Movie of the Year

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Movie of the Year is on the hunt to find the best film of each and every year, in the only way that matters: brackets. Join Greg, Mike, and Ryan, as they discuss what makes a film matter now vs when it came out. There will be games. There will be drinks. There will be points. There will only be one Movie of the Year. ", "Movie of the Year is on the hunt to find the best film of each and every year, in the only way that matters: brackets. Join Greg, Mike, and Ryan, as they discuss what makes a film matter now vs when it came out. There will be games. There will be drinks. There will be points. There will only be one Movie of the Year.

  1. 6d ago

    2006 - Little Miss Sunshine (feat Don Shanahan from Every Movie Has a Lesson!)

    Movie of the Year: 2006Little Miss Sunshine (feat. Don Shanahan from Every Movie Has a Lesson!)Little Miss Sunshine Podcast: The Hoovers Hit the BracketThe Little Miss Sunshine podcast episode has arrived, and the Taste Buds are packing into the VW bus. This week, Movie of the Year puts one of 2006's biggest indie success stories through the tournament. Ryan, Mike, and Greg welcome film critic Don Shanahan to help judge the Hoover family's run at the crown. Together, the panel digs into the family dynamics, the unforgettable ending, the film's surprising philosophical streak, and the husband-and-wife directing team behind it all. Additionally, the crew squares off in a round of Trivia and builds a fashion-themed Rushmore. Can a sunny yellow bus carry this movie deep into the 2006 bracket? Push, hop in, and find out. About the FilmLittle Miss Sunshine follows the Hoover family on an 800-mile road trip from Albuquerque to Redondo Beach. Seven-year-old Olive has qualified for the Little Miss Sunshine beauty pageant, and the whole dysfunctional clan piles into a failing Volkswagen bus to get her there. The passenger list includes a failed motivational speaker, a suicidal Proust scholar, a Nietzsche-obsessed teen who refuses to speak, a heroin-snorting grandpa, and one very determined mom. Directed by Jonathan Dayton and Valerie Faris from Michael Arndt's screenplay, the film premiered at Sundance in January 2006. It became a box office sensation, grossing over $101 million on an $8 million budget. Moreover, it earned four Academy Award nominations, including Best Picture. Alan Arkin won Best Supporting Actor, and Arndt took home Best Original Screenplay. RogerEbert.com called it a gentle family satire in the tradition of the countercultural comedies of the 1970s. Now the film faces its toughest challenge yet: the Movie of the Year 2006 bracket. Guest Panelist: Don ShanahanThe Taste Buds welcome film critic Don Shanahan to the panel. Don is a Chicago-based, Rotten Tomatoes-approved critic and the founder of the long-running review site Every Movie Has a Lesson. He also serves as Editor-in-Chief and Content Supervisor of the film department at Film Obsessive. Furthermore, Don co-hosts the Cinephile Hissy Fit Podcast on the Ruminations Radio Network. A school teacher by day, he writes his reviews with life lessons in mind, from the serious to the farcical. Don is a director and co-founder of the Chicago Indie Critics and a voting member of the Critics Choice Association and the Online Film Critics Society. Consequently, few guests arrive better equipped to grade a movie about winners, losers, and everything in between. The Hoover Family at the Heart of the Little Miss Sunshine PodcastEvery great road movie needs great passengers, and this one has six. The panel starts with the family itself. Richard preaches his nine-step winning program while his own career collapses. Sheryl holds everyone together with fried chicken and sheer will. Frank arrives fresh from a suicide attempt, and Dwayne has taken a vow of silence until he becomes a fighter pilot. Meanwhile, Grandpa coaches Olive's pageant routine with methods no pageant has ever approved. The Little Miss Sunshine podcast crew debates what makes this dysfunction feel so real. Notably, the film establishes the entire family in one legendary twenty-minute dinner scene. The Taste Buds and Don break down how each Hoover carries a private definition of failure. Ultimately, the group asks the big question: is this the best movie family of 2006? Breaking Down the Ending on the Little Miss Sunshine 2006 PodcastYou know the scene. Olive takes the stage at the pageant, "Super Freak" drops, and the movie explodes. The panel dedicates a full segment to one of the most famous endings of the decade. By contrast with the polished pageant contestants, Olive's routine is pure chaos, and the family's response is pure love. The Hoovers stop trying to win and start dancing. Don and the Taste Buds debate whether the finale earns its catharsis or leans on shock value. In addition, the crew discusses how the ending flips the film's winners-and-losers thesis on its head. Does the dance number seal the film's bracket run, or does it divide the panel? The episode holds nothing back. Nietzsche, Proust, and the Philosophy of LosingFew crowd-pleasers smuggle in this much philosophy. Dwayne worships Nietzsche and wears his contempt for conformity on his sleeve, or at least on his t-shirt. Frank, meanwhile, claims the title of preeminent Proust scholar in America. The panel unpacks why Michael Arndt built his comedy on these two thinkers. Frank's hospital-parking-lot speech about suffering becomes the film's secret thesis: the years of struggle are the years that make us. However, the movie never turns into a lecture. Instead, it hides its ideas inside gas station stops and highway breakdowns. The crew debates whether the philosophy holds up or simply decorates the road trip. Specifically, they ask what Nietzsche would think of a nine-step program for winning. The Directors: Jonathan Dayton and Valerie FarisHusband-and-wife team Jonathan Dayton and Valerie Faris spent decades directing music videos before this debut feature. Their work with bands like The Smashing Pumpkins and R.E.M. sharpened an eye for visual storytelling on tight budgets. As a result, Little Miss Sunshine looks sun-bleached, precise, and effortlessly funny. The panel examines how the duo directs comedy through reaction shots rather than punchlines. The famous bus-pushing sequence becomes a masterclass in physical comedy and ensemble blocking. Additionally, the group traces the pair's later career through Ruby Sparks and Battle of the Sexes. Why did two music video veterans wait so long for a second film? The panel has theories, and some of them are even kind. TriviaNo Movie of the Year episode is complete without Trivia. The Taste Buds and Don test each other on all things Little Miss Sunshine. Production history, casting near-misses, pageant facts, and VW bus mechanics are all fair game. The film's six-year development saga and its record-setting Sundance sale provide plenty of ammunition. Who takes the crown this week? Listen and find out. Rushmore: FashionThis week's Rushmore segment tackles fashion. Each panelist carves their personal Mount Rushmore of movie fashion into the mountainside. Little Miss Sunshine gives the category a strong starting point. Olive's oversized glasses and red cowboy boots, Dwayne's brutal statement tees, and Richard's aggressively beige wardrobe all deserve consideration. Nevertheless, the panel ranges across all of film history for their picks. Expect passionate defenses, questionable taste, and at least one choice that starts an argument. Why Little Miss Sunshine Still MattersTwenty years later, Little Miss Sunshine remains the gold standard for the crowd-pleasing indie. It proved a tiny comedy could outgross blockbusters and crash the Best Picture race. Furthermore, its skepticism about hustle culture and toxic winning has only grown more relevant. Richard's nine steps sound like half the internet in 2026. The film also launched Abigail Breslin, revived Alan Arkin, and showed the world Steve Carell could break hearts. Above all, it argues that losing together beats winning alone. That message keeps the Little Miss Sunshine podcast conversation alive two decades after the bus first rolled. For more from the season, check out the Movie of the Year 2006 intro episode and the 2006 Mixtape. Related Episodes from Movie of the Year: 2006Movie of the Year 2006: Intro Part 1Movies of 2006: Bracket Reveal and Sweet 16Tristram Shandy: A C**k and Bull Story2006 Mixtape Part IAll Movie of the Year Episodes FAQ: Little Miss Sunshine Podcast and FilmWhat is the Little Miss Sunshine podcast episode about? The Taste Buds and guest critic Don Shanahan judge Little Miss Sunshine in the Movie of the Year 2006 bracket. Topics include the Hoover family, the ending, the film's philosophy, and directors Jonathan Dayton and Valerie Faris. What is Little Miss Sunshine about? A dysfunctional family drives a broken-down VW bus from New Mexico to California so young Olive can compete in a beauty pageant. Along the way, every member confronts their own definition of failure. Who directed Little Miss Sunshine? Jonathan Dayton and Valerie Faris directed the film. The married duo made their feature debut after a celebrated career in music videos. Who wrote Little Miss...

  2. Jul 16

    2006 - The Devil Wears Prada (feat. Katie Walsh!)

    Movie of the Year: 2006The Devil Wears Prada (feat. Katie Walsh!)The Devil Wears Prada Podcast Episode: Fashion, Power, and the Best of 2006Welcome to The Devil Wears Prada podcast episode from Movie of the Year: 2006. This week, the Taste Buds enter the gleaming offices of Runway magazine. Furthermore, they bring backup. Film critic Katie Walsh joins Mike, Greg, and Ryan to decide whether David Frankel's fashion-world comedy can survive the 2006 bracket. Along the way, the panel debates feminism in the workplace, the myth of the suffering artist, and the eternal question of Andy's terrible friends. Additionally, the episode features a full Anne Hathaway Career Retrospective bracket. Consequently, this one runs deep on both style and substance. About the FilmThe Devil Wears Prada arrived in the summer of 2006 and promptly stole it. Director David Frankel adapted Lauren Weisberger's bestselling novel about a young journalist grinding through an impossible job. Anne Hathaway stars as Andy Sachs, an aspiring writer who lands a position at Runway magazine. Her boss is Miranda Priestly, the most feared editor in fashion, played by Meryl Streep in an Oscar-nominated performance. Moreover, Emily Blunt and Stanley Tucci deliver career-launching supporting turns. The film earned over $300 million worldwide and near-universal acclaim. Notably, Roger Ebert praised Streep's icy, understated Miranda as the engine of the whole picture. For more background, the Wikipedia entry on The Devil Wears Prada covers its production and legacy in detail. The film now faces its toughest challenge yet: the Movie of the Year 2006 bracket. Guest Panelist: Katie WalshThe Devil Wears Prada 2006 podcast episode welcomes a genuine authority to the panel. Katie Walsh is a Los Angeles-based film critic who reviews weekly releases for the Tribune News Service and the Los Angeles Times. Additionally, she serves as Vice President of the Los Angeles Film Critics Association. Her writing has appeared in GQ, Vanity Fair, Rolling Stone, Vulture, Slate, and The Playlist. She co-hosted the podcast Miami Nice and has guest-hosted Switchblade Sisters. Furthermore, she frequently appears on KCRW's Press Play and has taught film criticism at Chapman University's Dodge College of Film and Media Arts. In practice, that means the Taste Buds must actually defend their takes this week. Someone in the room knows what she is talking about. Feminism and the WorkplaceIs Miranda Priestly a feminist icon or a cautionary tale? The panel digs into how the film frames women, power, and ambition. Miranda runs an empire, yet the film punishes her with a collapsing marriage. Meanwhile, Andy gets scolded by nearly everyone for taking her job seriously. The episode asks whether the movie critiques workplace sexism or accidentally reproduces it. Notably, Katie Walsh brings a critic's perspective to how 2006 audiences read Miranda versus how we read her now. Two decades of think pieces have flipped the film's villain into its hero. Ultimately, the panel debates whether that reversal says more about the movie or about us. Can Art Only Come from Suffering?Andy suffers for a job she claims to hate, all in service of her writing dreams. Consequently, the Taste Buds tackle a bigger question: does great art require misery? The film suggests that paying dues at Runway makes Andy a better journalist. However, it also shows the cost. She loses friends, a boyfriend, and nearly herself. The panel weighs the romantic myth of the starving artist against the reality of creative work. By contrast, some of the best art comes from stability, support, and cerulean-blue sweaters chosen by someone else. Above all, this segment asks what we actually owe our ambitions. Andy's Friends: The Worst People in FashionEvery rewatch of The Devil Wears Prada produces the same realization: Andy's friends are monsters. They mock her job, demand free designer swag, and play keep-away with her work phone. Meanwhile, her boyfriend Nate pouts because she missed his birthday party for her career. Therefore, the panel litigates the great question of the film's second act. Are these people grounding Andy in reality, or are they sabotaging her? Specifically, the group ranks the friends from least to most insufferable. Nevertheless, at least one Taste Bud attempts a defense of Nate. It does not go well. Anne Hathaway Career Retrospective: The BracketSpecial segment time. The Devil Wears Prada podcast crew builds a full bracket to determine Anne Hathaway's most iconic role. The field spans her entire career. The Princess Diaries, Brokeback Mountain, Rachel Getting Married, Les Misérables, The Dark Knight Rises, and Interstellar all enter the arena. Additionally, deep cuts and dark horses make surprise appearances. Seeding arguments get heated. Upsets happen. As a result, friendships within the panel are tested. Does Andy Sachs herself take the crown, or does an Oscar-winning turn steal it? You will have to listen to find out. Check Anne Hathaway's full filmography on IMDb and play along at home. Why The Devil Wears Prada Still MattersTwenty years later, The Devil Wears Prada refuses to fade. The film remains a Rosetta Stone for conversations about work, ambition, and the price of excellence. Miranda's cerulean monologue is still the definitive speech about how culture actually functions. Moreover, the movie launched Emily Blunt, redefined Anne Hathaway, and gave Meryl Streep one of her signature roles. A 2026 sequel proved the appetite never left. In addition, the film's questions have only grown sharper in the era of hustle culture and quiet quitting. Is Miranda a monster or simply held to a different standard? Ultimately, that debate keeps the film alive, and it makes for a fierce competitor in the Movie of the Year 2006 tournament. Related Episodes from Movie of the Year: 2006Catch up on the season so far, from the 2006 season introduction to the music that defined the year: Movie of the Year 2006: Intro Part 1The 2006 Bracket Reveal: Meet the Sweet 16Tristram Shandy: A C**k and Bull StoryThe 2006 Mixtape, Part IAll Movie of the Year episodes FAQ: The Devil Wears Prada Podcast and FilmWhat is this episode of The Devil Wears Prada podcast about? The Taste Buds and critic Katie Walsh debate whether The Devil Wears Prada deserves to advance in the Movie of the Year 2006 bracket. Topics include workplace feminism, art and suffering, Andy's awful friends, and a full Anne Hathaway career bracket. What is The Devil Wears Prada about? Aspiring journalist Andy Sachs takes a job assisting Miranda Priestly, the tyrannical editor of Runway magazine. Consequently, Andy must decide how much of herself she will trade for success. Who directed The Devil Wears Prada? David Frankel directed the film. He later directed Marley & Me and worked extensively on Sex and the City. Aline Brosh McKenna wrote the screenplay from Lauren Weisberger's novel. Who stars in The Devil Wears Prada? Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci lead the cast. Streep earned an Academy Award nomination for playing Miranda Priestly. More Questions About The Devil Wears PradaIs Miranda Priestly based on Anna Wintour? Widely, yes. Author Lauren Weisberger worked as an assistant to Vogue editor Anna Wintour, and Miranda is broadly understood as her fictional counterpart. However, Streep has said she modeled the performance on powerful men she knew rather than on Wintour. Who is the guest on this episode? Film critic Katie Walsh joins the panel. She reviews films for the Tribune News Service and the Los Angeles Times and serves as Vice President of the Los Angeles Film Critics Association. What is the Anne Hathaway Career Retrospective? It is a bracket-style special segment. The panel seeds Anne Hathaway's most famous roles against each other and votes round by round until one iconic performance remains. Why does The Devil Wears Prada still matter? The film remains the defining movie about ambition, mentorship, and toxic workplaces. Moreover, its cultural conversation keeps evolving, as the 2026 sequel proved.

  3. Jul 9

    2006 - The Puffy Chair (feat. Keith Phipps!)

    Movie of the Year: 2006The Puffy ChairThe Puffy Chair Podcast Hits the RoadThe Puffy Chair podcast episode sends the Taste Buds on a road trip through the Duplass brothers' scrappy 2006 breakout. Ryan, Mike, and Greg buckle up to decide whether this mumblecore landmark deserves a deep run in the Movie of the Year 2006 bracket. Moreover, they bring serious backup this week. Critic and author Keith Phipps joins the panel to help unpack a movie made for the price of a used car. Together, the group digs into fragile relationships, DIY filmmaking, and one very symbolic recliner. Can a $15,000 indie outmuscle the blockbusters of 2006? Press play and ride along. About the FilmThe Puffy Chair follows Josh, a struggling New York booking agent played by Mark Duplass. Josh wins an eBay auction for a burgundy recliner that matches the one his dad owned years ago. Consequently, he plans a road trip to deliver the chair as a birthday gift. His girlfriend Emily, played by Katie Aselton, comes along for the ride. His free-spirited brother Rhett, played by Rhett Wilkins, joins them on the way. Naturally, the trip tests every relationship in the van. Jay Duplass directed the film, which he created with his brother Mark. The brothers shot it for roughly $15,000 borrowed from their parents, and the cast earned $100 a day. The movie premiered at Sundance in January 2005 and later won the Audience Award at South by Southwest. Roadside Attractions and Netflix released it theatrically on June 2, 2006. As a result, it qualifies for our 2006 bracket, and it arrives with real critical pedigree. Check the full credits at IMDb and the reviews roundup at Metacritic. New to the season? Start with our Movie of the Year 2006 introduction. Guest Panelist: Keith PhippsKeith Phipps brings nearly three decades of film criticism to the panel this week. He joined The A.V. Club in 1997 and became its editor in 2004, helping build it into a cultural institution. Later, he co-founded the beloved film site The Dissolve and served as editorial director for film and TV at Uproxx. His byline has appeared in Rolling Stone, Slate, GQ, Vulture, and The New York Times, among many others. Currently, he writes The Reveal, a film newsletter he created with longtime collaborator Scott Tobias. He also co-hosts The Next Picture Show, a biweekly podcast in the Filmspotting family that pairs classic films with modern successors. Additionally, Phipps wrote the acclaimed book Age of Cage: Four Decades of Hollywood Through One Singular Career, an NPR Books We Love selection. Few guests know indie film history better, so the Taste Buds put him straight to work. Josh and Emily (and Rhett)Every road movie needs passengers, and this one packs the van with tension. The panel starts with Josh and Emily, a couple fluent in baby talk but allergic to honest conversation. Their relationship anchors the film, and the podcast crew debates whether Josh ranks among 2006's most frustrating boyfriends. Emily wants commitment and emotional validation. Josh wants to deliver a chair and dodge every hard question along the way. Meanwhile, Rhett climbs aboard and scrambles the whole dynamic. His impulsive romanticism works as comic relief, yet it also lights the fuse under Josh and Emily's slow-motion breakup. Keith Phipps helps the Taste Buds weigh how the improvised performances make these fights feel painfully real. Ultimately, the group asks a simple question. Do we root for this couple, or do we root for the exits? Filmmaking Style on The Puffy Chair 2006 PodcastStyle takes center stage in the second discussion topic. The Duplass brothers shot with handheld cameras, natural light, and a whole lot of improvisation. Critics soon filed the film under mumblecore, a label built on low budgets, naturalistic dialogue, and twentysomething malaise. However, the panel debates whether that label helps or flattens the movie. The Puffy Chair podcast crew also examines the famous snap zooms, the cramped framing, and the brothers' choice to cast their actual parents. Furthermore, Phipps places the film within the mid-2000s indie boom that he covered firsthand as a critic. The $15,000 budget becomes a character in itself. Does the rough look create intimacy, or does it simply look cheap? Notably, the panel connects this DIY approach to the music of the era covered in our 2006 Mixtape Part I. The ChairWhat about the recliner itself? The chair works as the film's MacGuffin, its symbol, and arguably its best supporting player. Josh buys it because it resembles the chair from his childhood living room. Therefore, the purchase says less about his dad and more about Josh's own nostalgia. The panel unpacks what the chair represents: arrested development, misplaced sentimentality, and the gap between a grand gesture and genuine care. Along the journey, the chair suffers indignities that mirror the crumbling relationships around it. By contrast, the film's quietest moments reveal what an honest gift might have looked like. The Taste Buds and Keith Phipps debate whether the chair earns its title billing. No spoilers here, though. The chair's final fate stays a surprise for listeners. Genre BlastThe episode also features a Genre Blast segment, a PopFilter favorite. The Taste Buds zoom out from the film and blast through its genre lineage. Is The Puffy Chair a road movie, a romantic comedy, a breakup drama, or the founding text of mumblecore? Each label carries its own history, and the panel traces them all. Specifically, the crew connects the film to decades of American road pictures and indie relationship stories. Keith Phipps adds critical context from his years covering the movement's rise and fall. Listen to the full episode to hear where the genre conversation lands. Why The Puffy Chair Still MattersTwenty years later, this tiny film casts a surprisingly long shadow. The Duplass brothers parlayed it into a remarkable career spanning Cyrus, Safety Not Guaranteed, Togetherness, and Room 104. Mark Duplass and Katie Aselton became one of indie film's great creative couples. Meanwhile, the movie's distribution deal made history of its own. Netflix co-released it theatrically in 2006, an early experiment that hinted at the streaming future to come. The mumblecore movement it helped launch reshaped American independent film and influenced a generation of DIY creators. Above all, The Puffy Chair podcast conversation proves the film still sparks real debate. Its questions about commitment, communication, and growing up have not aged a day. The AFI Catalog preserves the film's place in the historical record. Our bracket will decide its place in 2006. Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 Intro Part 1Movies of 2006 Bracket Reveal and Sweet 16Tristram Shandy: A C**k and Bull Story2006 Mixtape Part IAll Movie of the Year Episodes FAQ: The Puffy Chair Podcast and FilmWhat is The Puffy Chair podcast episode about?The Puffy Chair podcast episode features the Taste Buds and guest Keith Phipps evaluating the Duplass brothers' 2006 film for the Movie of the Year bracket. Topics include the Josh and Emily relationship, the film's mumblecore style, the symbolism of the chair, and a Genre Blast segment. What is The Puffy Chair about?The film follows Josh, who wins an eBay auction for a recliner matching his dad's old chair. He road-trips to deliver it as a birthday gift, joined by his girlfriend Emily and his brother Rhett. Consequently, the journey exposes every crack in their relationships. Who directed The Puffy Chair?Jay Duplass directed the film, which he made with his brother Mark Duplass, who wrote, produced, and starred. Many sources credit the brothers as a filmmaking team, and the movie launched their careers. Who stars in The Puffy Chair?Mark Duplass stars as Josh, Katie Aselton plays Emily, and Rhett Wilkins plays Rhett. Notably, the Duplass brothers' real parents appear as Josh's parents. Is The Puffy Chair a mumblecore movie?Yes, critics widely consider it a founding film of the mumblecore movement. Its low budget, improvised dialogue, and naturalistic performances defined the style. However, the Duplass brothers have expressed mixed feelings about the label, a tension the episode explores. How much did The Puffy Chair cost to make?The

  4. Jul 2

    2006 - Mixtape, Part II

    Movie of the Year: 2006Mixtape, Part II The 2006 Mixtape Part 2 Podcast Finishes the PlaylistThe 2006 Mixtape Part 2 podcast picks up exactly where Part I left off. The full five person panel returns to finish what they started: a definitive, collectively built playlist of the best songs of 2006. Ryan, Mike, and Greg, the Taste Buds behind Movie of the Year, are once again joined by guests Nate Ragolia and Taylor Wilhite. Consequently, the debates get sharper as the remaining playlist slots get scarcer. Part I established the ground rules and the early picks. Now, in Part 2, the panel faces the harder half of the job. The obvious anthems are gone. Therefore, every remaining selection demands a real argument, a defense of taste, and a willingness to absorb four rounds of pushback. How the 2006 Mixtape Podcast Format WorksThe Mixtape episodes mark a deliberate departure from the standard Movie of the Year format. Normally, the show runs films through a bracket, as it did in the 2006 bracket reveal. The Mixtape works differently. Each panelist adds one song per round to a shared playlist. There are no eliminations and no head to head matchups. Instead, the tension comes from scarcity and pride. Every pick claims a slot that another panelist wanted. Moreover, every pick invites immediate judgment from the rest of the table. The format rewards conviction above all. A safe choice earns shrugs. A bold choice, defended well, earns respect. In practice, the round-robin structure turns a simple playlist into a portrait of five distinct musical sensibilities colliding in real time. Guest Panelists: Nate Ragolia and Taylor WilhiteNate Ragolia returns for the second half of the Mixtape. Nate co-hosts Debut Buddies, a podcast dedicated to firsts of all kinds, and he has authored three published books. His background as a writer and critic gives his picks analytical weight. Additionally, he arrives with the confidence of someone who has already survived one full round of Taste Bud scrutiny in Part I. Taylor Wilhite also returns to complete the panel. Taylor is a former PopFilter mainstay whose appearances are now rare, which gives the Mixtape episodes a sense of occasion. Longtime listeners know his taste and his willingness to fight for it. Together, the two guests expand the show's usual trio into a five voice ensemble. As a result, the playlist reflects a far wider slice of 2006 than any single host could deliver. The Music of 2006, RevisitedThe year 2006 offered an unusually rich field for a project like this. Pop radio belonged to Justin Timberlake, Beyonce, and Rihanna. Meanwhile, Gnarls Barkley's Crazy became an inescapable cultural event. Emo and pop-punk hit a commercial peak, hip-hop delivered landmark records, and indie rock crossed over to mainstream ears. The full sweep of the year is documented at Wikipedia's 2006 in music page, and it is staggering in retrospect. Movie of the Year usually spends its energy on cinema, the kind of work chronicled at RogerEbert.com. However, the Mixtape episodes prove the same critical instincts apply to music. The panel treats each song the way the show treats films like Brick or Tristram Shandy: with curiosity, skepticism, and a genuine desire to figure out what holds up twenty years later. Completing the PlaylistPart 2 covers the closing rounds of the mixtape. The panel works through the final picks, and the stakes rise with every turn. Notably, the late rounds force each panelist to confront what the playlist still lacks. Does it need another ballad? Another guitar record? Another undeniable radio smash? Each answer reshapes the final product. The completed tracklist stays a surprise until you press play. No spoilers here. Nevertheless, expect passionate defenses, at least one pick that baffles the room, and the special satisfaction of hearing a playlist snap into its final form. By the end, the panel delivers a mixtape that could only exist through this exact collision of five sensibilities. Why the 2006 Mixtape Part 2 Podcast Still MattersThe 2006 Mixtape Part 2 podcast completes the season's most distinctive experiment. The Movie of the Year season began with the 2006 intro episode and a field of 128 films. The Mixtape widens that lens. It argues that a year of culture includes its soundtrack, and that the songs of 2006 shaped memory just as powerfully as its movies did. Above all, the episode captures why list making endures as a critical exercise. A playlist forces choices, and choices reveal values. Ultimately, the 2006 Mixtape Part 2 podcast delivers both a finished tracklist and a spirited argument about what deserves to last. Subscribe, listen to both parts, and then build your own version. Yours will differ, and that is exactly the point. Related Episodes from Movie of the Year: 20062006 Mixtape, Part IMovie of the Year: 2006 Intro, Part 1Movies of 2006: Bracket Reveal and Sweet 16Tristram Shandy: Movie of the Year 2006Brick: Movie of the Year 2006Browse All Movie of the Year Episodes FAQ: 2006 Mixtape Part 2 PodcastAbout the EpisodeWhat is the 2006 Mixtape Part 2 podcast about? The 2006 Mixtape Part 2 podcast is the concluding half of a special Movie of the Year episode. The five person panel of Ryan, Mike, Greg, Nate Ragolia, and Taylor Wilhite finishes building a collective playlist of the best songs of 2006, one pick at a time. Do I need to listen to Part I first? Listening to Part I first is recommended. Part I establishes the format, introduces the panel, and covers the opening rounds. Part 2 continues directly from that point and completes the tracklist. Who are the guests on the 2006 Mixtape Part 2 podcast? Nate Ragolia and Taylor Wilhite return for Part 2. Nate Ragolia co-hosts the Debut Buddies podcast and has authored three published books. Taylor Wilhite is a former PopFilter regular who now makes occasional guest appearances. About the Mixtape and the MusicHow does the Mixtape format work on Movie of the Year? Each panelist takes turns adding one song per round to a shared 2006 playlist. There is no bracket and no eliminations. Every pick must survive the scrutiny of four other panelists with strong opinions about the music of 2006. What songs are on the 2006 mixtape? The full tracklist stays a surprise until you hear the episodes. The picks span pop, hip-hop, indie rock, R&B, and the emo and pop-punk wave that defined 2006 radio. Listen to both parts to hear every selection and the arguments behind them. Who are the Taste Buds? The Taste Buds are Ryan, Mike, and Greg, the three core hosts of Movie of the Year on the PopFilter network. Each season they run a bracket style competition to crown the best film of a single year. The current season covers 2006. What were the biggest songs of 2006? 2006 produced era defining hits like Gnarls Barkley's Crazy, Justin Timberlake's SexyBack, and Beyonce's Irreplaceable. The year also marked a commercial peak for emo and pop-punk. The Mixtape episodes dig into which songs actually deserve playlist immortality. Where can I listen to the 2006 Mixtape Part 2 podcast? You can stream the episode right on this page using the player above. Movie of the Year is also available on all major podcast platforms through the PopFilter network.

  5. Jun 25

    2006 - Mixtape, Part I

    Movie of the Year: 2006Mixtape, Part IThe 2006 Mixtape Podcast Kicks Off — One Song at a TimeThe 2006 Mixtape podcast episode is unlike anything else in the Movie of the Year catalog. Instead of debating a single film, Ryan, Mike, and Greg welcome two special guests — Nate Ragolia of Debut Buddies and longtime PopFilter friend Taylor Wilhite — for a round-robin music showcase that captures the full, chaotic glory of 2006's soundscape. Each panelist takes a turn placing one song into a collective playlist, building something that is part argument, part love letter, and part time machine back to a genuinely strange year in pop culture. 2006 was a transitional moment in popular music. Rap remained dominant, but with several megastars between album cycles, the charts opened up to a remarkably diverse mix of genres. Moreover, pop-punk and emo were infiltrating the mainstream at full speed. Additionally, R&B, dancehall, and indie rock were all jostling for space on the same playlists. The result was a year where "SexyBack," "Hips Don't Lie," "I Write Sins Not Tragedies," and "Dani California" could all feel equally essential — and equally of the moment. Consequently, building a 2006 mixtape is less a curation exercise and more a negotiation, which is exactly what makes this episode so much fun. Tune in for Part I of the 2006 Mixtape on the Movie of the Year 2006 podcast, and find out whose taste holds up, whose picks land with a thud, and which songs define the year better than any film ever could. About the 2006 Mixtape FormatThe Mixtape episode breaks from the standard Movie of the Year formula in the best possible way. Rather than a single film under the microscope, the full panel of five — Ryan, Mike, Greg, Nate, and Taylor — each take turns contributing one song per round to a shared playlist. The songs land wherever they land: the bracket, the conversation, the collective memory. No rules govern the selection beyond personal conviction and a willingness to defend the pick. The format rewards both champions of the obvious and advocates for the overlooked. Someone will inevitably go for the consensus anthem. Someone else will go deep on an album cut that never charted but defined their year. Furthermore, disagreements are baked in. Five people with five different relationships to the music of 2006 means that every pick is a small act of argument — an assertion about what mattered and why. Part I covers the opening rounds of that playlist construction. Part II will follow, continuing the conversation and expanding the tracklist. Together, they form a two-part portrait of a year in music told through the ears of five people who were living it. Guest Panelists: Nate Ragolia and Taylor WilhiteNate Ragolia is a freelance writer, editor, published author, voice over artist, and podcaster based in the PopFilter extended universe. He co-hosts Debut Buddies, a fortnightly podcast dedicated to firsts — debut albums, premiere episodes, inaugural seasons, the first of anything worth examining. Co-hosted with Kelly Attaway and Chelsea Hollander, Debut Buddies has built a devoted audience by taking the concept of beginnings seriously and hilariously. Nate is also the author of three books: There You Feel Free (2015), The Retroactivist (2019), and One Person Can't Make a Difference (2022). He brings to the Mixtape episode both the analytical rigor of someone who thinks carefully about cultural artifacts and the genuine enthusiasm of a lifelong music fan. Taylor Wilhite is a familiar voice to longtime PopFilter listeners. A former mainstay of the network, Taylor steps back into the booth for this special occasion — one of his rare guest appearances since stepping back from regular podcasting. His history with the PopFilter crew means he arrives fully acclimated to the energy, the arguments, and the particular pleasure of five people trying to out-taste each other in real time. His presence makes Part I feel like a reunion as much as a music show. Building the Playlist: Round by RoundEach round of the 2006 Mixtape follows the same structure: one panelist, one song, one chance to make the case. The picks accumulate into something that starts to resemble an actual playlist — though a playlist with a lot of disagreement baked into its sequencing. 2006 was the kind of year where the argument over what belongs is genuinely interesting. The Billboard charts were dominated by Daniel Powter's "Bad Day," Sean Paul's "Temperature," and Justin Timberlake's "SexyBack." However, the year also produced landmark indie and alternative releases, left-field hip-hop moments, and a wave of pop-punk anthems that hit a specific generation square in the chest. Notably, the question of which songs were great versus which songs were simply inescapable is a distinction worth debating — and this episode debates it at length. As a result, the round-by-round format becomes a kind of stress test for taste. Each pick either extends the playlist's internal logic or breaks it, and the panel's reactions reveal as much about their musical identities as about the songs themselves. Part I lays the groundwork for what promises to be a contentious and deeply enjoyable full tracklist. Why 2006's Music Deserves a Closer ListenIt is easy to dismiss the music of 2006 as a transitional era — neither the peak years of hip-hop's commercial dominance nor the coming digital disruption that would reshape the industry within a few years. Nevertheless, that framing undersells how much was actually happening. Beyoncé released B'Day. The Raconteurs debuted. Stadium Arcadium by the Red Hot Chili Peppers dropped as a double album. FutureSex/LoveSounds by Justin Timberlake redefined what a mainstream pop record could sound like. Above all, 2006 was the last full year before the iPhone and streaming would begin to permanently reorganize how people discovered and consumed music. In practice, this means the mixtape as a cultural object — physical or digital — still carried enormous weight. A playlist in 2006 was still a statement, still a gift, still a way of saying something about who you were and what you cared about. Therefore, building a 2006 mixtape now is an act of archaeology as much as curation, and the Movie of the Year crew approaches it with exactly the right combination of nostalgia and rigor. Meanwhile, the Mixtape format itself reflects something true about the show: Movie of the Year has always been as much about the people doing the talking as about the films under discussion. Bringing in Nate Ragolia and Taylor Wilhite expands that conversation in ways that a single-film episode simply cannot. The result is one of the most purely enjoyable episodes in the 2006 season. Why the 2006 Mixtape Podcast Still MattersThe mixtape as a format has never really gone away. Streaming playlists are its digital descendants, and the impulse behind them — the desire to arrange songs into an argument about feeling and meaning — is as alive now as it was when people were still burning CDs. The 2006 Mixtape episode taps into that impulse directly, using the year's music as a lens for understanding both the culture of 2006 and the tastes of the five people assembled to discuss it. Specifically, the episode works because it trusts its panelists. Nate Ragolia's credentials as a critic and author give his picks analytical weight. Taylor Wilhite's history with PopFilter gives the episode a sense of occasion. And the core Taste Buds — Ryan, Mike, and Greg — provide the continuity and argumentative energy that listeners have come to expect from the 2006 season. Together, they make a compelling case that the music of 2006 is worth revisiting, debating, and yes, assembling into a playlist — even twenty years later. Ultimately, the 2006 Mixtape podcast is the season's most distinctive episode, and Part I is where it all begins. Subscribe, listen, and start forming your own opinions about what should have made the cut. Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 — Intro Part 1Movies of 2006 — Bracket Reveal and Sweet 16Tristram Shandy — Movie of the Year: 2006Brick — Movie of the Year: 2006Browse All Movie of the Year Episodes FAQ: 2006 Mixtape Podcast — Part IAbout the EpisodeWhat is the 2006 Mixtape podcast episode about? The 2006 Mixtape, Part I is a special episode of Movie of the Year in which the full five-person panel — Ryan, Mike, Greg, Nate Ragolia, and Taylor Wilhite — take turns contributing songs to a shared 2006 playlist. Each round features one pick per panelist, building a collective mixtape that reflects the full range of the year's music while generating plenty of debate along the way. Who are the guests on the 2006 Mixtape episode? The episode features two special guests. Nate Ragolia is the co-host of Debut Buddies, a podcast about firsts,...

  6. Jun 18

    2006 - Brick (feat Pete Wright from TruStory FM!)

    Movie of the Year: 2006BrickThe Brick podcast episode of Movie of the Year arrives just in time to appreciate one of 2006's most audacious genre experiments. Ryan, Mike, and Greg are joined by Pete Wright of TruStory FM to dig into Rian Johnson's neo-noir debut, a film that transplants the hard-boiled world of Dashiell Hammett into the hallways and parking lots of a Southern California high school. Few films from this era take a bigger swing, and fewer still land it this cleanly. About Brick (2006)Brick is a neo-noir mystery thriller written, edited, and directed by Rian Johnson in his feature directorial debut. The film opened in New York and Los Angeles on April 7, 2006, distributed by Focus Features. It stars Joseph Gordon-Levitt as Brendan Frye, a teenage loner who pushes his way into the criminal underworld of his high school to investigate the disappearance -- and eventual murder -- of his ex-girlfriend Emily, played by Emilie de Ravin. The supporting cast includes Lukas Haas as the drug kingpin known only as the Pin, Nora Zehetner as the duplicitous Laura, Noah Fleiss as the enforcer Tug, and Richard Roundtree as a vice principal navigating the chaos from the margins. Johnson wrote the first draft in 1997 immediately after graduating from USC School of Cinematic Arts. He spent the next seven years trying to get it made, with every financier asking him to set it in college instead of high school. He ultimately raised approximately $450,000 from friends and family, shot the film in 20 days, and spent three months rehearsing with the cast beforehand. The score -- inventive and deeply atmospheric -- was composed by Johnson's cousin Nathan Johnson using traditional instruments alongside improvised ones including filing cabinets, kitchen utensils, and tack pianos, all recorded on an Apple PowerBook. The film drew on hardboiled classics, particularly the novels of Dashiell Hammett, and won the Special Jury Prize for Originality of Vision at the 2005 Sundance Film Festival. It holds an 80% approval rating on Rotten Tomatoes and earned three stars from Roger Ebert, who called it a rich source of dialogue and behavior. You can read Ebert's full review at RogerEbert.com. Brick has since become a cult classic and a clear blueprint for Johnson's later work on Knives Out. Find the full cast and crew listing at Brick on IMDb. Guest Panelist: Pete WrightPete Wright is a podcaster, author, educator, and co-founder of TruStory FM, a podcast production network he has built over more than three decades in media. He has logged thousands of episodes across more than three dozen shows covering film, ADHD, creative process, brand storytelling, and the craft of audio production. His work spans journalism, corporate communications, and graduate-level teaching, where he spent fifteen years working with students on storytelling and media production. Among his best-known projects is The Next Reel Film Podcast, a deep-dive film discussion series that serves as his primary film-critical home. He also co-hosts Taking Control: The ADHD Podcast alongside Nikki Kinzer, an award-winning show with over a million annual downloads and 29 seasons of episodes since its 2010 launch. In 2024, Pete and Nikki co-authored Unapologetically ADHD: A Step-by-Step Framework for Everyday Planning on Your Terms, a practical guide grown directly from the podcast's community and themes. His debut science fiction novella, Lattice, was published in 2026. Pete's most recent podcast venture is Headstone, a personal series about legacy, memory, and the stories we leave behind. He is based in Portland, Oregon. This Brick podcast episode marks his first appearance on Movie of the Year. Brick Podcast Discussion: Noir in High SchoolThe central creative gamble of Brick is not simply that it applies film noir conventions to a high school setting. More precisely, it applies them without irony. Johnson made a deliberate choice to play every scene completely straight, and the cast follows his lead without a single wink at the camera. Consequently, the absurdity of the premise becomes the engine of the film's tension rather than its release valve. This Brick podcast opens with a foundational question: does the noir-in-high-school conceit actually work? The genre's grammar depends heavily on power asymmetry, corruption, and the lone investigator operating outside institutional structures. High school provides all three. Brendan's relationship with the vice principal mirrors the classic detective's uneasy truce with law enforcement. The Pin's basement headquarters functions as the smoky back room. The femme fatale and the enforcer play their archetypal roles without adjustment. Johnson drew specifically on the novels of Dashiell Hammett -- particularly the Continental Op stories -- and encouraged his cast to read Hammett rather than watch noir films. He wanted the stylistic choices to come from the source material, not from imitation of existing screen adaptations. That decision gives Brick a distinctive texture. Moreover, the dialogue mixes actual period noir slang with invented high school vernacular in a way that creates its own self-consistent world. As Roger Ebert noted, the story never fully clarifies itself while it unfolds, but it delivers a rich supply of behavior and incident along the way. Genre Bending: What the Brick 2006 Film Is Actually DoingBrick belongs to a specific 2006 moment when genre recombination was operating at a high creative pitch. Kiss Kiss Bang Bang had landed the previous year playing similar games with noir self-awareness. Sin City had arrived with a maximalist visual approach to the same source material. Brick chose a third path: minimal budget, straight-faced commitment, and an insistence that the formal constraints of the genre could do meaningful emotional work if you simply trusted them. The genre-bending discussion on this Brick podcast examines how Johnson uses the noir framework not as homage but as architecture. The structure of a hardboiled mystery -- the inciting mystery, the series of contacts, the betrayal, the revelation -- maps onto adolescent social hierarchies with surprising precision. Furthermore, the paranoia endemic to the genre translates naturally into the heightened social surveillance of high school life, where everyone watches everyone and information is currency. The Spaghetti Western and Anime InfluencesJohnson has cited Sergio Leone's Spaghetti Westerns and Shinichiro Watanabe's Cowboy Bebop as visual influences alongside the noir literary tradition. That combination matters, because it explains why Brick never feels purely retro. The film's rhythm and its relationship to violence carry a different energy than classic noir. Notably, Johnson used shoes as a design element for each character, treating footwear as an immediate visual shorthand for who each person is. It's a small detail that reflects how thoroughly he thought through every layer of the film's visual language. Additionally, the score by Nathan Johnson uses invented instruments -- wine-o-phones, tack pianos, kitchen utensils -- to create an atmosphere that nods to classic noir without reproducing it. The result is a film that works as genre exercise, coming-of-age story, and tone poem simultaneously. The Treatment of Women in BrickNoir has always had a complicated relationship with its female characters, and Brick inherits that complication without fully interrogating it. Emily exists primarily as a body -- a mystery to be solved, a loss to be avenged. She drives the entire plot but occupies very little of the film's actual screen time. Laura is more present, but her function remains rooted in the femme fatale archetype: beautiful, manipulative, ultimately revealed as the architect of the tragedy. The Brick podcast addresses this directly. Does Johnson's decision to play the genre completely straight mean he also reproduces its blind spots uncritically? The case for the defense is that Brick is a formal exercise, and the female characters serve genre functions that the film deliberately signals as such. The case against is that signaling an archetype and interrogating it are different things, and Brick largely declines to do the latter. Moreover, the pregnancy subplot -- Emily is pregnant with Tug's child, a revelation that triggers her murder -- adds a layer of consequence to the female characters' bodies that the film handles with notable brevity. It functions as a plot mechanism more than a human reality. The discussion examines how this choice shapes the film's emotional center, which ultimately rests entirely with Brendan's grief and not with Emily's life or Laura's survival. Nevertheless, Nora Zehetner's performance as Laura earns genuine complexity within the constraints the script gives her. The hosts explore whether that performance transcends the archetype or simply executes it with exceptional skill. Rushmore: 2006 It BoysThe Taste Buds carve out space in this episode for a Rushmore segment dedicated to the It Boys of 2006 -- the young male actors whose stars were ascending in that specific cultural moment. Brick arrives at a fascinating point in Joseph Gordon-Levitt's career trajectory, before Inception and The Dark Knight Rises made him a mainstream anchor, when he was still operating in the cult-film

  7. Jun 11

    2006 - Slither (feat. Drea from Maximum Film!)

    Movie of the Year: 2006Slither The Slither Podcast Brings Body Horror to the 2006 BracketThe Slither podcast episode unleashes the first true horror movie on our Movie of the Year 2006 bracket. After opening the season with Tristram Shandy: A C**k and Bull Story, the Taste Buds trade metafiction for meteorites. Consequently, things get slimy fast. Ryan, Mike, and Greg welcome producer and festival programmer Drea Clark to dig into James Gunn's gleefully gross directorial debut. Together, the panel asks whether a movie full of alien slugs deserves a deep run in the bracket. Above all, they ask whether Slither has more on its mind than exploding deer and tentacled husbands. About the FilmSlither is a 2006 science fiction horror comedy written and directed by James Gunn. A meteorite crashes outside the small town of Wheelsy, South Carolina, carrying an alien parasite. The parasite infects wealthy local Grant Grant, played with squirming brilliance by Michael Rooker. Soon, Grant transforms into a tentacled monster, and slug-like creatures spread through the town. Meanwhile, police chief Bill Pardy (Nathan Fillion) and Grant's wife Starla (Elizabeth Banks) try to stop the invasion. Universal released the film on March 31, 2006. Notably, it flopped at the box office, grossing under $13 million against a $15 million budget. However, critics largely embraced it. Roger Ebert praised its Troma-loving spirit in his RogerEbert.com review, and the film became a cult favorite on home video. In addition, it launched the directing career that eventually gave us Guardians of the Galaxy and the new DC Universe. Guest Panelist: Drea ClarkThis week the Taste Buds welcome Drea Clark, a true film industry polymath. Drea co-hosts Maximum Film! on the Maximum Fun network, the long-running movie podcast she shares with film critic Alonso Duralde. Furthermore, her credentials behind the scenes run deep. She has served on the Sundance Film Festival programming team, led narrative feature programming at Slamdance for over a decade, spent ten years with the LA Film Festival, and curated Geena Davis's Bentonville Film Festival. As a producer, her features include The Last Time You Had Fun, Lake Los Angeles, and No Light and No Land Anywhere, the latter executive produced by Miranda July. In short, few guests are better equipped to judge a scrappy genre debut from a first time director. James Gunn as a First-Time FilmmakerBefore Slither, James Gunn was a writer with a strange resume. He cut his teeth at Troma on Tromeo and Juliet, then wrote the live action Scooby-Doo movies and the 2004 Dawn of the Dead remake. Consequently, Slither arrived as his first chance to direct his own material. The panel debates what the film reveals about Gunn as a filmmaker. Specifically, they trace the DNA that later shows up in Guardians of the Galaxy, The Suicide Squad, and Superman. The needle drops, the found family of misfits, and the sincere heart under the gross-out gags all start here. Moreover, Drea brings a programmer's eye to the question of how debut features signal a career to come. Sex and Violence on the Slither 2006 PodcastSlither earns its R rating with enthusiasm. The Taste Buds tackle how the film weaponizes both sex and violence, often in the same scene. Grant's infection plays like a grotesque infidelity story, and the alien's reproductive plans push body horror into genuinely uncomfortable territory. However, the violence stays cartoonish enough to keep the comedy alive. The panel asks where Gunn draws that line, and whether the bathtub scene, the barn scene, and that infamous bursting body still shock today. Ultimately, the conversation lands on a bigger question. Does the film use its excess for a purpose, or is the excess the point? Is Slither an Allegory?Every great monster movie smuggles in a meaning, or so the theory goes. Therefore, the panel puts Slither on the couch. Is the film an allegory for toxic marriage, with Grant's transformation literalizing a controlling husband? Is it about small town conformity, as a hive mind absorbs an entire community? By contrast, maybe Gunn simply loves slugs and explosions, and the search for subtext misses the joke. Drea, Ryan, Mike, and Greg each stake out a position. Nevertheless, the debate keeps circling back to Starla, whose arc gives the film its surprising emotional weight. TriviaNo Movie of the Year episode is complete without Trivia. This week's round digs into Slither's production and its B-movie family tree. Expect questions about the practical effects, the casting, and the film's connections to Troma legend Lloyd Kaufman, who cameos in the movie. Additionally, the segment tests whether the panel can untangle Slither from the movies it lovingly rips off, including Night of the Creeps and Shivers. Play along and see if you can outscore the Taste Buds. Dream Blunt RotationNew season, new games. In Dream Blunt Rotation, the panel assembles the ultimate smoke circle from the world of Slither. Which characters make the cut, and which get left outside the garage? Mayor Jack MacReady seems like a chaotic invite, while Bill Pardy might be the chillest hang in Wheelsy. Meanwhile, the conversation drifts toward the cast and crew themselves. Listen to find out who earns a spot in the rotation and whose vibes get vetoed. Awards and RecommendationsThe episode closes with Awards and Recommendations, the segment where the Taste Buds hand out honors to the film's cast, crew, and creatures. Nominees this week range from Michael Rooker's fearless physical performance to the effects team behind the slugs. As a result, expect passionate cases and at least one baffling pick. The winners stay a surprise, so you will have to listen for the results. Afterward, the panel shares recommendations for what to watch next if Slither leaves you hungry for more horror comedy. Why Slither Still MattersTwenty years later, Slither looks like a turning point hiding in plain sight. It kept practical creature effects alive at a moment when Hollywood was abandoning them. Furthermore, it proved that horror comedy could carry real emotion, a balance Gunn has chased ever since. The film's box office failure also tells a story about 2006 itself, a year when audiences ignored a future superstar director. In practice, the Slither podcast episode asks the question this whole season exists to answer. Does cult status and influence make a movie a contender for the best film of 2006? Listen and judge for yourself. Related Episodes from Movie of the Year: 2006Movie of the Year: 2006 — Intro, Part 1Movies of 2006: The Bracket RevealTristram Shandy: A C**k and Bull StoryAll Movie of the Year episodes FAQ: Slither Podcast and FilmWhat is this episode of the Slither podcast about? Ryan, Mike, and Greg debate whether James Gunn's Slither deserves to advance in the Movie of the Year 2006 bracket. Guest panelist Drea Clark joins to discuss Gunn's debut, the film's sex and violence, and its possible allegories. What is Slither (2006) about? An alien parasite crash-lands near the small town of Wheelsy, South Carolina, and infects a wealthy local named Grant Grant. He mutates into a tentacled monster while slug-like creatures take over the town. A police chief and Grant's wife fight to stop the invasion. Who directed Slither? James Gunn wrote and directed Slither as his feature directorial debut. He later directed the Guardians of the Galaxy trilogy and now co-runs DC Studios. Who stars in Slither? The cast includes Nathan Fillion, Elizabeth Banks, Michael Rooker, Gregg Henry, and Tania Saulnier, with a small role for Jenna Fischer. Full credits are on IMDb. More Questions from the Slither 2006 PodcastWas Slither a box office success? No. The film grossed under $13 million against a $15 million budget. However, strong reviews and home video sales turned it into a cult classic. Is Slither a remake? No, but it wears its influences proudly. Gunn openly drew on Night of the Creeps, Shivers, The Blob, and the Troma catalog, where he started his career. Who is the guest on this episode? Drea Clark, producer, festival programmer, and co-host of the Maximum Film! podcast on Maximum Fun. Why does Slither still matter? It launched James Gunn's directing career, championed practical effects, and perfected the horror comedy tone that countless films have imitated since. The Slither podcast episode makes the full case.

  8. Jun 4

    2006 - Tristram Shandy

    Movie of the Year: 2006Tristram Shandy: A C**k and Bull StoryThe Tristram Shandy Podcast Opens the 2006 BracketThe Tristram Shandy podcast episode kicks off our brand new 2006 bracket on Movie of the Year. After crowning our way through 1971, the Taste Buds turn to a fresh film year. Moreover, we start with one of the strangest comedies of the decade. Michael Winterbottom's Tristram Shandy: A C**k and Bull Story is a film about making a film of an unfilmable book. Consequently, it makes a perfect launch title for a show that loves movies about movies. In this episode, Ryan, Mike, and Greg dig into metafiction, gender, and the prickly chemistry between Steve Coogan and Rob Brydon. Additionally, two new segments make their debut. Above all, we want to set the tone for a wild 2006 season. About the FilmLaurence Sterne published The Life and Opinions of Tristram Shandy, Gentleman in nine volumes between 1759 and 1767. The novel is famous for being playful, digressive, and nearly impossible to adapt. Notably, the narrator barely manages to get himself born across hundreds of pages. Winterbottom and his team turned that problem into the whole joke. As a result, the movie follows a fictional crew trying to film the book. Steve Coogan plays a vain version of himself, plus Tristram and his father, Walter. Meanwhile, Rob Brydon plays a needling version of himself and Uncle Toby. The screenplay carries the pseudonym "Martin Hardy," although Frank Cottrell-Boyce actually wrote it. Furthermore, the cast includes Keeley Hawes, Shirley Henderson, Dylan Moran, Naomie Harris, Kelly Macdonald, and Jeremy Northam. Gillian Anderson and Stephen Fry also appear as heightened versions of themselves. You can read more at Wikipedia or the original Roger Ebert review. This is the first film episode of our 2006 season. To explore the wider bracket project, visit the Movie of the Year archive. If you enjoy this Tristram Shandy podcast deep dive, our A Clockwork Orange episode from the 1971 run pairs nicely with this conversation about cinematic form. Want to hear how the season began? Start with our 2006 season intro, then dig into the 2006 bracket reveal before this episode. Metafiction and the Unfilmable NovelMetafiction sits at the center of our first discussion. Sterne wrote a novel that constantly reminds you it is a novel. Similarly, Winterbottom built a movie that keeps reminding you it is a movie. The crew breaks the fourth wall, argues about the script, and screens its own dailies. Therefore, the film becomes a hall of mirrors about storytelling itself. The Taste Buds ask a simple question. How do you adapt a book that mocks the idea of adaptation? Furthermore, we trace the lineage from Sterne to modern self-aware comedies. Films like Adaptation and Day for Night come up as obvious cousins. Ultimately, we argue that Winterbottom found the only honest solution. He filmed the failure instead of the book. Consequently, the movie respects Sterne by refusing to tame him. The Battle of the Sexes on ScreenNext, we turn to gender and how the film portrays men and women. The male characters chase status, sex, and screen time with comic desperation. Coogan, in particular, frets about his shoe lifts and his billing. Meanwhile, the women in the film often hold the real power. Kelly Macdonald plays Jenny, who grounds Coogan with calm clarity. Naomie Harris plays Jennie, a production assistant who runs circles around the panicking men. Gillian Anderson arrives late and instantly reshapes the production. By contrast, the men flail and posture. So the Taste Buds debate a thorny point. Does the movie satirize male ego, or does it quietly indulge it? Additionally, we weigh how the battle of the sexes plays inside an 18th-century story. The novel and the film both poke fun at male pride. As a result, the gender comedy spans two very different centuries. Coogan and Brydon Anchor the Tristram Shandy PodcastAbove all, the Coogan and Brydon double act drives this Tristram Shandy podcast conversation. The two comedians play exaggerated, petty versions of themselves. Their rivalry over billing, teeth, and impressions fuels the funniest scenes. Notably, this dynamic later powered the beloved series The Trip. The Taste Buds dig into why their friction feels so real. Brydon needles, Coogan bristles, and the comedy snaps into focus. Furthermore, we discuss how improvisation shapes their banter. The closing Al Pacino impression duel becomes a highlight. Meanwhile, we ask whether the pair actually like each other on screen. The answer stays gloriously unclear. Consequently, their chemistry gives a chilly intellectual film a warm, human pulse. Rushmore: The Mount Rushmore of 2006 TelevisionOur Rushmore segment asks each host to carve a Mount Rushmore of 2006 television. The year was loaded with future classics. For instance, The Wire aired its acclaimed fourth season. Meanwhile, The Office, 30 Rock, and Friday Night Lights were all finding their feet. Additionally, prestige newcomers like Dexter and Heroes premiered to big buzz. The hosts each pick four shows and defend their choices. Naturally, the debate gets heated fast. Listen to the episode to hear which four faces each Taste Bud sets in stone. I Never Metacritic I Didn't LikeThis episode debuts a brand new game called "I Never Metacritic I Didn't Like." The premise is simple and a little dangerous. We pull up a film's Metacritic profile and put the critical consensus on trial. Specifically, we test whether the aggregate score matches our own gut reactions. Tristram Shandy earned strong reviews from critics on release. However, strong scores do not always survive a Taste Buds cross-examination. Therefore, the game lets us argue with the wider critical record in real time. Expect this segment to return throughout the 2006 season. Above all, it gives us a structured excuse to fight about numbers. Why Tristram Shandy Still MattersTristram Shandy still matters because it cracked a problem that had defeated everyone before it. Winterbottom proved you can film an unfilmable book by filming the attempt. Moreover, the movie launched a now-legendary comic partnership. The Coogan and Brydon collaboration grew into The Trip and its many sequels. Additionally, the film remains a sharp, funny lesson in adaptation. Film students and Sterne scholars both still cite it today. Ultimately, the Tristram Shandy 2006 podcast discussion shows why this small comedy punches far above its weight. Notably, it kicks our 2006 bracket off with brains and mischief. Related Episodes from Movie of the Year: 2006The 2006 season is just getting started, so this list will grow each week. For now, revisit the episodes that set up the bracket, plus a favorite from our 1971 run. Movie of the Year 2006: Season IntroThe 2006 Bracket RevealMovie of the Year archiveThe Last Picture Show (1971) FAQ: Tristram Shandy Podcast and FilmWhat is this Tristram Shandy podcast episode about? In this episode, Ryan, Mike, and Greg launch the 2006 bracket by breaking down Michael Winterbottom's comedy. They cover metafiction, gender, the Coogan and Brydon dynamic, and two new segments. What is the movie Tristram Shandy about? The film follows a crew trying to adapt an unfilmable 18th-century novel. As they struggle, the actors' egos and offscreen lives take over the production. Who directed Tristram Shandy: A C**k and Bull Story? Michael Winterbottom directed the film. Frank Cottrell-Boyce wrote the screenplay under the pseudonym "Martin Hardy." Is Tristram Shandy based on a book? Yes. Laurence Sterne wrote The Life and Opinions of Tristram Shandy, Gentleman across nine volumes between 1759 and 1767. You can read more on Wikipedia. Do Steve Coogan and Rob Brydon play themselves? Yes, mostly. Both actors play exaggerated, fictional versions of themselves, and they also play characters in the film within the film. See the full cast on IMDb. Is Tristram Shandy connected to The Trip? Yes, in spirit. This film first paired Coogan and Brydon with Winterbottom, and that chemistry...

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Movie of the Year is on the hunt to find the best film of each and every year, in the only way that matters: brackets. Join Greg, Mike, and Ryan, as they discuss what makes a film matter now vs when it came out. There will be games. There will be drinks. There will be points. There will only be one Movie of the Year. ", "Movie of the Year is on the hunt to find the best film of each and every year, in the only way that matters: brackets. Join Greg, Mike, and Ryan, as they discuss what makes a film matter now vs when it came out. There will be games. There will be drinks. There will be points. There will only be one Movie of the Year.