Eavesdropping at the Movies

Jose Arroyo and Michael Glass

"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.

  1. Aug 30

    481 - Teenage Sex and Death at Camp Miasma

    Horror is surely the most deconstructed genre in film, the slasher the most deconstructed subgenre therein, and Teenage Sex and Death at Camp Miasma may be the most deconstructy of all such cinematic deconstructions. It tells the story of a young, queer, indie filmmaker hired to resurrect a problematic slasher series of yesteryear, the Camp Miasma films, which feature a box-headed villain who periodically emerges from a lake to murder teens who are drinking too much and forcing themselves on each other. Attempting to decide what she wants her reboot to be, she revisits the first film and meets its reclusive star, the enigmatic look in whose eye, in that first film, she's desperate to understand. Mike gets on with Teenage Sex and Death; José does not. What José finds cutesy and aimless, Mike sees originality and charm in. Writer-director Jane Schoenbrun is keen to have their cake and eat it, building in criticism of Gen Z-esque reevaluations of old media by modern standards while engaging in them all the same. This is a film loaded with irony - but its love of its subject matter is obvious. It's easy to argue that Teenage Sex and Death is at odds with itself when its former final girl (a delightfully drawling, glamorous Gillian Anderson) encourages the visiting filmmaker to cast off her intellectual pretensions and simply enjoy the "flesh and fluids", but it's a film that has plenty of room for ambiguity and blurring of the lines between points of view, and reality, media and fantasy. To some, the ambiguities will be approached as a problem to solve - just what is reality and what isn't, at the end of the day? - but for Mike, they're Schoenbrun's way of following Anderson's advice. It's not a perfect film and there will be those to whom it fails to speak at all (one of them is on this podcast), but Teenage Sex and Death at Camp Miasma is at the very least interesting, and an eager addition to the groaning shelves of self-referential horror media. Recorded on 23rd August 2026.

    481 - Teenage Sex and Death at Camp Miasma
  2. Aug 2

    478 - Spider-Man: Brand New Day

    We've tuned out of Marvel on the podcast for a little while, but one of the eternally entertaining superheroes, Spider-Man, reignites our interest with Brand New Day. With Doctor Strange having cast a spell at the end of 2021's No Way Home to make the entire world forget Peter Parker, for reasons that Doctor Strange presumably cast another spell to make us forget, Peter, newly isolated, returns to fighting street-level crime in New York City while pining for his old relationships and suffering severe headaches. Can he revive his former life? Surely it wouldn't be a Marvel film if an enormously significant, cliff-hanging event had permanent consequences. Still, even for those as cynical as it's possible to be about the MCU, Brand New Day has plenty to recommend it. It aims for thematic depth - though how fully that's achieved is up for discussion - and is genuinely moving. Indeed, certain moments move the audience to cheer and applaud, which in turn moves Mike to harrumph bitterly. Destin Daniel Cretton, directing his second MCU entry following Shang-Chi and the Legend of the Ten Rings, demonstrates a gift for working with actors and a strong instinct for staging action, although Cineworld does its best to undermine those virtues with its poor projection. We also return to our discussion of IMAX and The Odyssey, asking whether the frame's envelopment of the visual field impedes filmmakers' ability to express through composition and framing, and considering whether there's something fundamentally anti-democratic about making films whose fullest form can only be experienced at a handful of cinemas around the world. Recorded on 1st August 2026.

    478 - Spider-Man: Brand New Day

Ratings & Reviews

4
out of 5
8 Ratings

About

"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.

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