the arc.fm

Robby, Jaclynn, Cole
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Join us, three very different types of storytellers with three very different types of personalities, as we bring each other stories of all kinds to break apart and celebrate. In every episode, we're having the best time exploring what makes a story work, why it moves us, and why we can't stop talking about it. It's not analysis. It's not review. And it's something more than just a conversation about one of the things that makes life worth living... stories.

  1. Airplane! - The Greatest Comedy of All Time is Not a Mel Brooks Movie

    −2 d

    Airplane! - The Greatest Comedy of All Time is Not a Mel Brooks Movie

    THE ARC'S TAKEThis 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 Play This 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 / TIMESTAMPS── CAPTIVATE FORMAT (MM:SS.mmm) ──────────────────────────── 00:23.857 Can a Movie Ruin a Friendship? 04:47.239 Robby Actually Reviews The Film! 09:30.653 FUNNIEST MOVIE EVER MADE 11:05.039 WHAT JACLYNN KNEW GOING IN 13:34.147 DID JACLYNN NOT LIKE AIRPLANE??? 17:24.752 Airplane! is a remake? A parody? No?!?! 19:36.759 It's a Dramatic Movie! 20:46.120 Unhinged Mel Brooks Bit 23:30.534 Kareem Abdul-Jabbar Also Makes Fun of Cole 29:00.364 Why Robby Loved The Film This Time Around 30:52.142 When Was Cole In or Out? 34:29.234 Problematic? Not Sooo Much 43:11.923 Dad Explains Post-Modernism Bit 53:17.277 The Meanest Joke Ever? 53:58.652 Jaclynn Flies a Plane ── YOUTUBE FORMAT ────────────────────────────────────────── 0:00 - 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 ── CAPTIVATE PASTE (clean, no labels) ────────────────────── 00:23.857 Can a Movie Ruin a...

    55 min
  2. Back To The Future I - The Original, The Classic, The Most Perfect Movie Ever???

    18 juni

    Back To The Future I - The Original, The Classic, The Most Perfect Movie Ever???

    THE ARC'S TAKEThis 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...

    49 min
  3. Fleabag - The Stage Play (2019): A Deep Dive Review and Analysis For People Who Have Watched Or Intend To Watch The TV Show

    28 maj

    Fleabag - The Stage Play (2019): A Deep Dive Review and Analysis For People Who Have Watched Or Intend To Watch The TV Show

    THE ARC'S TAKEThe 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...

    55 min
  4. Freaky Friday (1976) - Reviewing A Film That AI Doesn't Even Know Exists (UPDATED)

    21 maj

    Freaky Friday (1976) - Reviewing A Film That AI Doesn't Even Know Exists (UPDATED)

    If you are seeing this episode twice it is because the audio has been updated. Thank you/sorry. THE ARC'S TAKEThis episode argues 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...

    48 min
  5. Marty Supreme - Elegant Chaos

    14 maj

    Marty Supreme - Elegant Chaos

    THE ARC'S TAKEThis 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) —...

    39 min
  6. Project Hail Mary - Is "Very, Very Different" from The Martian

    26 mars

    Project Hail Mary - Is "Very, Very Different" from The Martian

    THE ARC'S TAKEThis 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...

    43 min
  7. Sinners - The Scariest Thing In This Oscar-Winner Isn't The Vampires

    16 mars

    Sinners - The Scariest Thing In This Oscar-Winner Isn't The Vampires

    The scariest thing about Sinners isn't the Vampires... Robby loves horror movies, and he's loved rooting for the Best Original Screenplay Oscar ever since he was in high school. Jaclynn loves allegory, loves metaphor, and hates institutionalized evil so this was the perfect story for her. Cole loves technically complicated storytelling and cinematography so he has things to say as well. . You know who has even more to say about his movie? Ryan Coogler! Below are links to full length interviews with the writer, himself, that the episode uses a few quotes from: Hanna Flint - Ryan Coogler talks Sinners, Vampires, and Capitalism On Film - with Kevin McCarthy - Autumn Durald Arkapaw talks Sinners, Cinematography, IMAX, and more.

    32 min
  8. Back To The Future II - Spring Forward Out Of Order Into 2015

    8 mars

    Back To The Future II - Spring Forward Out Of Order Into 2015

    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).

    52 min
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Om

Join us, three very different types of storytellers with three very different types of personalities, as we bring each other stories of all kinds to break apart and celebrate. In every episode, we're having the best time exploring what makes a story work, why it moves us, and why we can't stop talking about it. It's not analysis. It's not review. And it's something more than just a conversation about one of the things that makes life worth living... stories.

Information

  • Skapad av
    Robby, Jaclynn, Cole
  • Aktiva år
    2025 - 2026
  • Avsnitt
    26
  • Åldersgräns
    Vuxet innehåll
  • Copyright
    © Copyright 2026 Robby, Jaclynn, Cole
  • Programmets webbplats
    the arc.fm