Like the screwball comedy and the musical, The Western would seem to be a dead genre. While every so often we get a "revisionist" take, like The Coen Brothers' True Grit or Tarantino's Hateful 8, still the western seems to belong to a by-gone era. However, the Western being the quintessential American genre, depicting the very origins of American identity, it arguably has more relevancy today than at any other time. In this episode, Azed and Jay sift through the annals of film history and pluck out their favourite underappreciated Westerns. No Rio Bravo or The Searchers here, these meta-westerns expose the underlying issues of race, class and gender that form the ethos of American "exceptionalism" and the paradoxical idea that history's greatest democracy somehow co-exists with it's oligarchic underpinnings. Films covered in this episode: Jay's Picks: Two Mules for Sister Sarah (1970, d: Don Siegel), Comanche Station (1960, d: Bud Boetticher), Persued (1947, d: Raoul Walsh), The Missouri Breaks (1976, d: Arthur Penn) and Bend of the River (1952, d: Anthony Mann). Azed's picks: The Beautiful Blonde from Bashful Bend (1949,d: Preston Sturges), Forty Guns (1957, d: Samuel Fuller), Little Big Man (1971, d: Arthur Penn), Heaven's Gate (1980, d; Michael Cimino) and The Ox Bow Incident (1947, d: William A. Wellman)