In a rather shocking cold open, Phil reveals not only that he has World Cup Fever, but also that he is genuinely thrilled about the early tournament achievement accomplished by Team Canada! Brief remembrances of artist David Hockney and journalist Gene Shalit (both of whom died during the past few days) are offered. Then, things turn dark, as Dean and Phil explore some of the shabbiest corners of show business, with the latest on the impending Paramount merger with Warner Bros. and the return of the It Ends With Us lawsuit between director Justin Baldoni and star Blake Lively. Last week Dean and Phil talked about actress Ann Savage, who starred in Dean’s all-time favorite My Winnipeg. This week, Phil reveals to Dean that the Academy Museum will be hosting a “Weekend with Guy Maddin” featuring four of this master filmmaker’s greatest works. Dean convinces Phil to attend the entire weekend. A couple weeks back, Dean and Phil discussed the all-time classic Some Like it Hot and in so doing, Dean made some comments about that film’s indelible supporting player Joe E. Brown that inspired friend of the show Maurice Terenzio to hunt and peck his way through a lengthy, fascinating and rewarding missive about this great comic actor (and humanitarian). Film noir has been foremost on Phil’s mind of late, and he offers detailed appreciations for two of his all-time favorite actors: Sterling Hayden (in the process analyzing the revered Nicholas Ray-directed and Joan Crawford-starring western Johnny Guitar and the classic John Huston crime procedural The Asphalt Jungle) and Veronica Lake (with particular attention paid to the Raymond Chandler original The Blue Dahlia). Finally, it’s no secret that Dean loves action, and he offers a full report on the just-released action film The Furious.

Phil was actually worried he and Dean wouldn’t have enough to discuss to fill this week’s show and wow was his worry unfounded! The gentlemen get the conversational ball rolling with the return of “What We’re Reading” wherein four quite fascinating and quite disparate works get covered, leading to in-depth discussion about such topics as painting watercolors, epistolary novels, the comedic genius of Norm Macdonald, and life in Austria-Hungary of the early 1900s. All the major prizewinners at Cannes 2026 get discussed, and the early summer U.S. box office gets celebrated. Then, however, the tone turns darker, as the need for a full-on boycott of Paramount and its properties gets expressed, and the ramifications of waiting for the Warner Bros. merger to launch said boycott get explored. Dean saw The Sheep Detectives and shares his thoughts. Phil watched the classic 1945 film noir Detour and spills the dirt on its director’s fall from grace, hails the film as a must-watch for aspiring filmmakers, and regales Dean with a delightful fact about the career of the film’s lead actress, Ann Savage.

After a cold open wherein Phil gives everyone the lay of the land, outtakes from last week’s show are picked up off the cutting room floor, dusted off and used, revealing an obviously drunken Dean and (a perhaps tipsy) Phil continuing their discussion of commuter trains before delving into Project Hail Mary and a couple of vintage James Bond films. Then, after a midpoint musical interlude that allows Dean and Phil to become sober as judges, good pal Jon Lawlor joins the conversation for analysis of the Live Nation and Ticketmaster court case and the pending Warner Bros.-Paramount merger. During the show, Phil learns the difference between a Japanese bathhouse and the Alamo Drafthouse, and the difference between the words “vacillate” and “oscillate”.

After comparing notes on their forthcoming respective travel plans, Dean and Phil roll up their sleeves and discuss the 25th anniversary of “The Lone Gunmen” series. Then, in what will be a multi-week exploration, they begin to delve into Time Out’s list of the 100 Greatest Movie Theaters in the World that are still in operation. The movie business is foremost on their minds these days, and they pose some of the big, perplexing questions regarding the possibly sinister and definitely nonsensical merger of Paramount with Warner Bros. Then, because it’s STILL awards season, they tackle the really odd, almost desperate nature of the recent SAG-AFTRA “Actor Awards” on Netflix. As a bonus, you will learn what the following phrases uttered by Dean Haglund in this episode actually mean: “We made the Ramones cry!” and “funky, artisanal whatever”.

Dean and Phil discuss the fallout from Paramount supposedly closing the deal to acquire Warner Bros. and its assets. They celebrate the feat that Richard Linklater became the first-ever American filmmaker to achieve this week. They review three new genre films: a horror sequel (28 Days Later: The Bone Temple), an homage/deconstruction of 1960s Eurospy movies (Reflection in a Dead Diamond), and a sci-fi comedy that gives genuine 1980s “feels” (Good Luck, Have Fun, Don’t Die). They revisit the much-loved “classic” Field of Dreams. In honor of Dean’s first wedding anniversary that takes place this month, Phil offers previews of two forthcoming cinematic marriage stories. Finally, the big casting news for the reboot of “The X-Files” gets analyzed.

After discussing the latest news regarding Netflix, their attempts to purchase Warner Bros, and what the current President of the U.S.A. is demanding they do, Dean and Phil talk about more of the intriguing movies coming out in 2026 (including period pieces, biopics, and crime films). Hollywood still hasn’t recovered from the dual strikes of a few years back, and with the negotiations for new contracts upcoming, the Writers Guild seems to be imploding. Dean and Phil analyze the latest labor strife. The recent movie Anaconda gets reviewed, and the French classic Amelie gets re-appraised in time for its 25th anniversary. In the return of “What We’re Reading” the latest by Dan Brown and a work of historical fiction about legendary filmmaker G.W. Pabst get discussed. Finally the murders of two groundbreaking physicists has Phil troubled, so he asks Dean about whether the deaths might be part of a conspiracy. And speaking of conspiracy, Dean and Phil conclude with the latest news surrounding Ryan Coogler’s reboot of “The X-Files”.

Dean and Phil share seasonal decoration news, holiday plans, and Christmas travel tales. Then, Phil tells a hilarious story about an awards screening he attended. Wake Up Dead Man (“A Knives Out Mystery”) gets a deep dive analysis which leads into a new way of discussing the issues surrounding Netflix’s pending purchase of Warner Bros. Media. After that, the Netflix films Jay Kelly and Carry-On get reviewed before a soon-to-be-theatrically-released awards hopeful gets reviewed. Finally, a classic 1949 film noir and an underrated 1961 comedic gem from Billy Wilder get celebrated.

On this week’s show, Dean Haglund is finally using a microphone once again. It makes his audio better, to be certain, but somehow it also manages to create several cameo opportunities for his dogs! Don’t let those moments dissuade you, however, as this week’s show is an utterly fascinating conversation between Dean and his longtime co-host Phil Leirness. They go deep, discussing the potential sale of Warner Bros. to Netflix, the life and legacy of perhaps the greatest American architect of all time, Frank Gehry, and the truly spine-chilling lessons we can learn from the Nazis’ film policy.

This week, Dean and Phil will begin to slowly roll out the new era of Chillpak Hollywood, releasing much more content each week. Phil provides details at the outset. Then, he and Dean engage in much show biz “water cooler” discussion. The most famous modernist home in the world is up for sale for the very first time. Dean and Phil talk about the house, its history, and some of the movies that were filmed there. Warner Bros. is also up for sale, apparently (again!), and Dean and Phil both discuss it and sort of lament it! A loyal listener is very upset about the film Bugonia, so Dean and Phil revisit their debate about the film’s director, Yorgos Lanthimos. The lack of box office this year for accomplished and acclaimed films aimed at adults gets discussed broadly, with two of these films (the Channing Tatum vehicle Roofman, and the recent spy thriller Black Bag) going under the microscope. Finally, two classic films get re-appraised and celebrated anew: Rian Johnson’s Brick on its 20th anniversary, and the rollicking 1966 western The Professionals. Finally, one of Phil’s all-time favorite actors, indeed one of the greatest figures in Japanese cinema history, gets remembered in “Celebrity Deaths”.

In another episode featuring now regular contributor Jon Lawlor (longtime purveyor of excellent Chillpak Hollywood Hour theme songs), Dean tells stories of his ongoing trip back to his hometown of Winnipeg and the workshopping of a theatrical play that was the reason for his trip. He also reveals details of what may, or may not, be a Winnipeg-themed art collection he will be (or might not be) showing at a forthcoming Hamilton, Ontario, art show! Jon and Phil compare notes on the live stage show (“Viva Los Feliz”) in which they both performed last week. Then, the focus turns to Spike Lee’s latest “joint”, a remake of an Akira Kurosawa classic itself based on a novel by Ed McBain (aka Evan Hunter). Particular attention is paid to the cinematography and the music. Finally, it’s time for more Superman discussion, as a longtime, brilliant listener takes Dean and Jon to task for what they “missed” in their scathing reviews of one of this year’s most beloved, and most talked about movies. Oh, and Star Wars: The Force Awakens takes quite a few strays in the process!