Episode #37 has our disgraced Kazakh journalists delivering a prodigious bribe and derailing the 2020 presidential election in the new mockumentary sequel, Borat Subsequent Moviefilm, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how blending shock humour with M. Night Shyamalan, Holocaust survivors, and the COVID-19 pandemic still fails to trump the film's most controversial inclusion: Rudy Giuliani's handsy interview.

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Minisode #7 has our hack horror directors shooting their latest low-budget outing "fast, cheap but average" in the 2017 Japanese zombie comedy, One Cut of the Dead, where Dan & Jackson sit down for a short spoiler-free discussion on the movie and why sticking out the first forty minutes of this meta-meta-meta guerilla film will leave you rolling with laughter as the second set of credits roll.

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Episode #36 has our cultural revolutionaries charged with endless contempts of court in the new Aaron Sorkin written-and-directed match made in heaven, The Trial of the Chicago 7, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how assembling this excellent, a-grade ensemble cast is sure to incite riots in the 2021 awards season... despite the glaring omission of a few key Jellicle cats.

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Episode #35 has our resident Salem misfits monitoring All Hallow's Eve for pranksters, werewolves and human centipedes in the new Adam Sandler horrific comedy, Hubie Halloween, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how six releases into a Netflix partnership worth upwards of half a billion dollars still hasn't spelled an entertaining outing for the once-loved Sandman.

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Episode #34 has our terrified teenagers forever looking over their shoulders in David Robert Mitchell's 2014 supernatural chiller, It Follows, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how the creepiest reading of this dread-soaked 100 minutes isn't the fear of an STI, but that we may never outrun the lingering reality of growing up.

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Minisode #6 has our delinquent debt collectors charming the pants and wallets off their blue-collar hometown in the 2019 Zoey Deutch-driven dramedy, Buffaloed, where Dan & Jackson sit down for a short spoiler-free discussion on the movie and why our leading lady hits more than she misses as the low-rent 'She-Wolf of Wall Street' in an uneven and unnoticed indie release.

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Minisode #5 has our female folklore legends defying tradition and a global pandemic in the new Disney+ live-action adaptation, Mulan, where Dan & Jackson sit down for a short spoiler-free discussion on the movie and why charging upwards of $40 AUD to watch premium video on demand may be the macabre future for cinema as we know it in 2020.

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Episode #33 has our disturbed war veterans (is there other any kind, EVER?) giving into their innate evil within in the new harrowing Netflix-adapted thriller, The Devil All the Time, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how solid performances from an all-star cast including Tom Holland, Robert Pattison and Jason Clarke can't raise this bleak punishing mess from the depths of cinematic despair known as backwoods Ohio.

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Episode #32 has our excellent adventurers embarking on another totally non-heinous journey in the new sci-fi 'slacker' comedy starring Keanu Reeves and Alex Winter, Bill & Ted Face the Music, where Dan & Jackson discuss their initial thoughts on the movie, plot elements, behind-the-scenes notes and how their time-travelling guide, special guest Lucky Boy Reviews, recommends the most bogus of viewing experiences from the comfort of your own living room.

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Minisode #4 has our aptly-named Jessie and Jesse comtemplating love, loss and every other depressing topic we contend with in the new Charlie Kaufman meta mind-melter, I'm Thinking of Ending Things, where Dan & Jackson sit down for a short spoiler-free discussion on the movie and why peppering your adapted screenplay with literary, film and even musical references might be too confounding and self-indulgent, even for the acclaimed writer-director.

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