Episodes
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Airplane! (1980) is a comedy masterclass that works because it layers a relentless joke factory â minimum 264 jokes across 88 minutes â onto a dead-serious dramatic through line about a PTSD-afflicted war veteran forced to land a plane in an emergency. The film's genius is that its straight-faced performances and faithful dramatic structure serve as a "clothing line" from which jokes hang seamlessly, an approach that influenced decades of comedy from the Farrelly Brothers to Seth MacFarlane to South Park. Jaclynn, who did not enjoy the film as pure comedy, and Robby, who has loved it since seeing it in theaters at age nine, find common ground in recognizing it as a formal masterpiece even as they debate its more problematic elements. The two then find common ground while tearing into Cole for his wildly incorrect assumptions about the film.
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The original Back To The Future might be the most beloved film and most fun time travel movie of all time. If you haven't watched it yet, stop everythingâ now is the time. Robby has seen this hundreds of times, Jaclynn has maybe seen it once, and Cole has seen it... apparently never.
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Missing episodes?
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It's not quite "a very special episode," but something about this one feels much more personal, but also there is a Chekhov's Gun dance break so don't take it too seriously, please.
A filmed version of the Fleabag stage play was broadcast by the National Theatre UK and Amazon, but these days you have to search something like "Fleabag National Theatre Live (Phoebe Waller-Bridge 2019)" and read a little bit of very obvious Russian. For instance "ĐĐžĐŽĐ”ĐŸ" means video.
CREATIVES:Writer: Phoebe Waller-Bridge
Director: Vicky Jones
Presented by: DryWrite, Soho Theatre, and Annapurna Theatre
CAST:Phoebe Waller-Bridge as Fleabag
CREW:Producer: Francesca Moody
Composer and Sound Designer: Isobel Waller-Bridge
Production Design: Holly Pigott
Lighting Design: Elliot Griggs
Filmed live at Wyndhamâs Theatre, London (2019 National Theatre Live production).
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If you are seeing this episode twice it is because the audio has been updated. Thank you/sorry.
SHOW NOTES:
Our most salient point this episode revolves around the exploration of the original 1976 film "Freaky Friday," a cinematic artifact that invites reflection on both familial relationships and the comedic intricacies of body-swapping narratives. We delve into the juxtaposition of the original and its remakes, particularly noting how the character dynamics manifest differently across versions. Our discussion reveals that while the film presents a series of humorous vignettes, it simultaneously offers poignant insights into self-discovery and personal growth, particularly for the characters of Annabelle and her mother. We engage with the film's cultural significance within the Disney canon, acknowledging its nostalgic value while critiquing its narrative structure and character development. Ultimately, this episode serves as a contemplative examination of how such stories resonate with audiences, both in their time and in contemporary discourse.
The dialogue surrounding the original 'Freaky Friday' serves as a springboard for a deeper inquiry into the intersections of nostalgia, gender, and identity within the realm of cinematic storytelling. The speakers articulate their varied reactions to the film, juxtaposing their childhood memories with contemporary critiques. They reflect on the film's comedic elements, particularly its reliance on physical humor and the charm of its lead actresses, while also grappling with its dated portrayals of gender dynamics. The speakers engage in a rich analysis of the film's narrative deficiencies, noting the lack of emotional depth in the mother-daughter relationship compared to sibling dynamics. This reflective conversation ultimately reveals the film's dual nature as both a source of entertainment and a cultural touchstone, prompting discussions about the complexities of familial love and the societal expectations placed upon women across generations. Their insights reveal a profound appreciation for the film's impact while acknowledging its limitations within a modern context.
Takeaways:
The podcast elaborates on the historical significance of the 1976 film 'Freaky Friday', highlighting its impact on the genre of body-swap comedies.Insights into the evolution of storytelling techniques are discussed, with references to Freytag's pyramid and how 'Freaky Friday' deviates from traditional narrative structures.The speakers reflect on their personal experiences and nostalgic connections to the film, emphasizing its cultural relevance during its release period.A detailed examination of the performances by Barbara Harris and Jodie Foster showcases their comedic talents and physicality in the film's humorous scenarios.The discussion includes critiques of the film's narrative coherence, suggesting that it lacks a substantial character arc or significant emotional depth.The episode concludes with a commentary on the representation of gender roles in the film, contrasting it with contemporary portrayals in similar productions.
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We engage in an intricate examination of "Marty Supreme," a film that, despite its chaotic narrative structure, manages to convey a profound commentary on ambition and the American Dream. Central to our analysis is the revelation that the protagonist's relentless pursuit of success ultimately precipitates his moral and existential unraveling. We delve into the metaphors woven throughout the film, acknowledging their shortcomings even as we celebrate the spirit and audacity of the storytelling. As we traverse this cinematic landscape, we uncover the complexities of character motivations and the implications of their actions, while also drawing parallels to other works, notably "Uncut Gems." Should you wish for us to delve into the depths of another film, particularly "Uncut Gems," we invite you to leave a comment and share your thoughts. The discussion centers on the movie 'Marty Supreme', a film characterized by its chaotic narrative and the intense journey of its protagonist, a table tennis player. The speakers delve into the film's portrayal of ambition, the relentless pursuit of dreams, and the personal sacrifices that come with such aspirations. The film's screenplay is praised for its efficiency, as every element introduced plays a significant role in the broader narrative arc. A notable point of contention arises regarding the film's ending, with differing opinions on the protagonist's character development and the implications of his journey. The speakers grapple with the moral complexities presented in the film, particularly the juxtaposition of the American Dream and the darker realities of ambition, leading to a nuanced conversation about character motivations and the film's broader societal commentary.
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The massive, hardcore science fiction is now a fun, compact buddy comedy in space that stars Ryan Gosling and which is "very, very different" from the film and novel "The Martian" starring Matt Damon.
If you have read the book, then definitely listen to this episode, and if you haven't then... we'd argue consider reading just the first 50 pages and then rewatching Project Hail Maryâ you'll kind of get all the points were making because one of us has read the entire book but another of us has read only the first 50 pages, and the third person in the group has read the entirety of a different book by the author of Project Hail Mary, which is The Martian, also by Andy Weir.
Anyway, leave a comment if you've read the book or not read the book. Who cares if you liked the movie!
Pengun Random House interview with Andy Weir:
https://www.youtube.com/watch?v=-H_srBMz4JQ
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The scariest thing about Sinners isn't the Vampires...
Robby loves horror movies, and he's loved rooting for the Best Original Screenplay Oscar ever since he was in high school. Jaclynn loves allegory, loves metaphor, and hates institutionalized evil so this was the perfect story for her. Cole loves technically complicated storytelling and cinematography so he has things to say as well. .
You know who has even more to say about his movie? Ryan Coogler!
Below are links to full length interviews with the writer, himself, that the episode uses a few quotes from:
Hanna Flint - Ryan Coogler talks Sinners, Vampires, and Capitalism
On Film - with Kevin McCarthy - Autumn Durald Arkapaw talks Sinners, Cinematography, IMAX, and more.
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In the grand tradition of this show, we watched this out of order in order to celebrate springing forward for Daylight Savings Time so true fans of "Back To The Future," please, be nice in the comments section because we have nothing but love for the genre (yes, "Back To The Future" is a genre unto itself).
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Jaclynn made the most viral reel about our friendship, and Robby has never seen Instagram until now- this is a GREAT (all caps0 episode) about telling a story in less than thirty seconds. The view count is over half a million as we are editing this episode.
Watch the reel here: https://www.instagram.com/reel/DR-C6OWieXl/?igsh=YXU4b2J1OWJnZjMw
Sound Attribution: S: Beach Dance - EDM Dance Cinematic Party Eletro Chill Happy 120bpm Music - EQ Mastered.wav by szegvari | License: Creative Commons 0
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Lynch is the master of the eery, absurd, surreal dream film, but he himself says that his most "experimental" film is "The Straight Story," a film that's ostensibly about a kind, elderly gentleman slowly riding his lawn mower across the country to see his brother.
Maybe for David Lynch this was experimental though because he had none of his usual tools of insanity and chaos to draw from?
At least that's our perspective! Please, have a listen and tell us yours.
CREATIVES:
Director: David Lynch
Writers: John Roach and Mary Sweeney
Producers: Mary Sweeney and Neal Edelstein
Composer: Angelo Badalamenti
Cinematographer: Freddie Francis
Editor: Mary Sweeney
CAST:
Richard Farnsworth as Alvin Straight
Sissy Spacek as Rose Straight
Harry Dean Stanton as Lyle Straight
Jane Galloway Heitz as Dorothy
Joseph A. Carpenter as Bud
Donald Wiegert as Sig
Ed Grennan as Pete
Jack Walsh as Apple
James Cada as Danny Riordan
Wiley Harker as Verlyn Heller
Kevin Farley as Harald Olsen
John Farley as Thorvald Olsen
Anastasia Webb as Crystal
Barbara Robertson as Deer Woman
CREW:
Production Designer: Jack Fisk
Costume Designer: Amy Stofsky
Casting: Johanna Ray and Elaine J. Huzzar
Art Direction: Christy Wilson
Set Decoration: Barbara Haberecht
Sound Design: David Lynch
SOUND DESIGN (FOR PODCAST) ATTRIBUTION:
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Everything you need to know about David Lynch's style in five minutes! You really should watch the whole film eventually, but a five minute scene that appears fifteen minutes into David Lynch's masterpiece "Mulholland Drive" is all you really need.
That said, you really should also know about Lynch's producer, editor, and sometimes screenwriter of twenty years, Mary Sweeney!
Please, note: this scene is a little bit scary, but aren't almost all thing David Lynch?
LINKS TO FULL INTERVIEWS WITH MARY SWEENEY:
Director's Club - "Editor of Lost Highway"
The Third Story - 2018
The Third Story - Mary Sweeney Returns
DePaul University - David Lynch's Producer
CREATIVES:
Director & Writer: David Lynch
Producers: Neal Edelstein, Tony Krantz, Michael Polaire, Alain Sarde, and Mary Sweeney
Composer: Angelo Badalamenti
Cinematographer: Peter Deming
Editor: Mary Sweeney
Production Designer: Jack Fisk
Costume Designer: Amy Stofsky
CAST:
Naomi Watts as Betty Elms / Diane Selwyn
Laura Elena Harring as Rita / Camilla Rhodes
Justin Theroux as Adam Kesher
Ann Miller as Coco Lenoix
Mark Pellegrino as Joe
Robert Forster as Detective McKnight
Dan Hedaya as Vincenzo Castigliane
Monty Montgomery as The Cowboy
Lee Grant as Louise Bonner
Billy Ray Cyrus as Gene
Patrick Fischler as Dan
Melissa George as Camilla Rhodes
Michael J. Anderson as Mr. Roque
Rebekah Del Rio as Herself
Bonnie Aarons as The Bum
SOUND DESIGN ATTRIBUTION:
S: Cicadas_20200531-145928.mp3 by rabban625 | License: Creative Commons 0
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Content & Trigger Warning: this episode discusses sexual assault in the film and in real life.
Episode Summary: this episode does eventually become "a very special episode" because the subject matter is difficult and portrays the evils of humanity and current human society, but prior to that it's pretty fun to discuss a film that arguably has "no plot" beyond women going into a barn to talk.
The background is that the women of a self-secluded community have been violently sexually assaulted for years, but some of the male perpetrators have finally been caught by the women and so the women have been given two days to decide if they should do nothing, stay and fight, or leave the community.
The plot is that a vote was taken between the three options, and the vote was essentially tied, so three families are chosen to talk through the three options.
They are though talking about an enormously important and emotional question: do nothing, stay and fight, or leave?
FULL INTERVIEWS WITH SARAH POLLEY:
"Making Women Talking: Sarah Polley explains why laughter was key to adapting Miriam Toews's novel" Q with Tom Power
"Sarah Polley unpacks Women Talking" Now Toronto
SOUND DESIGN ATTRIBUTION:
S: drumroll_for_ceremony_long.mp3 by Heigh-hoo | License: Creative Commons 0
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Carol takes place in the "liminal space" that floats between Christmas and the start of the new year, and it occupies the space held for best films ever made that didn't win and weren't even nominated for Best Picture at the Academy Awards... possibly because it is a classic story told in a slightly unconventional manner or because of the same conscious or unconscious prejudices that the characters in the story itself must live through.
You can and should watch this film any (and arguably multiple) times per year: once for the holidays, once for the visual story, and once for every time you you want to feel like you're falling in love but it's complicated.
If you love the film already, then please, also listen to Subtextual's episode about "Carol" because they do an even longer breakdown and find it to be a warm Christmas hug and they're one of the best film review podcasts in general as well!
https://podcasts.apple.com/us/podcast/holiday-rerun-carol-2015/id1597822346?i=1000589808456
https://www.instagram.com/subtextualpod/
CREATIVES:Director: Todd Haynes (Known for Far from Heaven, I'm Not There, May December)
Screenwriter: Phyllis Nagy (Based on the novel The Price of Salt by Patricia Highsmith)
Producers: Elizabeth Karlsen, Stephen Woolley, Christine Vachon
Cinematographer: Edward Lachman (Shot on Super 16mm film)
Composer: Carter Burwell (Known for his work with the Coen Brothers)
CAST:âą Cate Blanchett as Carol Aird (Known for Blue Jasmine, Elizabeth, TĂĄr)
âą Rooney Mara as Therese Belivet (Known for The Girl with the Dragon Tattoo, Women Talking)
âą Sarah Paulson as Abby Gerhard (Known for American Horror Story, Ratched)
âą Kyle Chandler as Harge Aird (Known for Friday Night Lights, Manchester by the Sea)
âą Jake Lacy as Richard Semco (Known for The White Lotus, Girls)
âą John Magaro as Dannie McElroy (Known for Past Lives, The Big Short)
AWARD NOMINATIONS
88th Academy Awards (Oscars)âą Best Actress: Cate Blanchett
âą Best Supporting Actress: Rooney Mara
âą Best Adapted Screenplay: Phyllis Nagy
âą Best Cinematography: Edward Lachman
âą Best Original Score: Carter Burwell
âą Best Costume Design: Sandy Powell
73rd Golden Globe Awardsâą Best Motion Picture â Drama âą Best Director: Todd Haynes
âą Best Actress in a Motion Picture â Drama: Cate Blanchett
âą Best Actress in a Motion Picture â Drama: Rooney Mara
âą Best Original Score: Carter Burwell
69th British Academy Film Awards (BAFTA)âą Best Film âą Best Direction: Todd Haynes
âą Best Actress in a Leading Role: Cate Blanchett
âą Best Actress in a Supporting Role: Rooney Mara
âą Best Adapted Screenplay: Phyllis Nagy
âą Best Cinematography: Edward Lachman
âą Best Production Design: Judy Becker, Heather Loeffler
âą Best Costume Design: Sandy Powell
âą Best Makeup and Hair: Jerry DeCarlo, Patricia Regan
Other Notable Awardsâą Cannes Film Festival: Palme d'Or (Rooney Mara WON Best Actress; also WON Queer Palm) âą New York Film Critics Circle: Best Film (WON), Best Director (WON), Best Screenplay (WON), Best Cinematography (WON) âą Independent Spirit Awards: Best Cinematography (WON) âą National Society of Film Critics: Best Director (WON), Best Cinematography (WON) âą Los Angeles Film Critics Association: Best Original Score (WON) âą Dorian Awards (GALECA): Film of the Year (WON), Director of the Year (WON), Screenplay of the Year (WON), LGBTQ Film of the Year (WON), Film Performance of the Year â Actress for Cate Blanchett (WON)
Sound Design Attribution:
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We love the Muppets, Michael Caine deserved an Oscar, and Robby drops the biggest pun in the history of the show, but there is so much more to talk about here.
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Woe to all who took Vine for granted, and WATCH the Vine we discuss HERE.
Because as Jaclynn says, in this episode "we didn't know what we had."
In this episode we look back and break apart what Cole would argue was the best Vine of all time, "The" GameCube Vine.
What we consider the best is baked into the start of the episode (and it plays twice on purpose), but a compilation of all of the rest can be found here:
https://www.youtube.com/watch?v=lzqXoZSN5jY
If aliens arrive to our rummage through our digital bones, let them see this creativity so that they might know what it is to be human.
SOUND DESIGN CREDITS:
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S: Elevate with BossaNossa: Hypnotic Minimal Synth Track by kjartan_abel | License: Attribution 4.0
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S: Beard Scratching.wav by Wihan98 | License: Creative Commons 0
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Robert Weinstein, our far too humble host and resident storytelling teacher has written yet another play, which was performed by the Barrow Group, and we get to talk about it, celebrate it, and accidentally tear into it.
Read the play here: https://drive.google.com/drive/folders/1O_pb-vqXSIgZY2o9UsmZRMpkdBG1STGN?usp=sharing
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EPISODE DESCRIPTION & SHOW NOTES
This episode is all about Jaclynn's only note... the only note she ever gives... ad nauseam to the point that it has (nearly) ruined friendships.
That note is "write three FULL episodes and throw them out."
This is "how" Phoebe Waller-Bridge made the "perfect" television season/series, and Jaclynn gives us a full breakdown of the glorious ways in which two hours of screen time was turned into what is essentially a 5 minute montage!
And sorry, it's obviously more than a montage, but that's the idea that needs to be conveyed if you're trying to decide whether or not to listen to this episode!.
CHAPTERS & CAN'T MISS MOMENTS
00:00 - Cold Open
02:15 - Jaclynn's Only Note Ever
04:18 - Phoebe Waller-Bridge Wrote Three Full Episodes & Threw Them Out
06:43 - Jaclynn Taking Her Own Note
10:57 - Why Cole Was "Sent Over The Edge"
16:09 - Beat-By-Beat Breakdown
25:49 - Robby's Practical Side
33:20 - Robby's Quotes Cuomo & Predicts Mamdani's Victory Speech
35:13 - Outro - Robby Tries & Fails To Be Mean
CREATIVES:
Writer: Phoebe Waller-Bridge (also known for Killing Eve and Crashing)Director: Harry Bradbeer (also known for Killing Eve and Enola Holmes)Executive Producers: Phoebe Waller-Bridge, Harry Williams, Jack Williams, Harry Bradbeer, Lydia Hampson, Joe LewisEditor: Gary Dollner (Emmy-winner for Fleabag S2, Ep 1; known for Killing Eve and Veep)Cinematographer: Tony MillerCAST:
Phoebe Waller-Bridge as Fleabag (Creator and star of Fleabag and writer of Killing Eve)Sian Clifford as Claire (Fleabag's Sister; known for Quiz and Life After Life)Andrew Scott as The Priest (Known for playing Moriarty in Sherlock)Olivia Colman as Godmother (Oscar-winner for The Favourite; known for The Crown and Broadchurch)Bill Paterson as Dad (Known for Doctor Who and Outlander)Brett Gelman as Martin (Claire's Husband; known for Stranger Things)Maddie Rice as Needy Waitress (Guest appearance in the episode)Awards Won and Nominated For:
Won: Emmy Award â Outstanding Single-Camera Picture Editing for a Comedy Series (Gary Dollner)Nominated: Emmy Award â Outstanding Cinematography for a Single-Camera Series (Tony Miller)Nominated: British Academy Television Award (BAFTA) â Best Scripted Comedy (Series)Sound Design Attribution for The Arc.fm Ep 11:
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EPISODE DESCRIPTION:
People (meaning like tourists visiting a major city, network television sitcom comedy writers living in a major city, or people watching network television sitcoms anywhere in the US) associate improv with "whacky" "games" that are treated as something like "comedy sports."
But to us, and especially to our guest, improv is long-form theatre, a way of thinking, and if it's not too pretentious to say so... a philosophy of thought: does your mind expand or contract the ideas it's presented with, and do you support your fellow humans along the way or not?
The film "Don't Think Twice," is ostensibly about improv, but our conversation would argue that it's about much more, such as, jealousy, capitalism, and whether or not life is fair.
Our guest is Sophie Long, who is from Sydney, Australia but has lived in and studied in Chicago (the "birthplace" of "comedy") and spent extensive time in New York so, yes, this conversation does at times talk about improv, but overall, it's more about philosophy and how the characters in this film treat their "friends."
The premise of the film is extremely true to life and everyone who was a part of this conversation has lived through something similar: there's an improv troupe who has two members audition for (basically) Saturday Night Live, and when one of them actually makes it on the show, the entire dynamics of the group changeâ drastically.
As always, you do NOT have to have watched this film/story/show to enjoy the conversation, but we bet that five minutes into the episode, you'll at least want to give it a shot.
CREATIVES:
Director & Screenwriter: Mike Birbiglia (also known for Sleepwalk with Me)
Producers: Mike Birbiglia, Miranda Bailey, Amanda Marshall, Ira Glass (creator of NPR's This American Life)
Cinematographer: Joe Anderson
CAST:
Keegan-Michael Key as Jack (Known for Key & Peele)
Gillian Jacobs as Samantha (Known for Community, Love)
Mike Birbiglia as Miles (Known for his stand-up and storytelling)
Kate Micucci as Allison (Known for Garfunkel and Oates, The Big Bang Theory)
Chris Gethard as Bill (Known for The Chris Gethard Show)
Tami Sagher as Lindsay (Known for writing on 30 Rock and Inside Amy Schumer)
Cameos: Lena Dunham, Ben Stiller, Pete Holmes
Awards Nominated For:
Critics' Choice Award for Best Comedy (a significant nod for an independent film)
Accolades: Universal critical praise (100% on Rotten Tomatoes during initial release).
The Filmâs Legacy:
Don't Think Twice is a defining piece of 21st-century independent cinema, celebrated not just as a comedy, but as a painful meditation on friendship, capitalism, and the human desire for validation. While ostensibly about improv, its true legacy is its raw, unblinking look at what happens to a tight-knit family unit when the brutal, zero-sum logic of the entertainment industry (personified by the "Weekend Live" audition) enters their lives. It is noted by artists for authentically exploring jealousy among friends, forcing characters and viewers alike to confront whether one can truly support a friend's success when it highlights one's own failure. The film's philosophical core should have been backed by the belief that improv's "Say Yes" philosophy must extend off-stage to navigating an often-unfair life, but instead it explores a capitalist reality that that philosophy may not extend to real life.
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EPISODE SUMMARY:
This episode is a discussion of whether we are talking about a "film" or a "movie" (one is "better" than the other) and there is talk about whether or not it is too problematic to re-watch, but we all agree that it's kind of, sort of an early 2000s classicâ despite the fact that only one of us has seen it before.
If you know, have worked with, or have heard of any of the three of us already, then this is a must-listen because it becomes an extremely personal story for everyone. It's amazing just how much of an impression this seemingly innocent, no-big-deal film from 2003 made on a bunch of kids, teens, and young adults who were not at all invested in the source material. Two of the three of us had seen the original, but it wasn't as if it were some sort of touchstone of our childhoods. The original was just a thing that got played on cable sometimes. And yet, Freaky Friday 2003 is a rich, vivid memory for all of us, even though we wouldn't have said so at the time.
And yet, when we re-watched it for this episode, when we took a fall, we all said that we all cried multiple times while watching it.
We also think that everyone should use the framework of whether or not something that they are watching is a film or a movie. A film being a serious piece of art. A movie being a piece of entertainment that can perhaps touch you and change your life, but which is not meant to be analyzed. One of us, the cinematographer in the group, thinks that the reason that Freaky Friday 2003 is a film and not a movie is because of the cinematography being so masterful. None of the shots are necessary. They're all showing off. It's amazing.
Another one of us thinks that the reason that Freaky Friday 2003 is a film and not a movie is that all of the characters in the story have rich internal and external lives:
Anna Bell is a real personHer mother's a real personHer potential stepfather's a real personand even Jake the heartthrob Chad Michael Murray is a real personThe funniest part of the episode, though, is the fact that Robbie and Cole, two grown men, are seeing the film alone in theaters packed with teenage and younger girls and their mothers. Robbie and Cole both said they need T-shirts, but say "Jaclynn is making me see this movie" which is kind of the theme of the podcast. We each bring each other stories that we think the others must experience. This one just happened to be awkward for adult males. But the film itself was amazing to the two of them nonetheless.
If you're just watching Freaky Friday (2003) for the first time as an adult and you have no context for it whatsoever, the thing that you should know is that it was made in 2003. 2003 was a very, very, very, very different time culturally, socially, politically, et cetera, et cetera, et cetera. There is racism, classism, ageism, and many other isms that are very prominently featured in it as plot points, jokes, and major motivations for the characters. Be warned that you may feel guilty for more than one reason while you're enjoying this early 2000s classic, because even with all of its faults, Freaky Friday 2003, as far as The Arc.FM is concerned, is truly a classic story.
TIME STAMPS & MUST LISTEN MOMENTS:
00:27 - What You Need To Know Before Watching
01:39 - What Robby, A Storytelling Teacher Thinks
08:12 - Is "Freaky Friday" A Film or a Movie?
18:18 - When Did We We All Cry?
23:30 - Does Money Buy Happiness + Sketch
27:41 - Serious Question: What Is Communication?
31:04 - The Big Takeaway: Chad Michael Murray
35:03 - Jaclynn's Love of BRITNEY SPEARS
38:22 - Robby's Way Too "Sexy" Britney Spears Summer In Italy
42:33 - Favorite Lines
EXTENDED EPISODE NOTES:
We begin by trying to set the scene for anyone who hasnât seen the movie â Lindsay Lohan and Jamie Lee Curtis at their absolute peak, body-swapping chaos, a soundtrack that could only exist in 2003.
From there, we start drifting between Jaclynn's nostalgia and critique. Robby, our resident storytelling teacher, treats the film like a case study in structure and theme, breaking down how body-swapping becomes a metaphor for communication (and miscommunication).
Jaclynn admits it's a movie, not a film, but Cole argues that itâs film because of its cinematography.
When we finally circle back to the âfilm vs. movieâ debate, it becomes an ongoing bit for the rest of the episode. Is Freaky Friday high art or just a comfort watch? Does it matter if something makes us feel seen even if itâs âjustâ a teen comedy?
Still, somewhere in the middle of all the laughter, we accidentally hit something real. Around the time we start talking about the mother-daughter storyline, everyone admits they cried â sometimes for personal reasons that have nothing to do with the movie.
Thereâs a moment where one of us says, âThis isnât about Lindsay Lohan anymore,â and itâs true. We realize the filmâs message about not understanding each other across generations lands harder as adults. Itâs suddenly less about comedy and more about empathy â and maybe thatâs what keeps us coming back to movies like this.
The conversation takes a turn into whether money buys happiness (spoiler: it doesnât, but it does buy time to make bad art), and we somehow end up doing an impromptu sketch that only sort of makes sense in context. Thatâs the rhythm of this episode â moments of real insight followed by moments of complete absurdity. By the time we get to âWhat is communication?â the tone shifts again.
We start half-joking, half-serious, about how body-swapping might actually be the most honest depiction of failed communication in families.
After that, things devolve gloriously. Jaclynn admits her lifelong love of Britney Spears, and Robby starts talking about his âsexy Britney Spears summer in Italy." Everyoneâs laughing, half out of disbelief, half because this is exactly why we do this podcast â to have these weirdly intimate, unserious-but-serious talks about pop culture that feel like group therapy disguised as conversation. We end by sharing our favorite lines from the movie, and it becomes this collective realization that even though we came into the episode pretending to analyze, what we were really doing was remembering â remembering what it felt like to be teenagers, to want to be understood, to watch something silly and feel like it meant something. We all agree that Freaky Friday isnât a perfect film or even a perfect movie, but we can't help but find meaning in it anyway.
CREATIVES:
Director: Mark Waters
Screenwriters: Heather Hach & Leslie Dixon
Based on Novel by: Mary Rodgers (1972)
CAST:
Jamie Lee Curtis as Tess Coleman/Anna Coleman (in Tessâs body)
Lindsay Lohan as Anna Coleman/Tess Coleman (in Annaâs body)
Mark Harmon as Ryan Volvo, Tess' fiancé
Harold Gould as Alan, Tess' father and Anna's grandfather
Chad Michael Murray as Jake, Anna's love interest
Stephen Tobolowsky as Mr. Elton Bates, Anna's high school English teacher
Christina Vidal as Maddie, Anna's bandmate
Ryan Malgarini as Harry Coleman, Tess' son, Anna's younger brother and Alan's grandson
Haley Hudson as Peg, Anna's other bandmate
Rosalind Chao as Pei-Pei Chiang, a Chinese restaurant manager
Lucille Soong as Mrs. Chiang, Pei-Pei's mother
Willie Garson as Evan, Tess' patient
Dina Waters as Dottie Robertson, Tess' boss
Julie Gonzalo as Stacey Hinkhouse, Anna's former friend
Marc McClure as Boris
Mary Ellen Trainor as Diary Reading Patient
Cayden Boyd as Harry's friend
Awards Won and Nominated For:
Won:
BMI Film Music Award to composer Rolfe Kent for the filmâs score.
MTV Movie Award â Best Breakthrough Performance (Lindsay Lohan)
Teen Choice Awards â Choice Breakout Movie Star (Female, Lindsay Lohan) & Choice Hissy Fit (Lohan)
Phoenix Film Critics Society â Best Live Action Family Film
Nominated:
Golden Globe â Best Actress (Musical or Comedy) for Jamie Lee Curtis
Wikipedia
Saturn Awards â multiple nominations including Best Fantasy Film, Best Actress, Best Younger Actor, Best Writing
Criticsâ Choice â Best Family Film (Live Action)
The Filmâs Legacy:
The 2003 version of Freaky Friday holds up as a quietly influential early-2000s teen comedies. It turned body-swap shenanigans into something bound with real emotional stakes â not just laughs but genuine feelings around family, identity and understanding. Although it wasnât treated as âseriousâ cinema at the time, we argue that it should be thought of that now.
Sound Design Attributions:
S: Common Loon 210708.wav by Robert.Crosley | License: Attribution 4.0S: Frogs.wav by juskiddink | License: -
Episode Summary:
Jaclynn jokes that the real reason we chose to cover Freakier Friday is because she was going to see it no matter what, but honestly we had a great time unpacking this box of "nostalgia cupcakes."
The entire episode and the film, itself, are also an active meditation on just how "meta" you can make a story without breaking the story's proverbial Easter eggs.
Once we got into it, we realized it's a story about empathy, grief, and growth, and on the technical story side, we had a serious discussion of when the rules of the world of a story matter and when they don't.
The episode's closing section, "Favorite Lines," is especially hilarious this week because this was one of the funniest films of the year.
CHAPTER TIME STAMPS & MUST-LISTEN MOMENTS:
00:00 - The Cold Open
00:21 - Why We Chose It, and Why Disney Made This Movie "Literally for Jaclynn"
01:44 - Old Guy Seeing The Film Alone In The Theater
02:40 - Robby Liked It?
03:11 - Jaclynn's Memory of the Original 2003 Film
04:50 - The Jane Goodall Theater Experience
07:46 - The Unkind Aging Jokes and Constant Yelling in the First Half
08:14 - Jamie Lee Curtis Deserves an Oscar and a Nobel Peace Prize
09:30 - The "Fantastic Four" Problem of Hitting Every Nostalgic Button
14:30 - Characters in Pain
17:30 - Real World Consequences of the Story & The Rules of the World
25:40 - The Almost Questionable Morality of the Story
28:00 - MUNA's Cameo
30:30 - Favorite Lines Sketch
31:40 - Favorite Lines
Key Credits & Facts: Freakier Friday (2025):Director: Nisha Ganatra
Screenplay by: Jordan Weiss (Story by: Elyse Hollander, Jordan Weiss)
Based on: Freaky Friday by Mary Rodgers (1972)
Cinematography: Matthew Clark
Producers: Kristin Burr, Andrew Gunn, Jamie Lee Curtis
Cast (Returning): Jamie Lee Curtis (Tess Coleman), Lindsay Lohan (Anna Coleman), Mark Harmon (Ryan), Chad Michael Murray (Jake), Rosalind Chao (Mama P), Stephen Tobolowsky (Mr. Elton Bates), Christina Vidal Mitchell (Maddie), Haley Hudson (Peg)
Cast (New to Franchise): Julia Butters (Harper Coleman), Sophia Hammons (Lily Reyes), Manny Jacinto (Eric Reyes), Maitreyi Ramakrishnan (Ella)
Notable Facts:
Lohan's Return: The film marks Lindsay Lohan's first leading role in a wide theatrical release in 18 years.Curtis's Influence: The sequel was born out of Jamie Lee Curtis's own push to make the film after realizing the demand from fans while touring for the Halloween franchise.Casting Callbacks: Elaine Hendrix, who played the antagonist Meredith in The Parent Trap (1998), makes a cameo, reuniting her with Lindsay Lohan on screen.Box Office Success: The film achieved the biggest domestic opening for a live-action comedy in 2025.Veteran Comeback: It is Mark Harmon's first non-NCIS related role in a theatrically released film in over a decade.
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