With his new writing partner at his side and a parade of hit movies trailing behind him, Billy Wilder was ready to start the next chapter of his career. While he began his latest act by making one of the greatest comedies of all-time, it came at a cost: The cost of doing business with Marilyn Monroe. 

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Whether you've been following along with us all season or have only recently joined us, this brief recap will prepare you for our journey into the back half of Wilder's career, which kicks off on June 30 with our episode on Some Like It Hot.

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Michael Sarnoski's The Death of Robin Hood is a dark and grim reevaluation of the Robin Hood mythos. But is it just another gritty take on a beloved character, or does the movie have something deeper on its mind? We discuss this very question, and more, in our review. 

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Keir and Mike may not be martial artists, but they know a good fight when they see one, and The Furious has *a lot* of great fights. But is that enough to carry a movie?

Plus, our five favorite fightin' movies! 

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Keir and Mike are joined by a very special guest and friend of the show—Pulitzer Prize-winning author Daniel Kraus!—to dissect Billy Wilder’s 10 Rules for Screenwriting. Which ones are still relevant? Which ones aren’t even rules? Listen and find out!

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Billy Wilder needed a hit, so who could he turn to? A hit-making machine: the one and only Agatha Christie. But change is in the air for Wilder, and his career is about to experience a plot twist that the queen of mystery herself couldn't see coming. 

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It's a Filmographers first: Mike is flying solo! Keir is away on writer business, but Mike saw two new horror releases that he's dying to discuss: Damian McCarthy's Hokum and Curry Barker's Obsession. Mike breaks down what works about each of these movies and what's a bunch of, well...hokum. 

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Billy Wilder’s last film was a flop. But he would get two do-overs in 1957—and the first was his Ernst Lubitsch homage, “Love in the Afternoon.” He also met his second great writing partner: I. A. L. Diamond.

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After stringing together three hit movies based on Broadway plays, Billy Wilder pivoted to new territory: a biopic of Charles Lindbergh. On one hand, Lindbergh was an American myth whose life story was ripe for Hollywood treatment. On the other, he was a Nazi sympathizer, and Wilder was a Jew who'd lost family in the Holocaust. The project was fraught with difficulties from the start--and that was before Jimmy Stewart arrived on set...

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They're no Billy Wilder, and this isn't a director's commentary, but Keir and Mike provide plenty of insight into what makes "Ace in the Hole" one of the best movies of all-time. Also, forgive their math. They're just writers, after all. 

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