Steven Spielberg drops an opus and the gang shares mixed reactions. At least one Movie Master experiences profound realizations and introspection during "The Fabelmans," while others stop short of any form of epiphany or wondrous amazement. One particular Movie Master simply tried to stay alive during the screening of the film.

The gang is joined (spiritually) by a mischievous, wicked clown known as "The Shape," who possesses one Movie Master into breaking down which films comprise each phase of The Shape Cinematic Universe. Michael Myers' nut-bussin' scene in "Halloween Ends" is discussed before pondering how/why a person in their mid-20's still gets bullied by high school children. A Movie Master explains how to keep churning out Halloween movies until the end of human civilization. Is Michael Myers eating people now? How do the same filmmakers within the same phase completely and utterly forget who they established late era Laurie Strode to be? The gang closes the episode by working through whether horror franchise serials or standalones are better for the genre, with surprising conclusions as to what the best franchises actually are.

The gang breaks down the tenets of what makes a solid journalism movie before analysis of "She Said," a film about the takedown of Harvey Weinstein. Did it succeed in joining the canon? From there, it is revealed that a Movie Master is embedded in the admittedly pretentious world of elite fine dining, which sets up a granular breakdown of Mark Mylod's "The Menu," a pseudo slasher/dark comedy starring Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, John Leguizamo, and an ensemble destined to die. In addition to discussions on historical precedent and the accuracy of the film's source material, actual menus from fine dining experiences are on hand to illustrate how close to reality some of the fare presented in the movie actually is. "Guillermo del Toro's Pinocchio" is up next, a stop-motion bit of brilliance set in the German occupation of Europe in the early 1940's. Find out which Movie Master is already ranking it as their #2 film for 2022. Finally, the gang closes the episode with a Family Feud-style round of trying to guess the data-supported top 10 entertainment properties on YouTube. Scream along.

When a comic book movie gets broken down by four people who actually read comic books, one particular Movie Master is so riveted by "Wakanda Forever" that he kicks off the episode with a 7-minute soliloquy before so much as making introductions of the other three. The gang then discusses the film in granular detail, speculates on what it would have been with Chadwick Boseman, has feelings on Namor, and realizes that the film dunks firmly and deftly on the Aquaman, Star Wars (prequel trilogy), and Avatar mega-franchises.

Truly a movie not designed for long-term memory, the gang collectively tries to recall their screening of "Ticket To Paradise" from only a week prior to recording. The merits and importance of "Till" are then discussed in historical and contemporary contexts before it's time to reveal one particular Movie Master's penchant for all movies involving possession, priests, and exorcism (find out who in the episode). Firing off a tangent, another Movie Master goes in hard on the Motion Picture Association of America post-"Terrifier 2'"s objective runaway success without them. Speaking of "Terrifier 2," the Fall-season's fountains of on-screen defecation and vomiting continue on in "Triangle Of Sadness," the latest churner from Ruben Östlund. The episode concludes with wild imagination toward what "Saw: The Experience" can be, the latest Godzilla news from Toho, and Aubrey Plaza's plans in the Marvel Universe.

The hierarchy of POWER in the DC Universe has changed, as the gang can smell what departed DC Films studio head Walter Hamada left burning in the oven on the way out. Through analysis, it is concluded that hot new director Warner Discovery effectively made "Black Adam" in a lab (likely BALCO) to appeal primarily to the esoteric tastes of people like Dylen and Colin specifically. In an unexpected twist, one of the gang's most stringent critics drops the shocking revelation that they, in fact, loved "Terrifier 2," tipping the scales 3:1 in favor of a nearly 3-hour slasher movie made for $250,000. The gang runs through Elvira's top 5 women-led horror movies of all time and wraps things up with Maltin Movie Masters (The Rock Edition).

The gang catches Orphan Fever and, due to limited release, heads to a theater in Escondido wherein they encounter an audience that includes actual babies, toddlers watching other movies on their tablets, mothers breastfeeding, and "Those" Whites that insist on both wearing pajamas and bringing their own blankets to movie theaters. Hear all about the clash of cultures as our Movie Masters marvel over what is possibly cinema's greatest modern horror franchise.

The episode closes with the gang detailing precisely how to pull off "Saw: In Space."

Recorded two months into the experiment of going to watch every. single. movie. that comes to the local theater, the gang issues a "state of the union" about the effects they are already feeling and noticing within themselves. From there, the rundown (in order) is: "Don't Worry Darling," "See How They Run," "Running the Bases," "The Silent Twins," and "Clerks III." 

The gang tries to process whatever they just witnessed via "Beautiful Blue Eyes," a bizarre posthumous (allegedly lost?) Roy Scheider "final film" that involved director Joshua Newton creating and donning the prosthetic face of Scheider in order to finish all of his scenes. Midway through, the discussion gets "Medieval" and turns to a film that was based on the life of Jan Žižka and, like many of his foes, seemingly tossed into the void with little fanfare.

"Get me a blacksmith and some nails."

Get to know your Movie Masters: Colin, Jestine, Brent, and Dylen. This is the front end of an experiment that will ultimately lead to the rapid deterioration of the minds of four previously sane people*.  Hop in on the ground floor before it all ultimately devolves into nothing more than a depressed adult's Letterboxd screaming at you.