a passionate following. Mojito fiend and Certified Mann Fan Garret Ohringer is here to proclaim his love for Miami Vice.

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In 1996, Arnold Schwarzenegger teamed up with director Chuck Russell for Eraser, a gloriously over-the-top 90s action movie filled with railguns, alligators, witness protection conspiracies, and Arnold one-liners. And yet… despite being a box office success, Eraser rarely comes up when people discuss Arnold’s best movies. It arrived right at the tail end of his run as the king of action cinema, just before audience tastes — and Arnold’s career — started to shift. Guest Adam Hecht is here to discuss.

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Cahill U.S. Marshal is one of the lesser-known late-career John Wayne westerns, and for good reason. Released during a period when the Western genre was rapidly evolving, Cahill feels caught between old-school Wayne heroics and the grittier, morally complex revisionist Westerns audiences were beginning to prefer. Why didn’t it leave more of an impact? Why has it largely faded into obscurity among Wayne’s filmography?

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On this bonus episode, we’re breaking down Hoppers, a weird, funny, and surprisingly unpredictable original that feels like a throwback to when Pixar wasn’t afraid to experiment. It’s not top-tier, but it’s exactly the kind of risk-taking, offbeat storytelling we’ve been missing. Is this the direction Pixar should be heading in?

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Season Ten is all wrapped up. join us as we give our traditional recap and preview what's on deck for next season.

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