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In classic DOC fashion, Spenser, Koz and Tristan go off the rails and tackle the hard, pressing questions of our time. Why is the plot of “Don’t Worry Dealing” a mashup of “Ready Player One” and “Get Out”? Why does Taylor Swift randomly show up in movies? Why is Ramy on Hulu one of the best shows of the year? And finally, what’s up with the rooster sauce rebranding at Roaming Rooster?
In this episode, Tristan, Spenser and Koz discuss the rising popularity of celebrities becoming actors. Unfortunately, Harry Styles does make an appearance.
Tristan, Spenser and Koz discuss their plans for Halloween weekend and their screening of “Decision to Leave.” They’re not feeling very cinematic this week.
Tristan, Spenser and Koz discuss the movies they enjoyed this summer and the media circus that has been the press circuit of Don't Worry Darling. Koz loves dads, and Spenser is a certified hater.
From the Newsstands: This story appeared in The Eagle's April 2022 print edition. You can find the digital version here.
In the final episode of the semester, Spenser, Koz and Tristan list the summer releases they are most excited about. They then bid farewell to Editor-in-Chief Clare Mulroy by subtly roasting her favorite movies. Finally, they thank the multimedia and online team at The Eagle and all the contributors of the podcast so far. Koz can't wait for "Minions: The Rise of Gru," and Spenser learns about the secret Buzz Lightyear movie, the fitting watch to prepare for this summer's "Lightyear."
Spenser, Koz and Tristan play a guessing game of deciphering a movie's plot based on its title alone. Tristan can't stop talking about "The Nut Job," Koz shames Spenser for his lack of "Mamma Mia" knowledge, and Spenser thinks that "Big Mommas: Like Father, Like Son" is definitely a problem. All movies discussed are considered cinematic masterpieces.
Spenser, Koz and Tristan reveal what films they personally think are overrated. Tristan then informs his co-hosts about the cinematic masterpiece, "Morbius," and the new publicity techniques the film has been using. The trio also agree that the use of Discord to promote "Morbius" backfired in the funniest way. Spenser and Tristan bond over their disdain for Ben Affleck movies, and Koz lays into "The Godfather."
Spenser, Koz and Tristan go off the rails about the snacks they enjoy at the theaters and the best films that explore food. Koz reveals her obsession with moss and Spenser does the same with rocks. Tristan questions how normal it is for Koz to bring a pepper grinder into the theater for her popcorn. He also doesn't know how to pronounce "Campbells."
Spenser, Koz and Tristan review "The Batman," "After Yang" and "Turning Red." They also discuss the different controversies "Turning Red" has caused online, such as a critic calling the film "limiting in its scope." Tristan reveals that "After Yang" made him cry after 30 minutes and Spenser unexpectedly connects with the doodles of Meilin Lee from "Turning Red."
Koz, Spenser and Tristan get together to discuss which characters remind them of themselves and each other. Tristan also brings birthday surprises for Spenser, and the episode quickly becomes a musical.
Tristan, Koz and Spenser take another look at the nominees for the upcoming 2022 Oscars. They talk about esteemed editor Hank Corwin, the bristling of Peter's comb in "The Power of the Dog" and the various incendiary oversights of the Academy. As always, emotions run high and tirades ensue.
Tristan, Koz and Spenser discuss the happy surprises, numerous snubs, and laughable gaffs of the 2022 Oscar nominees. Topics discussed include the need for greater documentary and short film distribution, Lin Manuel Miranda, Suicide Squad, prosthetics, the challenges of adapting screenplays and much more. "Don't Look Up Fans" be warned: this episode is not for you.
Tristan, Koz and Spenser unpack "Honey Boy," the deeply personal project written from actor Shia LaBeouf's own experiences. The crew rate Alma Har'el's directorial debut as powerful to various extents; they agree that the performances are solid, yet the narrative leaves a little to be desired. With everyone's favorite holiday around the corner, the crew then recommends their picks for a romantic, or at least entertaining, Valentine's Day.
Tristan, Koz and Spenser revel over the mastery of Ryusuke Hamaguchi's newest film, "Drive My Car." With its deep connection and homage to the theater, Koz appreciates the unique, multilingual approach the film takes within its narrative. They then list their favorite comfort films, as Koz recovers from her wisdom teeth surgery. We also don't know how she was able to record hours after that.
Tristan, Koz and Spenser unpack "Cold War," a complicated romance film that follows two Polish musicians through displacement and artistic passion, all under the backdrop of a tumultuous, volatile post-war Europe. The crew then share their favorite films of 2021, including some that they covered for The Eagle. Koz gets to share her undying love for "Zola" again.
In the first episode of the spring semester, Life Managing editor Tristan, Arts and Entertainment editor Koz and Silver Screen editor Spenser review "Paper Moon," a comedic road movie that follows an orphan and a conman as they scam their way through the Depression-era Midwest. They then talk about the controversies surrounding the HFPA that led to a lowkey Golden Globes ceremony. Koz wonders why musicals and comedies are grouped in the same category at the Globes. Is "West Side Story" really a comedy?
In the final episode of the semester, Tristan, Olivia and Spenser are joined by Editor-in-Chief Clare Mulroy to talk about their favorite movie scores. Clare shares how the "Titanic" soundtrack helped her sleep, Tristan and Spenser defend Uncut Gems again and everyone gets emotional about "Up."
In this episode, Tristan, Olivia and Spenser sit down to talk about their favorite and least favorite biopics. Get ready for a good old lesson on ethics and a few giggles.
In this episode, Tristan, Olivia and Spenser jump into the realm of A24, and agree about the high-quality production and messaging behind their movies. The gang also explores what makes an American classic, the future of American indie filmmaking and Spenser also specifies that “Uncut Gems” is nothing like “The Godfather.” This is how we win.