Peter and Andrew tackle the beloved 1997 drama Good Will Hunting, exploring how Matt Damon and Ben Affleck's Oscar-winning screenplay creates a surprisingly grounded story about genius, friendship, and finding your path. They analyze the film's lived-in authenticity, Robin Williams' powerful performance, and how the movie balances intimate character moments with bigger emotional beats. In their remake scenarios, they face an interesting challenge: How do you adapt a story that's already pretty small-scale? Could it work as a Disney family film? What would a no-budget version look like? The hosts also share what they've been watching lately, including Rocky Horror Picture Show and Chad Powers, while referencing Tootsie, Hidden Figures, Top Gun: Maverick, The Bourne Identity, Alias, The Americans, Ordinary People, Searching for Bobby Fischer, and Mythic Quest in their discussion. Topics covered: "Write what you know" advice for screenwriters, Boston authenticity, the therapist-patient relationship in film, and why some small stories have huge emotional impact.

Peter and Andrew dive into Bong Joon Ho's Oscar-winning masterpiece Parasite, exploring how it masterfully blends genres while delivering a devastating critique of economic inequality. They discuss the film's brilliant structure that shifts from heist comedy to psychological thriller, and how it uses smell as a metaphor for class divisions in Korean society.

The hosts analyze the film's universal themes and why it resonated globally, plus explore Korean cultural context including the country's rapid economic growth. They break down the genius twist that reframes everything and discuss why this represents cinema at its finest.

In their remake scenarios: Could this work as a family-friendly Parent Trap comedy? How would you shoot it no-budget? And would it work better as a TV series? Plus, they answer Jenny's question about collaborative writing and share their latest viewing including The Fly and The Chair Company.

Topics covered: Genre-blending storytelling, Korean class dynamics, economic inequality themes, three-family structure, collaborative screenwriting, and why some films work better as complete cinematic experiences.