(EDITOR'S NOTE: The first five minutes of this podcast have some shaky audio, but it smooths out after that five minute mark).

One pod to rule them all . . . they will answer to the father of pods . . . a red sun rises, pods have been recorded this night . . . three mics were given to the podcasters, immortal, wisest, and fairest of beings . . . we could do this all day. It's the greatest trilogy of all time, on Flicking and Screaming.

And just like that, Jed is BACK. What was this "paternity leave" thing about? Plus, our listeners deliver a wide-ranging mailbag, from most anticipated upcoming movies to a game of fuck-marry-kill.

To wrap up the month of scares, we are taking a look at three classic (if slightly less traditional) horror movies. Specifically: how does Hitchock's VERTIGO influence MULHOLLAND DRIVE . . . and how does Fritz Lang's M precede them all? Plus: we celebrate Naomi Watts.

A month after release, we are still worrying about this film. Is this a bad movie? Is it a good movie? Are the story beats and twists justified? Do we still have season tickets to Olivia Wilde? Plus: aviation talk.

Spoilers abound as we continue our month of horror. We welcome guest Dylan, brother of Evan, first of his name, to help us examine two brand new and already essential horror flicks. How did Evan and Dylan find horror movies in their shared youth? Plus: we name a lot of parallel directors and movies . . . and unfortunately discuss the milk scenes.

We are examining Sam Raimi's perfect time capsule of the year 2009 in his film DRAG ME TO HELL. What makes Raimi so engaging as a director? Why is the social commentary of this film both less obvious but more compelling? Plus: we talk a lot about bile.

The podfather's last episode before paternity leave, so we celebrate with a bromantic trio comedy. Can we re-cast the three leads with today's actors . . . or ourselves? Plus: we celebrate the end credits, and question some of the writing (here's looking at you, Glasses).

This week, we take a close look at a new phenomenon in American pop culture: the "television show". As franchise IP expands across mediums, what's our tolerance level for new content? Do we have any unique strategies for watching these shows? Plus: these shows play at a different pace, and who do we miss most from the originals?

What have we done to each other? Forget it. From the dry valleys of Los Angeles to the deadened suburbs of Missouri, we chat about the evil men and women do in these two films. Would Jack Gittes and Nick Dunne get along? Does Rosamund Pike's performance need a closer examination? Plus: we make Flicking and Screaming history.

We are back in our respective homes, and we unwind from a vacation with a free-flowing conversation on an OG Soderbergh flick. We break down the Soderbergh color palette, and the blueprint for OCEAN'S era Clooney is there. Plus: which of our two leads is sexier, and we are all Miami Dolphins fans now.