This week on Podcast Like It’s The 2000s, Phil and Emily begin their deep dive into Mike Nichols’ monumental HBO miniseries, Angels in America with special guest Adam B. Vary (Variety).

Together, they unpack Tony Kushner’s sweeping adaptation of his Pulitzer Prize winning play, exploring how Nichols brought the AIDS crisis, politics, and spirituality to television with raw emotional power. From Meryl Streep’s transformative performance to Al Pacino’s chilling portrayal of Roy Cohn, the trio explores the artistry, ambition, and legacy of a project that redefined what prestige TV could be.

They also discuss how Angels in America marked the pinnacle of HBO’s early 2000s dominance, bridging the era between The Sopranos and Six Feet Under and setting the tone for the next two decades of prestige television.

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This week on Podcast Like It’s The 2000s, Phil and Emily welcome writer Emily Hughes to discuss Paranormal Activity — the micro-budget phenomenon that redefined horror for a generation. Together they dig into the film’s scrappy origins, the ingenious use of found footage to build dread, and how Oren Peli’s minimalist approach reshaped studio thinking about what a blockbuster could be.

From its DIY filmmaking roots to its massive cultural impact, the conversation examines why Paranormal Activity remains one of the most effective and influential horror movies of the 2000s — and how it kicked off a wave of imitators that could never quite match its eerie simplicity.

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This week on Podcast Like It’s The 2000s, hosts @pmiscove and @emilystjams kick off a brand new Halloween miniseries, Somebody Scare Phil, with guest Louis Peitzman (Chasing Amy Adams). Together, they dive into the bloody brilliance and DIY spirit of James Wan and Leigh Whannell’s 2004 indie phenomenon Saw a film that reshaped horror on a shoestring budget and gave rise to a genre-defining franchise.

The trio break down Saw’s grimy aesthetics, moral puzzles, and the line between psychological thriller and full-blown torture horror. Plus, Phil reveals how the franchise both terrifies and fascinates him (and why Emily might just make him watch all nine sequels).

Recorded as part of the Somebody Scare Phil miniseries where Emily forces Phil to face his horror movie blind spots this episode’s a twisted treat for cinephiles who love a good scream and a good think.

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Phil and Emily continue their deep-dive into Mike Nichols’ work from the 2000s with Wit , the acclaimed HBO adaptation of Margaret Edson’s Pulitzer Prize–winning play. Joined by writer and producer Eliza Clark (Y: The Last Man, Animal Kingdom), they explore how Nichols recalibrated his directorial voice after What Planet Are You From? with this intimate, emotionally devastating story of a scholar facing terminal illness.

The conversation digs into the film’s powerful performances led by Emma Thompson and the delicate balance Nichols strikes between theatricality and cinematic storytelling.

Together, they unpack Wit’s themes of mortality, intellect, vulnerability, and humanity, while tracing how this project set the stage for his monumental follow-up, Angels in America.

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Phil and Emily kick off a brand-new miniseries exploring the films and television of legendary director Mike Nichols in the 2000s. First up: the notorious 2000 sci-fi romantic comedy “What Planet Are You From?”, starring Gary Shandling, Annette Bening, and John Goodman.

Joined by critic and returning guest Emma Stefansky, the trio dive deep into this infamous box-office bomb unpacking its chaotic tone, lack of internal logic, and bizarre premise about an alien sent to Earth to impregnate a woman. They discuss how the film reflects a turning point for Nichols, why it derailed Gary Shandling’s movie career, and what it reveals about Hollywood’s early-2000s obsession with “blank check” comedies.

From alien sex jokes to comedy-career implosions, this episode is a hilarious, insightful breakdown of one of the strangest films of the decade and the perfect start to our Mike Nichols retrospective.

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Phil and Emily wrap up their Oscar-winning Best Director follow-ups mini series with Joel and Ethan Coen’s Burn After Reading. They’re joined by Brooke Solomon and Jordan Gustafson, from the podcast The Queer Quadrant, to dig into this razor-sharp dark comedy that skewers espionage, bureaucracy, and human foolishness in equal measure.

From the Coens’ tonal whiplash to the film’s biting satire of post-9/11 paranoia, the conversation unpacks the brilliance of a story where no one really knows what they’re doing but the chaos still matters. Along the way, they revisit the stacked ensemble of Clooney, Pitt, McDormand, and Malkovich, while situating the film within the Coens’ endlessly inventive career.

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Phil and Emily continue their Oscar-Winning Best Director Follow-Ups miniseries with Ang Lee’s provocative espionage drama Lust, Caution. Joined by Danette Chavez (Editor-in-Chief of The A.V. Club), they dig into the film’s bold mix of eroticism, politics, and moral ambiguity, exploring how Lee followed Brokeback Mountain with a risky and divisive project that tested both audiences and censors. From the performances of Tony Leung and Tang Wei to the film’s place in Lee’s eclectic career, this conversation examines the ways Lust, Caution both fulfills and defies the expectations of a “prestige” follow-up.

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Phil and Emily continue their mini series on Oscar-winning Best Director follow-ups from the 2000s with Clint Eastwood’s Flags of Our Fathers. Joined by Mitchell Beaupre, editor and podcast host at Letterboxd, they dig into Eastwood’s haunting take on the Battle of Iwo Jima and the myth making around Joe Rosenthal’s famous photograph of soldiers raising the flag.

The conversation unpacks Eastwood’s bold decision to explore both the battlefield and the uneasy homefront tours, the fractured narrative structure, and the film’s relationship to its companion piece, Letters from Iwo Jima. Along the way, they discuss Eastwood’s casting instincts, his recurring themes of masculinity, guilt, and heroism, and how the movie reflects broader questions about American war films and cultural memory.

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