We end the first season with a look at how two poets have fared when their lives have been turned into celluloid: Allen Ginsberg (Kill Your Darlings, Howl, Pull My Daisy!, Renaldo and Clara) and Byron (Bad Lord Byron, Lady Caroline Lamb, Gothic). Can these films provide any real insight into poets and poetry - or are they mere parodies unworthy of the people they depict?

Guest Star: Ruben Quesada, editor of Latinx Poetics: Essays on the Art of Poetry and author of Revelations and Next Extinct Mammal, on Pedro Almodóvar and Terrence Malick. 

Bill Murray found himself stuck on repeat in 1993's Groundhog Day. Can being forced to relive the same day give an insight into the redrafting process? We also have a think about why light verse and film comedies don't get the respect they deserve. And there's a little look at Bill Murray's well-publicised love of poetry. Look out for poems by Samuel Coleridge Taylor, Emily Dickinson, David Berman, Wendy Cope, and Marianne Chan. Guest star: Emma Hine, author of Stay Safe, on When Harry Met Sally and Jaws.

The haunted house is the metaphor that keeps giving. Poems are sort of haunted houses (haunted by its influences) as is the USA itself (haunted by the ghosts of the indigenous and enslaved peoples who suffered at the hands of early European settlers). The two metaphors meet in Tobe Hooper's 1982 horror film Poltergeist. We get spooked by poems by Mary Oliver, Samuel Menashe and T.S. Eliot, while our host Adam O. Davis discusses his collection Index of Haunted Houses and the economic roots of haunted houses. Guest star: Joy Priest, author of Horsepower, on Mississippi Damned.