Overinvested

This week, Gavia and Morgan finally discuss what is truly Gavia's pop culture obsession of the moment: the figure skating anime that has taken the world by storm, "Yuri on Ice." Topics include the show's relationship to real-life figure skating culture and technique, its thoughtful depiction of anxiety, its multiple narrators, and more.

This week, Gavia and Morgan dive into the latest (and last?) season of the BBC's tarnished crown jewel, "Sherlock." When did the show go south, and how? Is a text affair a real affair or not (answer: yes)? And, most pressingly, will Steven Moffat ever write a plausible female character again (answer: no)?

Morgan and Gavia start 2017 off with a bang with a full-throated endorsement of the Michael Fassbender and Marion Cotillard vehicle "Assassin's Creed." Topics discussed include: sensible office-wear, Patsy Cline, Google Maps inside your brain, Jeremy Irons doing his Jeremy Irons thing, and, of course, parkour.

In their last episode of the year, Morgan and Gavia ruminate on Chris Pratt and Jennifer Lawrence's sci-fi romance "Passengers," the best-worst film of the year. Questions include: How did this happen? Does Chris Pratt know he's playing a psychopath? Why does Jennifer Lawrence's skin look like that? Has Morten Tyldum ever watched a movie set in space before? And so on, and so forth.

This week, Gavia and Morgan discuss the new Star Wars prequel film, "Rogue One." They dive into the film's racial diversity, its gender imbalance, reshoot issues, that ending, and why Diego Luna should probably just get his own movie already.

This week, Gavia and Morgan discuss Mary Harron's 2000 cult classic "American Psycho." Topics discussed include the book's checkered history, the film's depiction of violence, Christian Bale's beautiful shiny face, the film's relationship with "Fight Club," and why having a woman director really does matter.

This week, Gavia and Morgan look back at "Casablanca." They discuss why the love story is so satisfying, how the studio system has changed, and how the film functions as a piece of propaganda and relates to our current political moment.

This week, Gavia and Morgan discuss the enjoyable but flawed first installment in the new Harry Potter franchise, "Fantastic Beasts and Where to Find Them." Topics include the movie's worldbuilding, its problems with race, Colin Farrell's suits, and the future of the franchise.

In this week's episode, Gavia and Morgan discuss the new sci-fi hit "Arrival," a rare non-franchise entry into 2016's blockbuster lineup. Topics discussed include how the film steers clear of alien invasion cliches, the pleasures of a brainy female protagonist, and the effect of the election on pop culture.

This week, Gavia and Morgan take a look at Marvel's latest hit, the Benedict Cumberbatch-fronted "Doctor Strange." Why is this movie so critically acclaimed? Will Hollywood ever stop making movies about arrogant genius white men? And what's up with all the racism?

This week, Gavia and Morgan celebrate Halloween with "Carrie." Starting with that bizarre locker room scene, they discuss the film's depiction of gender, the horror of restraint, Sissy Spacek's hair, and their own considerably less eventful proms.

In this episode, Gavia and Morgan dive into Robert Altman's classic film "Nashville," a sprawling ensemble set in the 1970s country music scene. Topics discussed include the film's depiction of women, its status as an unconventional musical, its politics, and... Jeff Goldblum.

In their second dispatch from the London Film Festival, Morgan and Gavia discuss Kenneth Lonergan's heartbreaking masterpiece "Manchester by the Sea," as well as "Certain Women," Kelly Reichardt's exquisite adaptation of Maile Meloy's "Both Ways Is the Only Way I Want It," which won Best Film at the festival's awards ceremony. They also run down other films they saw at the fest, including "Una," "A Quiet Passion," "Wolf and Sheep," and more.

In the first of two dispatches from the London Film Festival, Morgan and Gavia discuss three films: Damien Chazelle's Oscar-buzzy musical "La La Land"; Jim Jarmusch's drama "Paterson," with Adam Driver; and Olivier Assayas' odd supernatural drama "Personal Shopper," starring Kristen Stewart. Coming soon: "Manchester by the Sea," "Certain Women," and more.

In this week's episode, Morgan and Gavia discuss the 2007 film "Atonement." Topics include, but are not limited to: the difficulties of adapting an unadaptable novel, WWII in film, Great House dramas, That Ending, and whatever happened to James McAvoy.

After a brief hiatus, Morgan and Gavia return to discuss the first presidential debate. Through a haze of existential despair, they discuss topics including, but not limited to, debate strategy or lack thereof, Hillary Clinton's extraordinary self-control, Donald Trump's sexist buffoonery, the futility of fact-checking, when ISIS was founded anyway, and whether anything matters.

This week, Morgan and Gavia revel in the Gene Kelly classic "Singin' in the Rain." Topics discussed include the film's relationship to Hollywood, its treatment of women, its influence on contemporary film, and why it's just so damn fun to watch.

This week, Gavia and Morgan look back on the summer's movies and wonder what went wrong—possible answers include Hollywood's superhero problem and its remake obsession—and look forward to some of the more dire upcoming big-budget releases. They also recommend some of the best films of the year so far.

This week, Morgan and Gavia (but mostly Morgan) discuss the Rio Olympics, starting with The Saga of Ryan Lochte and moving on to topics including but not limited to the inherent problems with the Olympic Games, NBC's bad coverage, Michael Phelps' hyperbaric chamber, Simone Biles' dominance, and men crying.

In this week's episode, Morgan and Gavia dissect what may be the year's worst film, the DC extended universe's "Suicide Squad." They cover the film's many flaws, from its incomprehensible plot to its myriad cast of unnecessary characters to its problems with sexism and violence, in addition to discussing its troubled production history and how it fits into DC's plan for the franchise moving forward.