<figure class="wp-block-image size-large"><img fetchpriority="high" decoding="async" width="1024" height="576" src="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/11/rounders-thob-1024x576.jpg" alt="" class="wp-image-1582" srcset="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/11/rounders-thob-1024x576.jpg 1024w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/11/rounders-thob-300x169.jpg 300w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/11/rounders-thob-768x432.jpg 768w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/11/rounders-thob.jpg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></figure>



For this week’s episode, we’re… dealing (sorry) a late 90s favorite that was meant to be a post-Oscar star vehicle and wound up a box office disappointment. After the Oscar and box office success of Good Will Hunting, the next stop on Matt Damon’s ascent to megastardom was to be Rounders, an NYC-set drama about high-stakes underground poker. Damon starred as a law student who once gave up the game but quit at the insistence of his girlfriend (Gretchen Mol), only to get pulled back in by his no-good childhood friend (Edward Norton).



This episode, we talk about the film’s status as a cult favorite of sorts and the film’s palatable brand of machismo. We also discuss Norton’s Oscar nomination in the same year for American History X, Mol’s Vanity Fair It Girl cover, and John Malkovich giving goofy Russian accent.



Topics also include Celebrity Poker Showdown, John Turturro in a bathhouse, and (eep) Famke Janssen on Nip/Tuck.

For this week’s episode, we’re… dealing (sorry) a late 90s favorite that was meant to be a post-Oscar star vehicle and wound up a box office disappointment. After the Oscar and box office success of Good Will Hunting, the next stop on Matt Damon’s ascent to megastardom was to be Rounders, an NYC-set drama about high-stakes underground poker. Damon starred as a law student who once gave up the game but quit at the insistence of his girlfriend (Gretchen Mol), only to get pulled back in by his no-good childhood friend (Edward Norton). This episode, we talk about the film’s status as a cult favorite of sorts and the film’s palatable brand of machismo. We also discuss Norton’s Oscar nomination in the same year for American History X, Mol’s Vanity Fair It Girl cover, and John Malkovich giving goofy Russian accent. Topics also include Celebrity Poker Showdown, John Turturro in a bathhouse, and (eep) Famke Janssen on Nip/Tuck.

For this week’s episode, we’re… dealing (sorry) a late 90s favorite that was meant to be a post-Oscar star vehicle and wound up a box office disappointment. After the Oscar and box office success of&nbsp;Good Will Hunting, the next stop on Matt Damon’s ascent to megastardom was to be&nbsp;Rounders, an NYC-set drama about high-stakes underground poker. Damon starred as a law student who once gave up the game but quit at the insistence of his girlfriend (Gretchen Mol), only to get pulled back in by his no-good childhood friend (Edward Norton).



This episode, we talk about the film’s status as a cult favorite of sorts and the film’s palatable brand of machismo. We also discuss Norton’s Oscar nomination in the same year for&nbsp;American History X, Mol’s Vanity Fair It Girl cover, and John Malkovich giving goofy Russian accent.



Topics also include Celebrity Poker Showdown, John Turturro in a bathhouse, and (eep) Famke Janssen on&nbsp;Nip/Tuck.

411 – Rounders

<figure class="wp-block-image size-large"><img decoding="async" width="1024" height="576" src="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-1024x576.jpeg" alt="" class="wp-image-1579" srcset="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-1024x576.jpeg 1024w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-300x169.jpeg 300w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-768x432.jpeg 768w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-1536x864.jpeg 1536w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-2048x1152.jpeg 2048w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/midsommar-thob-1200x675.jpeg 1200w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></figure>



Happy Halloween! Quickly following up his paradigm-shifting Hereditary, Ari Aster took to Sweden for Midsommar. The film stars Florence Pugh as a young woman who follows her boyfriend on a study trip in the wake of a major personal tragedy. As the running-on-fumes romance disintegrates, things get very weird and very sinister in the remote town in which they’re staying. Though the film earned him the vocal respect of the likes of Martin Scorsese, its Oscar chances were swiftly cut short.



This episode, we talk about the film’s morbid (and often quite funny) depiction of cult behavior and the backlash against Aster’s cinematic sensibilities. We also talk about Pugh’s Little Women performance in the same year, how the film doesn’t completely spell out what’s happening just offscreen, and the director’s cut that has gained popularity in the year’s since.



Topics also include Joe’s current spooky watching, 2019 Best Actress, and Midsommar‘s memeability.

Happy Halloween! Quickly following up his paradigm-shifting Hereditary, Ari Aster took to Sweden for Midsommar. The film stars Florence Pugh as a young woman who follows her boyfriend on a study trip in the wake of a major personal tragedy. As the running-on-fumes romance disintegrates, things get very weird and very sinister in the remote town in which they’re staying. Though the film earned him the vocal respect of the likes of Martin Scorsese, its Oscar chances were swiftly cut short. This episode, we talk about the film’s morbid (and often quite funny) depiction of cult behavior and the backlash against Aster’s cinematic sensibilities. We also talk about Pugh’s Little Women performance in the same year, how the film doesn’t completely spell out what’s happening just offscreen, and the director’s cut that has gained popularity in the year’s since. Topics also include Joe’s current spooky watching, 2019 Best Actress, and Midsommar‘s memeability.

Happy Halloween! Quickly following up his paradigm-shifting&nbsp;Hereditary, Ari Aster took to Sweden for&nbsp;Midsommar. The film stars Florence Pugh as a young woman who follows her boyfriend on a study trip in the wake of a major personal tragedy. As the running-on-fumes romance disintegrates, things get very weird and very sinister in the remote town in which they’re staying. Though the film earned him the vocal respect of the likes of Martin Scorsese, its Oscar chances were swiftly cut short.



This episode, we talk about the film’s morbid (and often quite funny) depiction of cult behavior and the backlash against Aster’s cinematic sensibilities. We also talk about Pugh’s&nbsp;Little Women&nbsp;performance in the same year, how the film doesn’t completely spell out what’s happening just offscreen, and the director’s cut that has gained popularity in the year’s since.



Topics also include Joe’s current spooky watching, 2019 Best Actress, and&nbsp;Midsommar‘s memeability.

410 – Midsommar

<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob-1024x576.jpg" alt="" class="wp-image-1573" srcset="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob-1024x576.jpg 1024w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob-300x169.jpg 300w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob-768x432.jpg 768w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob-1200x675.jpg 1200w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/russiahouse-thob.jpg 1280w" sizes="auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></figure>



In the years after his Oscar win for The Untouchables, Sean Connery remained a major movie star and box office draw. The latter proved untrue in 1990 when The Russia House fizzled at the holiday box office. Based on the John le Carré novel, the film follows Connery as a publisher pulled into espionage in Russia during perestroika, only to fall in love with an informant’s wife, played by Michelle Pfeiffer. One year after The Fabulous Baker Boys, Pfeiffer earned a Globe nomination for her performance, but Oscar honored neither of these headliners.



This episode, we discuss director Fred Schepisi and the Academy’s arms-length relationship with the chillier adaptations of le Carré’s work. We also discuss Connery’s next decade as a major star, Pfeiffer’ on her 10th THOB-day (that’s a To Gillian reference for anyone paying attention)’s extensive THOB history, and director Ken Russell hiding out among the film’s ensemble.



Topics also include the 1990 EW Holiday Movie Preview, a Berlin competition lineup with two Best Picture winners, and composer Jerry Goldsmith.

In the years after his Oscar win for The Untouchables, Sean Connery remained a major movie star and box office draw. The latter proved untrue in 1990 when The Russia House fizzled at the holiday box office. Based on the John le Carré novel, the film follows Connery as a publisher pulled into espionage in Russia during perestroika, only to fall in love with an informant’s wife, played by Michelle Pfeiffer. One year after The Fabulous Baker Boys, Pfeiffer earned a Globe nomination for her performance, but Oscar honored neither of these headliners. This episode, we discuss director Fred Schepisi and the Academy’s arms-length relationship with the chillier adaptations of le Carré’s work. We also discuss Connery’s next decade as a major star, Pfeiffer’ on her 10th THOB-day (that’s a To Gillian reference for anyone paying attention)’s extensive THOB history, and director Ken Russell hiding out among the film’s ensemble. Topics also include the 1990 EW Holiday Movie Preview, a Berlin competition lineup with two Best Picture winners, and composer Jerry Goldsmith.

In the years after his Oscar win for&nbsp;The Untouchables, Sean Connery remained a major movie star and box office draw. The latter proved untrue in 1990 when&nbsp;The Russia House&nbsp;fizzled at the holiday box office. Based on the John le Carré novel, the film follows Connery as a publisher pulled into espionage in Russia during perestroika, only to fall in love with an informant’s wife, played by Michelle Pfeiffer. One year after&nbsp;The Fabulous Baker Boys, Pfeiffer earned a Globe nomination for her performance, but Oscar honored neither of these headliners.



This episode, we discuss director Fred Schepisi and the Academy’s arms-length relationship with the chillier adaptations of le Carré’s work. We also discuss Connery’s next decade as a major star, Pfeiffer’ on her 10th THOB-day (that’s a To Gillian reference for anyone paying attention)’s extensive THOB history, and director Ken Russell hiding out among the film’s ensemble.



Topics also include the 1990 EW Holiday Movie Preview, a Berlin competition lineup with two Best Picture winners, and composer Jerry Goldsmith.

408 – The Russia House

<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-1024x576.jpeg" alt="" class="wp-image-1369" srcset="https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-1024x576.jpeg 1024w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-300x169.jpeg 300w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-768x432.jpeg 768w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-1536x864.jpeg 1536w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-2048x1152.jpeg 2048w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2025/08/mammamia-thob-1200x675.jpeg 1200w" sizes="auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></figure>



With Meryl currently on her first film set in years, what better time than to dance, jive, and generally speaking have the time of our lives. We’ve invited our friend, writer and programmer Jorge Molina to discuss the Meryl movie that didn’t get her an Oscar nomination in 2008. A post 9/11 hit on the stage, Mamma Mia! tells the story of a bride who invites three men to her wedding who might be her father, all set to the music of ABBA. The film showed off against Batman himself to become a global smash (if not one with critics), and it remains a rewatch classic.



This episode, we discuss our origins with the musical and Meryl’s other 2008 performance. We also talk about the film’s ensemble including the divine Amanda Seyfried, our favorite numbers from the film, and whose voice fares the worst when singing.



Topics also include Chris Klein’s bad audition, Tom and Rita, and downloading Oscar medleys to an iPhone.

With Meryl currently on her first film set in years, what better time than to dance, jive, and generally speaking have the time of our lives. We’ve invited our friend, writer and programmer Jorge Molina to discuss the Meryl movie that didn’t get her an Oscar nomination in 2008. A post 9/11 hit on the stage, Mamma Mia! tells the story of a bride who invites three men to her wedding who might be her father, all set to the music of ABBA. The film showed off against Batman himself to become a global smash (if not one with critics), and it remains a rewatch classic. This episode, we discuss our origins with the musical and Meryl’s other 2008 performance. We also talk about the film’s ensemble including the divine Amanda Seyfried, our favorite numbers from the film, and whose voice fares the worst when singing. Topics also include Chris Klein’s bad audition, Tom and Rita, and downloading Oscar medleys to an iPhone.

With Meryl currently on her first film set in years, what better time than to dance, jive, and generally speaking have the time of our lives. We’ve invited our friend, writer and programmer Jorge Molina to discuss the Meryl movie that didn’t get her an Oscar nomination in 2008. A post 9/11 hit on the stage,&nbsp;Mamma Mia!&nbsp;tells the story of a bride who invites three men to her wedding who might be her father, all set to the music of ABBA. The film showed off against Batman himself to become a global smash (if not one with critics), and it remains a rewatch classic.



This episode, we discuss our origins with the musical and Meryl’s other 2008 performance. We also talk about the film’s ensemble including the divine Amanda Seyfried, our favorite numbers from the film, and whose voice fares the worst when singing.



Topics also include Chris Klein’s bad audition, Tom and Rita, and downloading Oscar medleys to an iPhone.

353 – Mamma Mia! (w/ Jorge Molina!)

<figure class="wp-block-image size-large"><img decoding="async" width="1024" height="576" src="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob-1024x576.jpeg" alt="" class="wp-image-1576" srcset="https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob-1024x576.jpeg 1024w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob-300x169.jpeg 300w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob-768x432.jpeg 768w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob-1200x675.jpeg 1200w, https://fightinginthewarroom.com/THOB/wp-content/uploads/2026/10/randc-thob.jpeg 1280w" sizes="(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px" /></figure>



Post-Chicago, just about any movie musical was fodder for awards buzz, especially if they boasted a cast as stacked as Romance and Cigarettes. A jukebox musical from the mind of John Turturro, the film stars James Gandolfini as a New York construction worker whose life goes into tumult when he cheats on his wife (Susan Sarandon) with a younger redhead (Kate Winslet). Bizarrely profane and minimally plotted, the film thudded onto the festival scene in 2005 and didn’t see a theatrical release until Turturro self-distributed it in 2007.



This episode, we talk about Turturro’s Best Actor chances this season with The Only Living Pickpocket in New York and his under-rewarded career as an actor. We also discuss Gandolfini breaking away from The Sopranos with movies, the film’s strange catalog of disconnected songs, and a punk girl group of Mary-Louise Parker, Mandy Moore, and Aida Turturro.



Topics also include Film Forum, the 2005 Venice Film Festival, and Elaine Stritch: At Liberty.

Post-Chicago, just about any movie musical was fodder for awards buzz, especially if they boasted a cast as stacked as Romance and Cigarettes. A jukebox musical from the mind of John Turturro, the film stars James Gandolfini as a New York construction worker whose life goes into tumult when he cheats on his wife (Susan Sarandon) with a younger redhead (Kate Winslet). Bizarrely profane and minimally plotted, the film thudded onto the festival scene in 2005 and didn’t see a theatrical release until Turturro self-distributed it in 2007. This episode, we talk about Turturro’s Best Actor chances this season with The Only Living Pickpocket in New York and his under-rewarded career as an actor. We also discuss Gandolfini breaking away from The Sopranos with movies, the film’s strange catalog of disconnected songs, and a punk girl group of Mary-Louise Parker, Mandy Moore, and Aida Turturro. Topics also include Film Forum, the 2005 Venice Film Festival, and Elaine Stritch: At Liberty.

Post-Chicago, just about any movie musical was fodder for awards buzz, especially if they boasted a cast as stacked as&nbsp;Romance and Cigarettes. A jukebox musical from the mind of John Turturro, the film stars James Gandolfini as a New York construction worker whose life goes into tumult when he cheats on his wife (Susan Sarandon) with a younger redhead (Kate Winslet). Bizarrely profane and minimally plotted, the film thudded onto the festival scene in 2005 and didn’t see a theatrical release until Turturro self-distributed it in 2007.



This episode, we talk about Turturro’s Best Actor chances this season with&nbsp;The Only Living Pickpocket in New York&nbsp;and his under-rewarded career as an actor. We also discuss Gandolfini breaking away from&nbsp;The Sopranos&nbsp;with movies, the film’s strange catalog of disconnected songs, and a punk girl group of Mary-Louise Parker, Mandy Moore, and Aida Turturro.



Topics also include Film Forum, the 2005 Venice Film Festival, and&nbsp;Elaine Stritch: At Liberty.

409 – Romance and Cigarettes

This week’s piece of failed awards bait is the 2017 costume drama/romantic “thriller” Tulip Fever, and by “2017,” we mean “filmed in 2014 and originally intended to be released at various times over the course of the next three years, only to finally limp into theaters after several waves of frantic test screenings, horrid buzz and derisive jokes.” From the director of The Other Boleyn Girl, people! How could it have all gone so very wrong? 
Topics include: Dane DeHaan and baby pandas, Judi Dench running Goldman-Sachs-for-flowers, whether we’re living in a post-costume-drama world, whether this would have been Alicia Vikander’s Norbit, and how much would have been different if DreamWorks had been able to make this movie in 2004 as originally intended.

This week’s piece of failed awards bait is the 2017 costume drama/romantic “thriller” Tulip Fever, and by “2017,” we mean “filmed in 2014 and originally intended to be released at various times over the course of the next three years, only to finally limp into theaters after several waves of frantic test screenings, horrid buzz and derisive jokes.” From the director of The Other Boleyn Girl, people! How could it have all gone so very wrong? Topics include: Dane DeHaan and baby pandas, Judi Dench running Goldman-Sachs-for-flowers, whether we’re living in a post-costume-drama world, whether this would have been Alicia Vikander’s Norbit, and how much would have been different if DreamWorks had been able to make this movie in 2004 as originally intended.

This week’s piece of failed awards bait is the 2017 costume drama/romantic “thriller” Tulip Fever, and by “2017,” we mean “filmed in 2014 and originally intended to be released at various times over the course of the next three years, only to finally limp into theaters after several waves of frantic test screenings, horrid buzz and derisive jokes.” From the director of The Other Boleyn Girl, people! How could it have all gone so very wrong? 
Topics include: Dane DeHaan and baby pandas, Judi Dench running Goldman-Sachs-for-flowers, whether we’re living in a post-costume-drama world, whether this would have been Alicia Vikander’s Norbit, and how much would have been different if DreamWorks had been able to make this movie in 2004 as originally intended.

002 – Tulip Fever

Our first episode of This Had Oscar Buzz is about 2003’s Mona Lisa Smile, director Mike Newell’s Wellesley College period melodrama, starring Julia Roberts and all of the It Girls of the early Aughts. Come for the art history lesson, stay for the dashed awards hopes.

Our first episode of This Had Oscar Buzz is about 2003’s Mona Lisa Smile, director Mike Newell’s Wellesley College period melodrama, starring Julia Roberts and all of the It Girls of the early Aughts. Come for the art history lesson, stay for the dashed awards hopes.

Our first episode of This Had Oscar Buzz is about 2003’s&nbsp;Mona Lisa Smile, director Mike Newell’s Wellesley College period melodrama, starring Julia Roberts and all of the It Girls of the early Aughts. Come for the art history lesson, stay for the dashed awards hopes.

001 – Mona Lisa Smile

Joe Reid and Chris Feil discuss the origins of This Had Oscar Buzz, their first experiences with Oscar failures, and give a sneak peek at episodes to come…

Joe Reid and Chris Feil discuss the origins of This Had Oscar Buzz, their first experiences with Oscar failures, and give a sneak peek at episodes to come…

Joe Reid and Chris Feil discuss the origins of This Had Oscar Buzz, their first experiences with Oscar failures, and give a sneak peek at episodes to come…

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