Peak Viewing

(CW: Discussion of the sexual assault scene occurs at 1:26:00 - 1:31:00.)

Andor season 2 is finally here, and we’re here to say: it seems good? Between the myriad of harvests, weddings, and WWII-esque meetings, the first three episodes of season two seem to be a drastic shift in terms of the storytelling structure, so this week we unpack all of our thoughts on that. We also find lots to say about the galaxy’s biggest hit, 25,000 year old artifacts, space rock paper scissors, Imperial Kinderblocks, and a peak viewing theory that we are simply too lazy to edit ourselves.

Jason Bourne marks the end of the Jason Bourne franchise for now (or maybe forever?), and what a bummer to go out on. Paul Greengrass and Matt Damon return to completely annex The Bourne Legacy, and give you everything you already know and love about Bourne. It seems like every time we find something to like about this film, we take two steps back and find another thing that doesn’t work at all. We also discuss the future of spy movies, the future of James Bond, and what is truly the most deranged Moby fact of all time.

The legacy of The Bourne Legacy is that it’s not so good, and oh no, those rumors are mostly true! Tony Gilroy’s return to the franchise was a clear attempt by the studio to expand this into its own cinematic universe, and as a result the movie we got is bogged down by a lot of setup that goes nowhere. But that doesn’t mean we can’t ask the hard hitting questions: Why wasn’t Oscar Isaac the lead in this? How long after The Bourne Identity does this take place? What on earth is Edward Norton’s job? And why did Moby lie about dating Natalie Portman?

They said it couldn’t be done, but here we are this week with not one, but two movies to talk about! We’re taking a quick detour away from Bourne to talk about the two films that Tony Gilroy directed before The Bourne Legacy, the quintessential legal masterpiece Michael Clayton and the regrettably befuddling Duplicity. Join us as we talk about too many loaves of bread, miracle hair creams, Realm and Conquest, frozen pizza, yard signs, and of course, the relationship both these films have to the manipulative and cruel corporate structure of America. Also, how did Michael Clayton come out 18 years ago?

The Bourne Ultimatum was once the end of the franchise, and it is the epitome of going out on a high note. This action-packed thriller has got something to say, which is why we spend nearly two hours trying to figure out what exactly is it saying! Whether it’s mid-2000s American geopolitics, Bourne’s relationship to water, the perils of a multi-billion dollar entity operating with no oversight, or just how much Matt Damon seems to have hated Tony Gilroy’s first draft, we attempt to cover it all. Plus: a Moby fact bigger than any house.

Paul Greengrass has entered the Bourne franchise, which can mean only one thing: it’s time to activate the shaky cam! The Bourne Supremacy may not achieve the same highs as The Bourne Identity, but this follow-up gives us two instances of perhaps Bourne’s most iconic move: calling people on the phone while staring at them through a window! Come for the convoluted web of conspiracies that is the plot of this movie, stay for the exhaustive breakdown of the many tattoos of Moby.

In preparation for the second season of Andor, we’re diving headfirst into Bourne, the early-to-mid-2000s action franchise written for the screen (mostly) by Tony Gilroy. This efficient thriller holds up surprisingly well given the time period, and it’s making us ask lots of questions. Questions like: How much of Bourne’s amnesia is a parallel for the PTSD veterans experience? What does the color red have to do with this movie? Who is still checking out Ludlum’s original novels from the library? And can sleeper agents receive orders in the form of emoji? Shut it down.

After a release date that has changed damn near seventeen times, Mickey 17 is finally here! Bong Joon Ho’s follow-up to the Oscar-winning Parasite is a big-budget sci-fi romp that carries over several themes from his previous work. But we’re left wondering: why does it feel so unserious? Are we really in a good place to receive Mark Ruffalo’s performance? Why are there ten more Mickeys than the book? What else is different from the book? And what the hell was going on with pigeon man?

This week we are finally jumping on a bus bound for New York City to talk about the definitive film from the 7th Academy Awards: It Happened One Night. This wildly successful film became the template for practically all romcoms for the ensuing 90 years, but we’ve got some questions. Questions like: Have the Oscars ever been good about rewarding the best films? What should you eat with this movie, raw carrots or coffee and donuts? Why are hotel rooms in 1934 the same cost as sending a telegram? How the heck did Claudette pronounce Colbert? And why does smoking look so incredibly good?

We cannot stress this enough: if you have not watched any of the movies in this miniseries, you owe it to yourself to check out Manhattan Melodrama. This crime drama about two brothers is easily the best written (it did win Best Original Story at the 7th Academy Awards, after all) of the bunch, and as a result it holds up remarkably well. We discuss some of our favorite shots from old “one take Woody”, how we plan to adapt this story to modern day (featuring New York’s hottest brother combo), and give a Peak Viewing recommendation that includes, of all things, a book. And yes, you can have a hot dog.