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Home to The Playlist Podcast Network and all its affiliated shows, including The Playlist Podcast, The Discourse, Be Reel, The Fourth Wall, and more. The Playlist is the obsessive's guide to contemporary cinema via film discussion, news, reviews, features, nostalgia, and more.
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![‘Landman’ Season 2: Billy Bob Thornton, Sam Elliott, Ali Larter, & Michelle Randolph On Family Chaos, Tonal Whiplash, & A Modern Western [Bingeworthy Podcast]](https://s3.castbox.fm/4c/df/74/32ad393f145b054b1b91a2453fa1e4672b_scaled_v1_400.jpg "‘Landman’ Season 2: Billy Bob Thornton, Sam Elliott, Ali Larter, & Michelle Randolph On Family Chaos, Tonal Whiplash, & A Modern Western [Bingeworthy Podcast]")
Some shows live comfortably in one gear. “Landman” decidedly does not. Season 2 is best when it’s bouncing between tones, when a moment that plays like broad comedy suddenly curdles into something personal and more uncomfortable. One scene has you laughing at unchecked confidence. The next reminds you that this confidence has consequences, usually paid by family.Set in the oil fields of West Texas, the Taylor Sheridan-created series is still very much about power, money, and leverage, but Season 2 makes it harder to separate those things from the personal damage they cause. Ego doesn’t clock out at the end of the workday. It comes home, pulls up a chair, and waits for dinner. With the Season 2 finale now aired on Paramount+, the show is officially BINGEWORTHY!READ MORE: ‘Landman’ Review: Taylor Sheridan’s Oil Series With Billy Bob Thornton Is Mostly Entertaining & Speaks To A MAGA Worldview
![‘The Rip’: Joe Carnahan On Cop Cinema, Moral Pressure Cookers, ‘The Raid’ Remake, & His ‘Daredevil’ Film That Never Happened [The Discourse Podcast]](https://s3.castbox.fm/d4/61/dc/312c4e80137a692358cde60b95ebe2214c_scaled_v1_400.jpg "‘The Rip’: Joe Carnahan On Cop Cinema, Moral Pressure Cookers, ‘The Raid’ Remake, & His ‘Daredevil’ Film That Never Happened [The Discourse Podcast]")
Sweaty palms, bad decisions, and the creeping realization that the walls are closing in have always been Joe Carnahan’s cinematic comfort zone, from the raw nerve of “Narc” to the adrenalized chaos of “Smokin’ Aces.” With “The Rip,” Carnahan distills that obsession into its most claustrophobic form yet, a lean, pressure-cooker cop thriller that weaponizes procedure, grief, and mistrust by refusing to let anyone leave the room.Premiering January 16 on Netflix, the film follows a team of law enforcement officers tasked with counting a massive cash seizure inside a private home, only to realize the money has placed them squarely in someone else’s crosshairs, turning routine protocol into a moral and physical siege where loyalty fractures and survival comes at a cost. The film stars Matt Damon, Ben Affleck, Steven Yeun, Teyana Taylor, Kyle Chandler, Scott Adkins, and more.On this episode of The Discourse, host Mike DeAngelo is joined by writer-director Joe Carnahan to discuss how “The Rip” grew out of deeply personal real-life experience, why confinement can be more terrifying than scale, collaborating with Damon and Affleck as producers, and why character-driven crime stories continue to pull him back more than any franchise machinery.
There’s a certain kind of midnight movie that feels like it crawled out of an alley, brushed itself off, and dared you to follow it home. “Night Patrol,” the new wild horror stew from writer-director Ryan Prows, is exactly that. A vampire flick with cop-movie nerves, magic, and a nasty little conscience, it’s the kind of film that can play as pulpy, borderline campy fun and still leave you chewing on bigger questions about power, ideology, and what “monsters” really look like when the credits roll.On this episode of The Discourse, host Mike DeAngelo is joined by Justin Long and CM Punk (Phil Brooks) to talk about the film, their characters, and the strange, rewarding contradictions baked into Prows’ nightmarish world.For Justin Long, the role arrived at a time when his career seemed to be moving with wild, genre-hopping momentum, but he’s not exactly sitting at home drawing a master plan on a whiteboard.
![‘His & Hers’: Tessa Thompson On Dual Perspectives, THAT Ending, Valkyrie’s MCU Return, and ‘Creed 4’ [Bingeworthy Podcast]](https://s3.castbox.fm/fa/24/a3/2c43d01427cd064686fac5168ad5285bba_scaled_v1_400.jpg "‘His & Hers’: Tessa Thompson On Dual Perspectives, THAT Ending, Valkyrie’s MCU Return, and ‘Creed 4’ [Bingeworthy Podcast]")
There’s a specific perverse pleasure in watching a murder mystery show that knows exactly when to let you feel confident and exactly when to pull that confidence out from under you. Netflix's “His & Hers” does that trick over and over again. You think you’ve got a handle on it. You start building your little internal conspiracy corkboard. Then it quietly slides one detail out of place, and suddenly the whole picture looks different.The series follows Anna (Tessa Thompson), a once‑prominent journalist who returns to her hometown just as a murder investigation begins to unravel long‑buried secrets. Told through competing points of view between Anna and her estranged husband, Jack Harper (Jon Bernthal), the show builds its tension around who controls the narrative, and what happens when truth becomes a weapon rather than a destination. The ensemble cast also includes Jon Bernthal, Pablo Schreiber, Marin Ireland, Sunita Mani, and more.
Disaster movies are built to end things. Cities collapse, the planet cracks open, and whatever survives crawls out into the credits. Sequels are supremely rare because escalation usually feels beside the point. But “Greenland 2: Migration” exists because director Ric Roman Waugh never viewed the first film as a one-off thrill ride. For him, it was always the opening chapter of a single emotional story about family, survival, and legacy.The sequel again follows the Garrity family as they must leave the safety of the Greenland bunker and embark on a perilous journey across the decimated, volatile wasteland of Europe in search of a new home. The film stars Gerard Butler, Morena Baccarin, Roman Griffin Davis, William Abadie, and more.On this episode of The Discourse, host Mike DeAngelo is joined by director Ric Roman Waugh to discuss why “Migration” was never conceived as a traditional sequel, how emotion allows spectacle to breathe, reuniting with Gerard Butler for their fourth collaboration, and balancing franchise expectations with the fear of repetition.
The Wasteland doesn’t care who you are. It burns everyone the same. "Fallout" returns for Season 2 with a broader canvas and more confidence, expanding its ensemble-driven apocalypse while keeping its eye on the emotional wreckage left behind. Set in a future, post-apocalyptic Los Angeles brought about by nuclear decimation, the series follows citizens forced to survive in underground bunkers while the surface world fills with radiation, mutants, bandits, and moral rot. The show stars Walton Goggins, Ella Purnell, Aaron Moten, Moisas Arias, and more.Joining Bingeworthy for this episode is Walton Goggins, who returns as Cooper Howard / "The Ghoul," and he’s quick to frame Season 2 as an evolution rather than a victory lap. Having lived through shows that found new depth after their first year, he knows the difference between simply getting louder and genuinely digging in. “If you can get a Season 1 right, if you tell a story that moves you or makes you feel something, then with the second one, if you care about it as much as the people on this show care, you can really dig deeper,” Goggins said. “That’s what these writers did. That’s what these directors did. Everybody showed up and gave their best every single day.”
![‘Silent Night, Deadly Night’: Rohan Campbell & Mike P. Nelson On Bloody Holiday Romance, Nazi Christmas Parties, & Defending ‘Halloween Ends’ [The Discourse Podcast]](https://s3.castbox.fm/fc/a3/c9/51f6e3da2c8a12e3e82a4ae99e6f5faa3a_scaled_v1_400.jpg "‘Silent Night, Deadly Night’: Rohan Campbell & Mike P. Nelson On Bloody Holiday Romance, Nazi Christmas Parties, & Defending ‘Halloween Ends’ [The Discourse Podcast]")
Holiday horror is usually all tinsel and trauma, but the new remake of "Silent Night, Deadly Night" decides it also wants to add a warm hug, a nervous breakdown, and a full-blown Nazi Christmas party for good measure. Director Mike P. Nelson takes the infamous killer Santa premise and rebuilds it as a supernatural slasher with a bruised, endearing Hallmark heart at the center, following a gentler, wounded version of Billy Chapman and the woman who accidentally falls in love with the monster in the red suit. It is romantic, nasty, and weird in exactly the right Christmas-y ways.On this episode of The Discourse, host Mike DeAngelo is joined by star Rohan Campbell and director Mike P. Nelson to delve into reinventing a cult slasher, balancing sweetness with splatter, staging set pieces like a Nazi Christmas party and a nightmare ball pit, and exploring where a potential sequel could take Billy and Pam.
Childhood fears, bedtime monsters, and the hazy membrane between imagination and trauma collide in “Dust Bunny,” the feature directorial debut of Bryan Fuller, a filmmaker whose storytelling instincts have always lived in the space between the two B’s - beauty and brutality. It is a film that feels handcrafted out of nightmares and fairy-tale sugar, a creature feature through the eyes of a child who sees the world in magic and menace at the same time. Rich with color, shadows, and emotional ambiguity, it is unmistakably a Bryan Fuller movie, which is to say that it’s tender, violent, mischievous, and sincere in equal measure.Joining The Discourse in today’s episode is Bryan Fuller himself, the writer and director behind shows like “Hannibal,” “Pushing Daisies,” “American Gods,” and “Star Trek: Discovery” (in its early days). Fuller’s signature blend of genre storytelling and emotional excavation finds a new form here as he steps behind the camera for his first feature-length film, crafting a story about a little girl who hires a hitman to kill the monster under her bed and discovers that nothing is simple when your fears have roots. The film stars Mads Mikkelsen, Sigourney Weaver, David Dastmalchian, Sophie Sloan, and Sheila Atim.
There’s refined British comedy, and then there’s “Fackham Hall,” a movie that waltzes in wearing period-accurate garb on the outside and immediately trips over the furniture. It’s the kind of delightfully silly romp where aristocrats brood, servants scramble, romance simmers, relatives wed, and the background is working twice as hard as the actors to steal every scene, like “Downton Abbey” politely offering you tea while “Airplane” swaps the sugar for gunpowder. Set between the wars, the film follows starry-eyed servant Eric and rebellious aristocrat Rose as their forbidden attraction detonates inside a household already teetering on the edge of absurdity. The ensemble includes Thomasin McKenzie, Damian Lewis, Katherine Waterston, Tom Felton, and a sprawling cast of blissfully serious performers.Joining The Discourse in today’s episode are “Fackham Hall” director Jim O’Hanlon and star Thomasin McKenzie, who break down how the team crafted a period comedy where the jokes never stop multiplying and the sincerity has to be played with absolute conviction.
Kingstown never sleeps. It snarls. It churns. It eats the weak. With “Mayor of Kingstown” returning for Season 4, the Paramount+ thriller doubles down on the brutal machinery of power, corruption, and survival that has defined the series from the beginning. But this year, something shifts. A storm hits the city in the form of Edie Falco, who joins the show as Nina Hobbs, the new prison warden and a razor-sharp antagonist to Jeremy Renner’s battered fixer, Mike McLusky.Joining Bingeworthy for this episode are Jeremy Renner and Edie Falco, who break down the fierce chess match between Mike and Nina, the sense of doom that defines their characters, and the existential question haunting this season.READ MORE: ‘IT: Welcome To Derry’: Andy & Barbara Muschietti, Jason Fuchs & Brad Caleb Kane On Pennywise’s Origins, Their Multi-Season Plan, And Their Experience on ‘The Flash’ [Bingeworthy Podcast]Renner said the fun of their dynamic comes from how quickly civility slips into threat. He explained that their very first exchange set the tone. “From our first scene, it’s like the lightest version of that, but it does just keep going, that chess match. But it’s really good writing and when it’s not, we fix it. And the job’s easy and it becomes fun when you have really talented people to work with. You can really find nuances to things and not be like, it’s not posturing. It becomes a really wonderful dance.” He added that beneath the barbs, both characters genuinely want some level of cooperation. “We are not playing like we hate each other. We want to work through this, but this is what I got to do.”
![‘IT: Welcome To Derry’: Andy & Barbara Muschietti, Jason Fuchs & Brad Caleb Kane On Pennywise’s Origins, Their Multi-Season Plan, And Their Experience on ‘The Flash’ [Bingeworthy Podcast]](https://d3t3ozftmdmh3i.cloudfront.net/staging/podcast_uploaded_episode/2006249/2006249-1763656509208-ccab8692a032e.jpg "‘IT: Welcome To Derry’: Andy & Barbara Muschietti, Jason Fuchs & Brad Caleb Kane On Pennywise’s Origins, Their Multi-Season Plan, And Their Experience on ‘The Flash’ [Bingeworthy Podcast]")
In Derry, the past never stays buried. Set in 1962, "IT: Welcome to Derry" rewinds Stephen King’s nightmare town to a moment of postcard innocence and slowly peels the veneer off to show the rot underneath. The new HBO series acts as a prequel to "IT" and "IT: Chapter Two", following the Hanlon family as they’re pulled into another brutal cycle of disappearances, hauntings, and a certain grinning figure who feeds beneath the streets. Bill Skarsgård returns as Pennywise, joined by newcomers James Remar, Taylour Paige, Jovan Adepo, and Chris Chalk.Joining host Mike DeAngelo for the podcast are executive producers Andy Muschietti and Barbara Muschietti, along with co-showrunners Jason Fuchs and Brad Caleb Kane, who walk through how this new cycle came to life and why the Kingverse has far deeper corners than the films could ever reach.
![‘Now You See Me, Now You Don’t’: Ruben Fleischer On Reuniting With Jesse Eisenberg & Woody Harrelson, His 'Venom' Experience, & His Upcoming Western Vampire Film [The Discourse Podcast]](https://d3t3ozftmdmh3i.cloudfront.net/staging/podcast_uploaded_episode/2006249/2006249-1763074280348-c4962d5757b2f.jpg "‘Now You See Me, Now You Don’t’: Ruben Fleischer On Reuniting With Jesse Eisenberg & Woody Harrelson, His 'Venom' Experience, & His Upcoming Western Vampire Film [The Discourse Podcast]")
theaters on November 14 from Lionsgate.For Fleischer, returning to work with Eisenberg and Harrelson was a huge draw, but it wasn't the only draw. “It was a combination of factors,” he said. “Definitely a desire to work with Jesse and Woody again. This was my fourth movie with each of them. They’re great collaborators, super funny, brilliant actors. I just absolutely love working with them.” He was also a fan of the original franchise and, as he put it, “a huge fan of magic.” Those factors made it an easy yes. “It seemed like it would be a lot of fun and it played to my strengths of making a super fun movie for audiences.”
The future isn’t sleek or utopian; it’s loud, televised, and brought to you by your favorite corporate sponsors. In Edgar Wright’s high-voltage new film, “The Running Man,” entertainment has literally become a blood sport. Based on Stephen King’s 1982 novel, this isn’t your father’s dystopia; it’s a world where survival ratings matter more than life itself, and one wrong move can make you viral in all the wrong ways. Glenn Powell stars as Ben Richards, a man framed, hunted, and transformed into TV’s latest disposable hero.It’s a punchy, adrenaline-fueled reinvention from a filmmaker who loves turning chaos into choreography. Wright trades the candy-coated energy of “Baby Driver” and “Scott Pilgrim vs. the World” for something grittier and sweatier, a survival thriller that feels uncomfortably close to our algorithmic present. It’s wickedly funny, politically sharp, and unmistakably his, even as it veers into darker, nastier terrain.READ MORE: ‘A House of Dynamite’: Noah Oppenheim On Real-Time Nuclear Horror, Collaborating With Kathryn Bigelow, His ‘Jack Ryan’ Film & More [The Discourse Podcast]
Crime, corruption, and a phoenix-like comeback collide in the heart of Amsterdam’s weed underworld. Netflix’s “Amsterdam Empire” is a pulpy, fun new crime series set in Amsterdam’s glamorous and dangerous weed industry, where revenge and reinvention go hand in hand. The show follows Betty, a former pop star played by Famke Janssen, whose crumbling marriage to the owner of a Marijuana shop empire known as “The Jackal” sparks a battle that pulls in gangsters, police, and lovers. Weed may be legal to smoke in the Netherlands, but growing it is not, and the family’s illegal grow operations soon attract unwanted attention from rival factions and law enforcement alike.Joining Bingeworthy for this episode is Famke Janssen, who not only stars as Betty but also serves as executive producer and co-costume designer. The series also marks her first time performing in her native Dutch language. She describes the experience as both nerve-wracking and exhilarating.
In Alaska’s endless white, a small town sheriff hunts escaped convicts through blizzards and betrayal, only to uncover a web of CIA secrets and buried love that refuses to stay frozen. Yes, the ’90s action vibes are strong with Apple TV+’s “The Last Frontier,, a wintry chase thriller where a quiet Alaskan town becomes a pressure cooker. Planes fall out of the sky, fugitives scatter into the wild, and a local deputy with a past shoulders more than his share of the storm. It’s lean, charged, and undoubtedly built to binge. The series stars Jason Clarke, Haley Bennett, Dominic Cooper, Alfre Woodard, and more.Joining Bingeworthy for this episode covering “The Last Frontier” are Jason Clarke (star and executive producer) and Jon Bokenkamp (writer, producer, and showrunner). Throughout our conversations, they delve into throwback influences, the human heartbeat beneath the chaos, and why the show’s most memorable moments aren’t always the loudest ones.During the interviews, Jon Bokenkamp is quick to openly call the series a love letter to high-concept ’90s summer action thrillers, the kind you can pitch in one sentence and feel in your bones like “Con Air” and “Point Break.” “It’s really a high-concept idea,” Jon said. “Most of those films that inspired it, you can say in one sentence, ‘here’s the elevator version,’ and you go, ‘I get it.’ A little action heavy, slightly heightened, maybe turned up to 11 or 12.”
What would you do with 18 minutes left before the end of the world? That question ignites "A House of Dynamite," a pulse-pounding new thriller from director Kathryn Bigelow and writer-producer Noah Oppenheim that dramatizes the unthinkable: the countdown between nuclear launch and annihilation. Told in real time, the film locks viewers inside the corridors of power as a U.S. president, military advisors, and intelligence officials face the impossible decision to retaliate or die trying. The result is an unbearably tense and disturbingly plausible experience that plays less like Hollywood fiction and more like a documentary from the edge of civilization. The film hits Netflix on October 24.On this episode of The Discourse, host Mike DeAngelo sits down with Noah Oppenheim, who discusses crafting the film’s chilling realism, his creative partnership with Kathryn Bigelow, and how his background as a journalist and former NBC News president informed his approach to humanizing institutions we normally only see as faceless power structures.READ MORE: ‘A House Of Dynamite’ Review: Kathryn Bigelow Returns With Another Explosive Political Thriller [Venice]
Everyone knows Rodgers and Hammerstein and the legacy that comes with their collaborations, but many forget the brilliance and heartbreak of Rodgers and Hart. The applause roars for one man while another slips quietly into the shadows. Fame and failure share the same stage tonight, divided only by a curtain call. That’s the haunting pulse of “Blue Moon,” a story of creative partners colliding at the peak of one’s success and the edge of the other’s undoing. Over one fateful Broadway night, a composer stands in the light of his newest triumph while his lyricist drowns in the darkness just beyond the spotlight. It’s a breakup told in music, memory, and smoke.On this episode of The Discourse, host Mike DeAngelo pairs conversations with Ethan Hawke & Richard Linklater and Andrew Scott, weaving their perspectives together on collaboration, rehearsal, and the human math of loving someone you can’t fix.READ MORE: ‘Blue Moon’ Review: Another Precious Pearl In Richard Linklater’s Chronicles Of The Human Condition [Berlin]Nine collaborations deep, Hawke and Linklater’s shorthand remains less code than continuum. Hawke said, "The changes are pretty invisible to me. It feels like one long collaboration, one long conversation." Linklater added, "I met Ethan in 1992. We went out later that night, we were at a bar, and we talked all night. We’re still talking. That's what it feels like." Scott, reflecting on their dynamic, noted that the film itself “is about two people who’ve been through so much together that their chemistry almost becomes a language.”
You don’t have to know a damn thing about football to get swept up in “Chad Powers.” The new Hulu comedy from Michael Waldron and Glen Powell takes an absurd premise, a fallen quarterback disguising himself as a walk-on to reclaim his dream, and builds it into one of the funniest, sharpest, and most heartfelt sports stories of the year. Adapted from Eli Manning’s viral sketch, the show follows Russell, a disgraced, washed-up pretty-boy QB who reinvents himself as the mustachioed, mulleted Chad Powers to chase glory once more. It’s “Mrs. Doubtfire” meets “Rudy” meets "Ted Lasso," with Powell delivering a tour-de-force of charm, cringe, and full-body commitment.Joining the Bingeworthy podcast, Michael Waldron, the writer and co-creator behind “Loki,” “Heels,” and “Doctor Strange in the Multiverse of Madness,” discussed shaping the series, collaborating with Powell, and finding its balance between satire and sincerity.
The streets of Tulsa have never looked meaner. With Season 3 of "Tulsa King" now streaming on Paramount+, Sylvester Stallone’s Dwight Manfredi faces more than just turf wars. He’s surrounded by chaos on all sides, from the FBI and old New York enemies to a new local threat who feels pulled from another century. The scale is bigger, the danger sharper, and the humor darker than ever before."It’s one of the darker ones," Stallone said. "But, you know, the humor comes through. It gets heavy." He admitted that the new season’s grind reflects a changing creative rhythm. "It’s very, very big because you have three forces coming at me. You got the FBI, you got the New York mob, and then you have this maniac from Tulsa who looks like he’s from a hundred years in the past. And then all the other intrigue about the elections and so on. And then we deal, oh, I forgot, the domestic terrorists. So we have a lot going on this year."
The hum in Delaware County, Pennsylvania, isn’t sirens so much as the grind of a garbage truck at dawn and the scrape of a window after dark. “Task” lives there, in a neighborhood that knows its people by what they throw away, where they go or don’t go to church, then shoves them onto a collision course. One side is a scuffed-up task force working out of a seized row house, and the other is a desperate crew that’s invisible until it isn’t. The engine isn’t a whodunit. It’s the slow, sick feeling of when. The series follows an FBI agent (Mark Ruffalo) who heads a task force to put an end to a string of violent robberies led by an unsuspected family man (Tom Pelphrey).Joining Bingeworthy are creator Brad Ingelsby (“Mare of Easttown”), and stars Emilia Jones (“Coda,” “Locke & Key”), Tom Pelphrey (“Ozark,” “Outer Range”), and Sylvia Dionicio (“FBI: Most Wanted”). During the interviews, Ingelsby smiles at the comparison some fans have been making from the start with Michael Mann’s heist epic, “Heat.” “That’s what we say. It’s like a blue-collar ‘Heat.’ This is very Delco, garbage collectors robbing kind of scuzzy houses, and Tom Brandis is not a very skilled investigator,” Ingelsby says. “The tension is, you want one to get away and you want the other to catch him. Those things can’t coexist. This is a collision-course show.”
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what an AWESOME discussion of the film. I enjoyed it so much! love both of your perspectives.
😅😂