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In EP 324 Matt and Bob dive into Nathan Fielder and Lance Oppenheim's the much-discussed documentary You Can See Everything, unpacking its dizzying layers of performance, media manipulation, and the strange dynamic between Nathan Fielder and Elizabeth Holmes. Is Loz Holmes a calculating con artist, a self-deluded visionary, or something far more complicated, while highlighting the film’s genre-bending approach that has audiences debating every scene. They also review Judd Apatow’s Norm Macdonald documentary, on Netflix, celebrating the late comedian’s brilliance, fearlessness, and enduring legacy through a hilarious and unexpectedly moving collection of career-defining moments.

Episode 323: Digger, Primetime & the Art of the Hollywood Flop (ft. Greg Ott) Is Digger a misunderstood masterpiece or one of the most expensive disasters in Hollywood history? This week on The Analysis, Matt and Bob welcome back friend of the pod (and occasional sworn enemy) Greg Ott for a heated debate over Tom Cruise's wildly divisive new film. The guys break down the movie's bizarre marketing campaign, ambitious storytelling, shocking twists, and whether a film that's intentionally unfunny can actually be brilliant. Is Digger destined to become a cult classic, or is Hollywood confusing artistic ambition with entertainment? Then, the conversation shifts to Primetime, with Robert Pattinson taking on the role of To Catch a Predator host Chris Hansen. Greg brings his encyclopedic knowledge of the infamous television series as the crew explores Pattinson's performance, the dark side of television fame, and the dangerous intersection of ambition, exploitation, and entertainment. Plus, the guys revisit the glory days of Blockbuster, debate whether streaming has ruined how we discover movies, compare Hollywood's biggest financial disasters, and ask whether audiences have lost their patience for films that take big creative swings. Two controversial movies, one special guest, and plenty of arguments. Is it better to make a forgettable hit or an unforgettable flop? Find out on Episode 323 of The Analysis.

After nearly becoming a Hollywood tax write-off, Coyote vs. Acme finally escaped the Warner Bros. vault—and Rob "Rubber Duck" Grabowski joins Matt and Bob to decide whether the movie was actually worth saving. The guys break down the bizarre journey that nearly kept the film from ever being released, why a courtroom drama starring Wile E. Coyote works better than it has any right to, and how the movie manages to find genuine heart inside decades of ACME explosions, falling anvils, and failed Road Runner schemes. They debate whether the movie should have leaned even harder into Will Forte’s brand of absurd comedy, how it stacks up against Who Framed Roger Rabbit and Space Jam, which Looney Tunes cameos actually work, and the surprisingly emotional relationship between Wile E. Coyote and the Road Runner. Plus: Is it “Meep Meep” or “Beep Beep”? Does Rob actually hate Dune? Why didn't Bob Odenkirk show up in an Albuquerque courtroom? And which cartoon character is everyone most attracted to? Somehow, a movie about a cartoon coyote suing ACME turns into a conversation about corporate Hollywood, failure, friendship, persistence, and why sometimes you should just release the damn movie.

Have a Negroni, have two, and get the cream sauce. Matt and Bob are back to review Tony, the new Anthony Bourdain biopic starring Dominic Sessa. Rather than attempting the usual cradle-to-grave biopic, the film zeroes in on one formative summer in a young Bourdain’s life—before Kitchen Confidential, No Reservations, and Parts Unknown turned him into a cultural icon. The guys discuss why the movie works surprisingly well as a Bourdain origin story, Dominic Sessa’s tricky task of capturing the essence of Bourdain without doing an impression, Antonio Banderas’ scene-stealing mentor performance, and the film’s blend of The Bear with the laid-back coming-of-age energy of Richard Linklater. They also dig into the movie’s ideas about food, community, selfishness, and the experiences that eventually shaped Bourdain’s worldview. Plus: callbacks to Kitchen Confidential, why Dominic Sessa desperately needs to escape the 1970s, Matt’s encounter with Leonardo DiCaprio, and the triumphant return of an Analysis Awards category: Biopic That Was Worth a Shit.

Barry Irving returns to The Analysis to break down Spider-Man: Brand New Day and ask the big question: did Marvel actually deliver the definitive Tom Holland Spider-Man movie—or did the MCU get in its own way? Bob and Barry dig into Peter Parker’s new life of loneliness and isolation, why the quieter street-level Spider-Man moments work better than the massive action sequences, and whether Brand New Day wastes its clean slate by turning into an X-Men setup halfway through. They debate Jean Grey’s role as the film’s antagonist, Jon Bernthal’s Punisher, the return of Ned and MJ, Hulk’s strange regression, Peter’s darker turn, and why Spider-Man’s actual rogues gallery continues to sit on the sidelines. Plus, Barry breaks down that mysterious post-credit scene and what it could mean for Doomsday, Secret Wars, Battleworld, and the possible return of all three live-action Spider-Men. Is Marvel finally building momentum again? Is superhero fatigue actually just mediocre-movie fatigue? And after a summer of Spider-Man, The Odyssey, Project Hail Mary and more, have we finally reached the most important conclusion of all? Movies are back, baby.

Grab your Trojan helmet and hop aboard—the guys are diving headfirst into Christopher Nolan's The Odyssey! From jaw-dropping practical effects and epic battle sequences to Matt Damon's powerhouse performance, Zeus's Law, and whether this is Nolan's greatest achievement yet, there's a lot to unpack. We break down our favorite scenes, biggest surprises, a few nitpicks, and why this 3,000-year-old story might just become the defining blockbuster of a generation.

Bob is joined by E.M. Davis and Brittney Brown to discuss one of the year's most compelling relationship dramas. Together, they explore the film's performances, themes of marriage, communication, and artistic ambition, along with its emotionally layered ending. It's a thoughtful, spoiler-filled conversation about love, vulnerability, and the choices that shape our lives.

This week, Bob and Matt are completely divided. Matt finds plenty to love, praising the film's humor, Conan O'Brien's scene-stealing performance as Smarty Pants, and its attempt to explore kids' relationship with technology. Bob, meanwhile, argues that *Toy Story 5* is an unnecessary cash grab that buries its best ideas beneath an overcomplicated plot, manipulative emotional beats, and diminishing returns from a franchise that already delivered one of the greatest endings of all time with *Toy Story 3*. The guys debate whether Buzz and Woody are the secret ingredient to every great *Toy Story* film, whether the movie says anything meaningful about screen time and childhood, and if Hollywood's obsession with legacy sequels is finally catching up with Pixar. Plus, they break down the funniest moments, the strangest plot twists, Tim Allen's enduring Buzz Lightyear performance, and ask the biggest question of all: **Can Toy Story still justify existing after Toy Story 3?**

Matt and Bob break down Steven Spielberg’s latest sci-fi blockbuster Disclosure Day and find themselves on opposite ends of the spectrum—Matt embraces its hopeful, old-school Spielberg charm while Bob calls it his most disappointing movie of the year. The conversation dives into whether Spielberg’s optimism still resonates in a modern audience, the film’s handling of alien disclosure, and why Emily Blunt continues to prove she's one of the most compelling actresses working today. Along the way, they debate Spielberg’s legacy, the future of blockbuster filmmaking, and whether Hollywood’s legendary directors are beginning to hand the reins to a new generation.

Bob welcomes back our old friend Spenser Davis to discuss Obsession, the breakout indie horror sensation that turned a $750,000 budget into one of the year's biggest success stories, while exploring what its rise says about the future of independent filmmaking. Together they unpack the film's themes of codependency, obsession, and the dangerous pursuit of getting exactly what you think you want, breaking down Bear's descent from sympathetic romantic lead into something far more sinister. Plus, they discuss horror as modern allegory, the power of creative limitations, and why original genre films continue to connect with audiences in ways that many blockbuster franchises cannot.

Episode 314: Beef Season 2 This week, Matt and Bob dive deep into Season 2 of Beef — unpacking its brutal class commentary, surreal comedy, and emotionally devastating character arcs. From country club elitism and generational resentment to relationships poisoned by ambition, the hosts explore why this season feels like a spiritual cousin to The White Lotus while carving out its own chaotic identity. They discuss standout performances from Charles Melton, Oscar Isaac, Carey Mulligan, and Kaylee Spaney, the season’s themes of selfishness vs. selflessness, capitalism as emotional corrosion, and why the show’s most haunting moments come from characters realizing they’ve become the very people they hate. Plus: menstruation orange juice, dead dachshunds, ChatGPT physical therapy, Tom Cruise fantasy scenarios, and a detour into HBO’s bizarre murder mystery DTF St. Louis.

Episode 313: The Devil Wears Prada 2 In this episode, we return to the world of high fashion, ambition, and impossible standards as we break down The Devil Wears Prada 2. We explore how the sequel builds on the original’s themes of identity, power, and personal sacrifice—while asking whether success still comes at the same cost in a changed cultural landscape. From evolving workplace dynamics to the legacy of Miranda Priestly’s influence, we dig into what this continuation gets right, where it reinvents itself, and whether it earns its place alongside the original. Is this a natural evolution… or a bold redefinition?

In Episode 312, Bob and Brittney dive deep into “The Drama,” the latest Zendaya-led A24 film, unpacking its unsettling exploration of intrusive thoughts, morality, and how well we can ever truly know the people we love. From uncomfortable questions around guilt vs. action to the social fallout of radical honesty, this episode breaks down why this film leaves audiences arguing long after the credits roll. They also touch on Zendaya’s streak of emotionally complex roles, the weight of modern cultural anxieties in storytelling, and why this isn’t your typical “romance”—it’s a relationship stress test that challenges forgiveness, identity, and truth itself.

Episode 311 dives into Is This Thing On, with a surprisingly heartfelt breakdown of Will Arnett stepping into a raw, midlife-crisis-meets-standup role under the direction of Bradley Cooper. The hosts explore how comedy becomes therapy, why this under-the-radar film works better than expected, and where it stacks up against films like Funny People and Marriage Story. Plus, a quick detour into Nuremberg featuring Russell Crowe, courtroom drama comparisons, and a broader conversation about overlooked movies that are perfect “give it a stream” candidates.

This week, Matt and Bob dive into one of the strangest, most off-the-beaten-path viewing experiences they’ve had in a while: Nirvana the Band the Show the Movie. Going in completely blind, the guys try to make sense of a 20-year comedy bit turned feature film—blending guerrilla filmmaking, Borat-style street chaos, and absurdist Canadian humor. Is it genius or just plain ridiculous? From CN Tower stunts and time-travel hijinks to cult comedy references and low-budget brilliance, they break down what works, what confuses, and why this might be the ultimate “give it a stream” recommendation. Plus, they touch on the challenge of jumping into cult fandoms late, the evolution of comedy formats, and whether this kind of experimental filmmaking still has a place in today’s content landscape. If you’ve ever watched something and thought, “What the hell am I watching… and why do I kind of love it?”—this episode is for you.