The guys are back to full power, and bring their Lens of Justice in this discussion of 2012's adaptation of Les Misérables. Though there are many contexts to analyze this movie, we stick (mostly) to our chapter on Justice.

We give our usual themes and reactions, but also get caught up on what justice means to the Tin Man. We talk about how the movie portrays justice as well as fairness. There is also a scene perception and a small discourse relating to our referenced quote on Justice from the Hateful Eight.

It ought to be brought to you by the word "Irony" as our officer of the law, Tin Man is absent this episode. Kmax and MrVozly go one on one talking about justice in film. It starts by reference a quote about justice in The Hateful 8. Our talking points include:

Lawful and moral punishment

Lawful and moral fairness

Our personal favorite cinematic moments and movies of justice

Whether a general audience enjoys punishment or fairness more

Kmax chooses the next movie based on a set of categories with unknown movie titles.

Movies discussed but certainly not limited to: 12 Angry Men, a Few Good Men, 3:10 To Yuma, Batman Begins, The Hunchback of Notre Dame, The Hateful 8, Prisoners, Murder on the Orient Express, A Time to Kill, Miracle on 34th Street, Man in the Iron Mask, Hell or High Water, 12 Years a Slave, Erin Brockovich, and the Killing.

Movies we would have loved to discuss included: The Punisher, Dark Waters, Double Indemnity, A Civil Action, and Minority Report.

Continuing 'Western's Versatility,' Depth Perception discusses 1995's Dead Man, directed by Jim Jarmusch and starring Johnny Depp, Gary Farmer, and an underrated supporting cast.

On the agenda for this episode: reactions, our individual perceptions of theme, scene perceptions, use of music, plot structure, and civilization vs savagery.

Other movies referenced or discussed include: The 6th Sense, The Seventh Seal, Beetlejuice, Ghost, Jacob's Ladder, Coco, It's a Wonderful Life, and The Fault in Our Stars.

The guys discuss Tarantino's 8th movie, including themes, symbols, western tropes, storytelling and premise. We also work in the movie's connections to other westerns and non westerns like The Thing, and Clue.

The gang tries to see just how expansive the Western movie can get- from multiple genres, to the tropes being used in other movies, to the Neo-Western.

We talk about several examples throughout our discussion including Tombstone (and can't help but quoting the entire episode), Unforgiven, Brimstone, Hell or High Water, 310 to Yuma, Book of Eli, Mad Max Fury Road, The Magnificent Seven, and many others.

Agenda includes identifying Western tropes, examples from every genre, guessing a nontraditional western based on a synopsis, our favorite qualities, and our favorite movies.

Mr Vozly changed the course and watched 2025's Sinners instead of Avatar. Sinners? In a chapter about Indigenous Representation?

Flying solo this episode, he analyzes the movie and relates major aspects of it to previous discussion points in Indigenous Representation episodes.

Up next in our chapter on Indigenous Representation is the Academy Award nominated documentary Sugarcane. We talk about the tragedies that Sugarcane sheds light on, and how impactful they are even to today in native communities. We discuss other hardships depicted in the movie that aren't as exclusive as one may have thought. In an episode full of harsh topics, we also make sure we highlight what made as proud to see from Sugarcane.

PLEASE note, the subject matter is real and may be difficult to hear i.e. sexual abuse, murder, mental health.

The first movie in the Indigenous Representation chapter is 1992's Thunderheart (RIP Val Kilmer). This movie finds its way into the hosts' top favorite movies about indigenous people, but how universal are its topics?

We discuss our history of viewing, whether it was a stereotypical portrayal of natives or not, whether this is a fair representation of indigenous people, what we were proud to see in this movie, conflicts in relation to real life, and whether these conflicts are accessible to a non-native audience.