Tom Cruise. Brad Pitt. Matt Damon. Ben Affleck. They all passed. So we got Brendan Fraser and his perfect bangs, and somehow it made $400 million.

This week Kyle and Seth bring back comedian Dustin Chaffin for a second round — and yes, they were already laughing before they hit record. The topic is The Mummy (1999), a movie that Roger Ebert himself said he couldn't defend on a single technical level and still couldn't stop enjoying. That about sums up the energy of this episode.

We get into why Brendan Fraser plays every scene — the smart ones, the scary ones, the romantic ones — with the exact same expression, what it means that 0% of this movie was filmed in Egypt, and why the cat scene breaks the whole internal logic of the film. We also cover the genuinely wild production history: Clive Barker, George Romero, and Wes Anderson were all attached at various points, the Super Bowl ad that saved the box office, and the fact that Fraser spent seven years in and out of hospitals after the trilogy destroyed his body. Tom Cruise would've walked it off.

Also: living in your car as a touring comedian, cruise ship audiences choosing between comedy and Harry Potter trivia, and one nighter and a Camry as a legitimate lifestyle.

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Marianna's favorite horror movie. Kyle and Seth's most complicated relationship with a film this year. Cabin in the Woods doesn't fit neatly into any box — and that's exactly the point.

This week we're digging into Drew Goddard and Joss Whedon's 2012 genre-bending masterpiece, a movie that somehow functions as a straight-up horror film, a loving send-up of every horror cliché you've ever seen, and a genuinely sharp piece of social commentary — all at the same time. We debate whether it actually works as horror, why the corporate facility subplot might be the most interesting thing in the movie, and what it means that ancient gods demanding blood sacrifice is played for laughs and it works.

We also get into the production chaos — this thing sat on a shelf for three years and still landed — and why Bradley Whitford might be low-key the MVP of the whole thing.

Fair warning: this one gets a little philosophical. When a movie is about horror more than it is horror, where does that leave you as a viewer? We have thoughts. Lots of them.

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Quote me on this: The Naked Gun is the greatest comedy film ever made. I've been saying it for years and I'm saying it again on this episode — and I dare anyone to prove me otherwise.

Kyle, Seth, and Marianna break down the 1988 ZAZ masterpiece that somehow came from a TV show that got cancelled after four episodes, built a legacy on dramatic actors who'd never told a joke in their lives, and produced a movie that is still zinging people decades later. Every single line is a joke. Every credit is a gag. Every prop is a setup. It never lost its fastball.

We get into what made Leslie Nielsen a comedic genius — and why it took 40 years for Hollywood to figure that out. We cover the casting philosophy (no comedy experience required, in fact preferred), the behind-the-scenes chaos of trying to keep a straight face for 40+ takes, and the wild fact that the MLB actively pushed the Mariners specifically because they were, quote, "a really weak franchise." We also talk OJ — because you can't do this movie without talking OJ — and land somewhere honest on the question of separating art from the guy who almost didn't make it to filming the sequels.

Plus: Leslie Nielsen's fart machine. His funeral. His casket. You'll understand when you get there.

The War Zone verdict at the end is pretty unanimous — which almost never happens — and if you've never seen this movie, fix that before you listen.