This week, a quick look at some great ideas in the first acts of CAPTAIN PHILLIPS and THE DALLAS BUYERS CLUB.

Adam and guest Jeff Sussman discuss general reactions to ENDER’S GAME immediately after the first screening. Plus, should kids be allowed to buy tickets to R-Rated films?

Adam talks about screenwriting techniques that make Alfonso Cuaron’s GRAVITY awesome. Plus, he complains that documentary ROOM 237 puts forth some interesting theories and fails to follow up on any of them, content to let anonymous amateurs ramble for the entire running time. Special guest Jeff Sussman (THE BAT SIGNAL) returns.

As soon as Breaking Bad ended, we flipped on the mics and worked out our thougts and feelings on the final episode of (perhaps) the greatest show ever.

If you're a Dexter fan stick around for the second half where The Bat Signal's Jeff Sussman and I talk about our favorite seasons and reactions to the season finale. If you've never watched DEXTER, the first half of the episode is thoughts on the EVIL DEAD remake plus a revisiting of Barry Levinson's classic flop TOYS.

Adam offers development thoughts on two hysterically funny movies with room for additional work. First, some quick thoughts on the lack of character detail in THIS IS THE END followed by an examination of how THE HEAT undervalues tension (but still shatters stereotypes found in female law enforcement cinema)

This week, Adam talks Soderbergh's latest (and possibly last) film BEHIND THE CANDELABRA in terms of a character web and the screenplay decisions made to connect the audience to the hero.

Advice for those attending The Great American Pitchfest (or any other screenwriting conference!) Plus, quick analysis on Act I of Matt Damon's PROMISED LAND which is now available on DVD.

Screenwriting techniques found in Shane Black's IRON MAN 3, plus listener questions such as "Should I take the chance of adapting a book without getting the rights first?" and "The director changed my short film script, what should I do?"

Adam talks PAIN & GAIN, how to approach writing a script about the making of a movie, problem solving in YENTL and then tackles Robert Altman's big complaint about Hollywood in terms of THE GUILT TRIP.