Podcast

A Damn Fine Espresso: December 2025

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We weren’t originally going to do an espresso podcast in December, but then the timing and theme of our main episode for the month almost made it obligatory for us to replan: since our recent episode “Ozmosis” only covered Wicked, the first part of the movie adaptation of the hit musical by Stephen Schwartz and Winnie Holzman, and not its 2025 continuation, Wicked: For Good, we are hereby remedying this. Join Matt and Sam as they take a trip to the Emerald City to talk about part 2 of this revisionist take on L. Frank Baum’s classic novel The Wonderful Wizard of Oz. Did they find the film a worthy follow-up to the 2024 hit? Are Cynthia Erivo and Ariana Grande still as effective as Elphaba and Glinda? Do the new songs live up to the best numbers of either part? And just how does The Wizard of Oz fit into Wicked? Follow us down the Yellow Brick Road for this concluding conversation in our final espresso of the year.

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A Damn Fine Cup of Culture Podcast #99: Ozmosis

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Arguably, the big event movie of this year’s holiday season is Wicked: For Good, the second part to last year’s hit film Wicked. (Sorry, Avatar fans, but that’s just how it is.) Most people loved the first instalment adapting the stage musical, which in turn adapted Gregory Maguire’s 1995 revisionist take on L. Frank Baum’s 1900 novel The Wizard of Oz and especially its iconic 1939 reincarnation as iconic Technicolor musical fantasy.

At the time this podcast was recorded, Wicked: For Good was just about to be released, prompting Sam, Alan and Julie to talk about the 2024 blockbuster and to revisit the Judy Garland classic. How does The Wizard of Oz stand up, and what does our trio think of the first Wicked film?

P.S.: Since we can do what Hollywood does as well, it is just about possible that we’ve split our discussion of Wicked into two separate podcasts. Watch out for the forthcoming December espresso, for good or for bad!

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A Damn Fine Espresso: November 2025

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Over the year, we’ve dedicated a number of episodes to the sadly departed David Lynch, his films, and his iconic TV series Twin Peaks. For our November espresso, Alan and Sam return to 2017 and to the third season of Twin Peaks that Lynch and his collaborator Mark Frost sprung on the world 26 years after we first tasted that cherry pie. For Sam, this was the first time he watched these 18 episodes, while for Alan it was an opportunity to revisit the entire series in one go. What are their thoughts on one of David Lynch’s last great works? How does it feel to return to Twin Peaks, Washington, the site of Laura Palmer’s murder, the focus of supernatural and surreal goings-on, after our loss of the man himself?

For more Lynch listening, don’t forget to check out these podcast episodes and posts:

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A Damn Fine Cup of Culture Podcast #98: Alien: Earth

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When Alien came out in cinemas back in 1979, did anyone think at the time that this would turn into a franchise that is alive and kicking 46 years later, much like that Chestburster in Spaceballs? Last year brought us Alien: Romulus, arguably too much of a retread of the film that originally made us scream silently in space – but 2025 saw the release of Alien: Earth, a nine-part series created by Noah Hawley of Legion and Fargo fame. How does the xenomorph survive its transfer onto a new host: the streaming services? What do Hawley’s sensitivities and quirks as a storyteller bring to the table? Is this a necessary shot in the franchise’s arm, or is it more like a spurt of acid eating its way through the audience’s goodwill? Join Matt and Alan as they discuss these questions, provided that they’re not distracted by some leathery, slimy egg that just begs to be looked at up close.

P.S.: If this episode has whetted your appetite for all things xenomorph, make sure to also check out these episodes:

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A Damn Fine Espresso: October 2025

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We’ve spent a lot of this year talking about the sadly departed David Lynch – but surrealist film doesn’t begin and end with Lynch, so we’re dedicating the October espresso podcast to one of the greats of experimental filmmaking: Maya Deren, who, aside from film, also was active as a choreographer, dancer, film theorist, writer and photographer. In particular, we’re focusing on her beautiful, enigmatic, eternally rewatchable “Meshes of the Afternoon”, a released in 1943, made by Deren and her husband Alexandr Hackenschmied (also known as Alexander Hammid). What makes this 14-minute short such an effective precursor to films ranging from Lynch’s Lost Highway and Inland Empire to more mainstream, genre cinema such as Inception and even arthouse video games?

P.S.: For anyone seeking out the films of Maya Deren: many of them can be found on YouTube, though not always in the original version and often with different sound/music. You can find one such version of “Meshes of the Afternoon” here.

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A Damn Fine Cup of Culture Podcast #97: The Horror

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It’s that time of year: the days are getting shorter, the shadows are getting darker, and the ghouls and ghosts are eager to come out and play. As is customary, we’re dedicating our October podcast to scary things – and this year we’re looking at the definite article in horror: The. No, that’s not a typo: for this year’s Halloween episode, we’ve selected three horror films whose title begins with “The”, namely Richard Donner’s The Omen (1976), in which an American diplomat suspects that his newborn son has been replaced with the spawn of Satan; Spanish gothic The Orphanage (2007), in which the children are decidedly not all right; and John Carpenter classic The Thing (1982), which pits Kurt Russell against what may just be the gnarliest shapeshifting creature from outer space. What makes these three horror films ones that viewers can return to again and again? And what other recommendations do our Baristas of Fear have for the scary season?

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A Damn Fine Espresso: September 2025

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Wow, Bob, wow: Twin Peaks forms part of the DNA of A Damn Fine Cup of Culture – if our name and logo didn’t already make that obvious. And yet, some of us have come very late to David Lynch‘s seminal series: while Sam had seen a couple of episodes, he had never watched the entire (original) series when we recorded the first episode of our Lost Summer on the late, great director and purveyor of surreal unease. So, what better opportunity than this summer (which included espresso episodes on Wild at Heart and Lost Highway) to remedy this over some cherry pie and damn fine coffee? Join Sam and Matt in the Red Room as they talk about Twin Peaks and how it holds up for someone who, for decades has heard about the series but not watched it. (You’ll be pleased to hear that we’ve adjusted the audio so that no one is speaking backwards.)

And if you’re in a Twin Peaks mood after listening to our September espresso, you may want to check out our fourth ever podcast episode, in which O.G. baristas Mege and Matt talk about the fantastic, and harrowing, Twin Peaks episode “Lonely Souls”.

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A Damn Fine Cup of Culture Podcast #96: Lost Summer – Gone too soon

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We’re concluding our summer series, Lost Summer, with an episode dedicated to the actors that died not in old age, looking back at a long, storied career, but that were gone too soon. From tragic silent film icon Rudolph Valentino, via River Phoenix, a teen idol promising to become one of Hollywood’s acting greats, to Philip Seymour Hoffman, a fearless actor who stood out even among amazing ensemble casts: how do we feel about their lives and their deaths? What is our relationship to these people that we largely know from playing fictional characters? Why can it feel like a deeper genuine loss when one of the actors we like dies? And is there a dark side to how fans mourn their idols, and how the movie industry uses its stars as commodities, even in death?

P.S.: Make sure to check out the other entries in our Lost Summer, running from June to September!

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A Damn Fine Espresso: August 2025

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Our Lost Summer continues, quite fittingly, with another David Lynch film: in our August espresso, Alan and Sam talk about Lynch’s most ’90s nightmare, Lost Highway, in which murder, mobsters, Mystery Men, Patricia Arquette (with black hair) and Patricia Arquette (with blond hair) abound. Add music by Nine Inch Nails, the Smashing Pumpkins, Marilyn Manson and Rammstein, plus a killer track by David Bowie, and you have a David Lynch film that, more than all his other work, very much is marked by the decade it was made, so much so that at times it feels like a feature-length video shown on MTV’s Alternative Nation. But does this make Lost Highway dated, or does this neo-Hitchcockian slice of jealousy and paranoia hold up in 2025? There’s only one way to find out: listen to us, because, as a matter of fact, we’re at your home right now.

For more Lost Summer listening about David Lynch, make sure to check out our June episode (dedicated to Lynch’s Blue Velvet, Twin Peaks: Fire Walk With Me and Mulholland Drive) and the July espresso (on Wild at Heart).

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A Damn Fine Cup of Culture Podcast #95: Lost Summer – Films from the Poison Cabinet

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Some things are sadly lost: rolls of film crumble, TV programmes are never recorded, studios choose not to distribute a film. And then there are the cultural artefacts that come from a context so toxic, they are consigned to the poison cabinet, where people have to make an effort to seek them out. The films made during the Third Reich, under the control of Joseph Goebbels’ Reich Ministry of Public Enlightenment and Propaganda, are such artefacts. There are the famous propaganda films, such as those made by Leni Riefenstahl (if you get a chance, watch the 2024 documentary on her by Andres Veiel!), but there are many others that are barely known, except to film historians. In the third episode of our Lost Summer, and inspired by Rüdiger Suchsland’s 2017 documentary Hitler’s Hollywood, Sam, Julie and Matt look at two of those films: Wolfgang Liebeneier’s big city comedy Grossstadtmelodie (1943) and Opfergang (1944), a strange, lurid melodrama by Veit Harlan (often translated as The Great Sacrifice or Rite of Sacrifice) that was sometimes called the ‘Nazi Vertigo‘. Neither film may correspond entirely to what present-day viewers may imagine Nazi propaganda to look like – but both, made by directors loyal to Hitler’s regime, were very much made to convey propagandistic messages to their audience. What is it like to revisit these films 80 years later? What have they left behind? And should they, and other films of their kind, remain locked up in the poison cabinet, or is there an argument for making them available, fully knowing what they were made to do?

P.S.: Make sure to check out the other entries in our Lost Summer, running from June to September!

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