In this episode, we are the smartest men alive with the 1995 Adam Sandler comedy BILLY MADISON.

After discussing the hits and misses of the Sandman’s early career (7:01), we begin the case for keeping it on the pedestal with a celebration of this movie’s bizarre absurdist style (15:46). We discuss why Eric is one of the all-time great comedy villains (23:11), how Sandler is actually a secret perfectionist (31:21), and Shane explains why the “Sloppy Joes” scene transformed him (41:57). We move on to the case for knocking it off the pedestal with Billy’s “assault brutha” (52:02). Shane argues that this movie contributed to a lot of childhood bullying (56:04), Pops compares the movie to “Succession” in its depictions of extreme wealth (1:03:27), and we debate whether or not O’Doyle actually ruled (1:19:30).

In this episode, we know kung fu with the 1999 cyberpunk sci fi classic THE MATRIX.

After we all reminisce about our high school band experiences (10:23), we begin the case for keeping it on the pedestal with how the movie kicks off with such a big bang (14:55). We debate about the fine balance between the movie’s slick action and grand philosophies (24:10), Shane wonders if Cypher was an incel (36:58), and Mike asks us all if we recognize AI as a real life form (44:30). We move on to the case for knocking it off the pedestal with how the rules of the matrix seemed wildly inconsistent throughout the movie (54.04). Pops complains about the pointlessness of the Oracle (56:17), Shane rips on Keanu’s reading of “Déjà vu” (1:01:10), and we all ruminate over Carrie-Anne Moss’s career post-Matrix (1:13:48).

In the final episode of season two, we jump if you jump with the 1997 James Cameron romantic epic TITANIC.

We’re joined by special guest Chloe Wilde (eTalk, Healthy is Hot Podcast) who first recounts why seeing this movie with her mom traumatized her as a kid (6:10). We then begin the case for keeping it on the pedestal with some love for Kathy Bates and Victor Garber (14:54) and James Horner’s celebrated score (17:46). We talk about how the special effects were ahead of their time (25:31), we all fawn over Leo (33:29), and Shane explains why he loves it when a loser turns out to be the cool guy (37:53). We move on to the case for knocking it off the pedestal with all the problems we had with Rose both young (41:22) and old (45:58). We dive deep into the “door” debate (52:42), and Chloe gripes about Billy Zane’s aggressively one note performance (1:03:57).

In this episode, we make all of your wildest dreams come true with the 2004 indie cult comedy NAPOLEON DYNAMITE

After Pops defends seeing it NINE times in movie theatres (4:52), we begin the case for keeping it on the pedestal with a discussion about comedy auteurs and if Jared Hess is truly one of them (16:15). We talk about why Kip rules (22:37), Pops posits that there’s a lot more plot going on than meets the eye (30:40), and Shane votes for Pedro as his favorite character (35:08). We move on to the case for knocking it off the pedestal with all the hacky impressions it spawned (48:55), we examine why “Rex Kwan Do” feels like it belongs in an entirely different movie (55:19), and then talk about the creepy turn the film took with Uncle Rico (1:06:18).

In this episode, we cross you to the left and take you back to the right with the 1998 Spike Lee joint HE GOT GAME.

After both Shane and Mike disclose the legitimate cameos they have in two other massive basketball movies (8:04), we begin the case for keeping it on the pedestal with Shane’s big reveal of what he now thinks of Ray Allen’s performance (11:54). We get into Spike Lee’s unique style as a director (25:13), why the story may be more sci-fi than sports (31:04), and discuss the legendary one on one game between Allen and Denzel (37:52). We move on to the case for knocking it off the pedestal with the bewildering hooker subplot (53:21), how many of the secondary characters constantly drag the movie down (58:23), and Pops has a major beef with the orchestral music choices (1:04:48).

In our final Personal Pedestal episode of season 2, we’re living in a fairy tale with the 2003 Tim Burton fantasy comedy BIG FISH.

Mike explains why this movie is on his own personal pedestal, and what it was like to try and hold back his tears watching it alone in a movie theatre (6:10). After a deep dive into our thoughts on Tim Burton’s career (11:45), we begin the case for putting it on the pedestal with the movie’s theory that stories are meant to be more about feelings than facts (20:43). We get into Albert Finney’s show-stopping “Crow” joke (33:15), and why the ending might be the greatest of all time (41:50). We move on to the case for keeping it off the pedestal with Ewan McGregor’s bizarre accent work (44:53). We debate the harshness of Billy Cruddup’s performance (49:18), how the love story may not have aged that well (54:55), and Mike speculates if this movie has the ultimate storytelling “cheat code” built into it (1:04:21).

In our second Personal Pedestal episode, we’re your number one fan with the 1990 adaptation of the Stephen King horror novel MISERY.

Pops explains why this movie is on his own personal pedestal, and how he’s been a devout Stephen King superfan since childhood (2:56). We then begin the case for putting it on the pedestal with the tour de force performance of Kathy Bates (8:37). We talk about the iconic sledgehammer scene (15:33), the prescience this film had on the rise of toxic fandom (30:17), and Mike makes the argument that Annie Wilkes is just a very effective creative director (46:36). We move on to the case for keeping it off the pedestal with the general “TV Movie” quality of the film (51:36), the myriad problems we all had with the ending (1:03:51), and we fiercely debate whether or not Wilkes uses a racial slur (1:07:37). Finally Mike wonders if the movie tips too far into being just “suffer porn” (1:11:07).

In our first ever Personal Pedestal episode, we’re emotional vampires with the 2002 Roger Avary black comedy THE RULES OF ATTRACTION.

Shane explains why this movie is on his own personal pedestal, and why it made him think Roger Avary was a superior director to Quentin Tarantino (8:36). We then begin the case for putting it on the pedestal with the kinds of risks Avary took that we had never seen before (13:42). We gush over the famous “movie within a movie” euro trip scene (15:53), debate whether or not the dark satire does more damage than good (31:20), and if Paul was the breakout character (42:09). We move on to the case for keeping it off the pedestal with Van Der Beek feeling very miscast (51:13), how everything has a “student film” quality (54:17), and why in retrospect Shane found so much of this movie very annoying (58:42).

In this episode, we need your clothes, your boots and your motorcycle with the 1991 Arnold Schwarzenegger action blockbuster TERMINATOR 2: JUDGEMENT DAY.

After Pops divulges all the different ways this movie traumatized him in his youth (7:13), we begin the case for keeping it on the pedestal with discussing what makes James Cameron such a prolific director (12:01). We debate how “sexy” Arnold is in this movie (17:30), how the special effects are still mind blowing (32:12), and whether or not Linda Hamilton actually stole the show (45:41). We move on to the case for knocking it off the pedestal with all the problems with the biker bar scene (52:15), Mike points out a very cringe worthy T-1000 line (1:01:01), and we discuss the inherent paradoxes that exist in any story about time travel (1:16:03).

In this episode, we’re hungry for your touch with the 1990 Patrick Swayze romantic thriller GHOST.

We’re joined by our very first guest, Hollywood screenwriter Matt Unsworth (Happy Together, Heist Podcast) as we first recollect how scary the demons were for us as kids (7:22). We then begin the case for keeping it on the pedestal with all things Whoopi (12:14). We all debate whether it’s worth going crazy for Swayze (18:09), Mike praises the logic of the supernatural plot (28:23), and Unsworth explains why he loves the ending and its possible larger ramifications (38:12). We move on to the case for knocking it off the pedestal with how tonally disjointed it feels throughout (41:06), Pops gets pissed about the rules of being a ghost (44:50), and we wonder if this entire movie runs only on star power (49:45). Finally, after a historic deadlock, Mike on Much co-host and Arkells front man Max Kerman drops in to cast the deciding vote (1:03:22).