All Episodes

This week the podcast dives into Sexy Beast, the 2000 black comedy crime film directed by Jonathan Glazer (his feature debut) and written by Louis Mellis and David Scinto.
Starring Ray Winstone, Ben Kingsley, and Ian McShane, it follows retired safecracker Gal Dove, whose peaceful Spanish exile is shattered by the arrival of a terrifyingly unhinged gangster demanding one last job in London.
The Scotsman loves this one. The dialogue is razor sharp, and he’s fully in his Cockney element. The Aussie doesn’t stand a chance.
There’s a Cockney quiz. There’s a dramatic reading of the film’s dialogue. There’s a running tally of how many times the Scotsman, channeling Ben Kingsley, calls the Aussie “his chubby little friend.” It’s relentless.
The return of the fruit platter — because they watched it together — becomes comedy gold in itself. The Aussie makes the bold claim that the Scotsman has never stepped foot inside Subway. Tensions rise.
Chas & Dave’s Snooker Loopy gets airtime. Any mention of snooker means Jeremy appears again. Singing follows. Naturally.
Cockney rhyming slang flies around: “trouble and strife,” “dog and bone,” “Barnet Fair,” “butcher’s hook,” and “Adam and Eve” all make their way into full sentences.
The Scotsman draws links to the unseen menace in Jaws and Duel, and even the word “Don” sends the studio into hysterics.
They discuss the film’s Foley artistry, indulge in a bit of scene acting, and revel in just how controlled and theatrical Kingsley’s performance is.
A trivia nugget surfaces: Ben Kingsley won the 1985 Grammy Award for Best Spoken Word Album for The Words of Gandhi, following his Oscar-winning role in Gandhi. A fact delivered with surprising reverence before things descend again.
Rohan Reminisces? Chaos. He chooses 2002 instead of 2000. Basic calendar error. He recovers slightly by discussing the hottest day of the year but still manages what might be the biggest faux pas of the season. A generous 7/10 this week.
If you have to rent this film, it’s worth every cent. The dialogue alone is admission price.
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This week we are reviewing the 1982 biographical epic Gandhi — directed and produced by Richard Attenborough, written by John Briley, and featuring one of the greatest performances ever committed to film by Ben Kingsley as Mahatma Gandhi.
The film covers Gandhi's extraordinary life from a defining moment in 1893 — being thrown off a train in the Colony of Natal for sitting in a whites-only compartment — right through to his assassination and funeral in 1948. It is the story of one man's mission to lead India to independence from the British Empire through non-violent resistance, and it is absolutely towering cinema.
We kick things off with a bit of Frank Sinatra and Rudyard Kipling's poem 'If' before we get into it.
The Aussie comes out swinging from the start — he is in the best form he has ever been on the podcast and absolutely rips into the Scotsman for a boring story. It is the funniest takedown we have had in a while and a sign of things to come.
The Scotsman's mission this week was to get the Aussie to see Sir Ben Kingsley in the most extreme contrast imaginable — from the terrifying, unhinged Don Logan in Sexy Beast to the gentle, transcendent Gandhi. It is about as far apart as two performances can be.
He could make that leap. And then some.
The Aussie not only loved Gandhi — he dominated the entire episode. Thoughtful, articulate, full of insight and understanding — he gave the Scotsman a well-earned break from doing all the heavy lifting.
The Aussie has been driving his wife mad quoting Gandhi all week, claims he has been "so chilled out" since watching it, and even watched it on a bigger screen. That is the Gandhi effect.
The Scotsman gets pressed on the big question — does he love or hate the English? It is a fair question given the subject matter and one he cannot dodge.
Scores are high across the board. This is a long one and every minute of it is worth your time.
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This week we are reviewing the 1994 American epic historical Western drama Legends of the Fall, directed by Edward Zwick and starring Brad Pitt, Anthony Hopkins, Aidan Quinn, Julia Ormond and Henry Thomas.
Based on the 1979 novella by Jim Harrison, the film follows three brothers and their father living in the wilderness and plains of Montana in the early 20th century — and how their lives are shaped by nature, history, war and love. The timeframe spans nearly 50 years, from World War I through the Prohibition era and into a brief final scene set in 1963.
We kick things off with a travel story — and this one does not end well for a small boy who performs a good deed and receives a pocket lolly from the Aussie as a reward. A pocket lolly. Fluff and all. The Scotsman is disgusted. And he is already feeling sick — because this week introduces a brand new segment.
Rob's Rant.
A one-off, five-minute monologue. No interruptions. Scathing, unfiltered, and delivered with the full force of a man who cannot believe this film was brought to the podcast. The Scotsman gives Legends of the Fall the lowest rating in the history of the show. He is furious. Hold on to your cowboy hats.
Before the rant, he shares a story about a family faux pas — and that is what tips him over the edge.
The Aussie is heartbroken. His genuine joy when the Scotsman reveals he has not seen the film is one of the highlights of the episode — and it is shattered almost immediately. The pain is palpable.
The Aussie tries to mount his defence, but every attempt is met with the Scotsman hammering back: "defend it, defend it, defend it" — a callback to the Aussie's own interrogation tactics during the Duel episode.
We try to get to the root of the Aussie's deep, lifelong love of this film. And he tells us. It is Brad. It has always been Brad. Brad on a horse. Brad on a horse. Brad on a horse. He is dreamy.
"Did you miss out on romance growing up?" asks the Scotsman.
"Is that a serious question?" replies the Aussie, genuinely surprised.
It takes a full 37 minutes before the Aussie finally removes the rose-coloured glasses and admits what this film really is — Brad Pitt's vehicle to superstardom.
Nothing more, nothing less.
Rohan Reminisces takes us back to 1994 — a decent segment this week, with some genuinely fun facts. The Aussie then surprises everyone with a brilliant Jim Carrey impression, before immediately going bashful and refusing to continue. The Scotsman steps in as director: "take a beat," he instructs. The Aussie has absolutely no idea what that means.
There is also singing. And crying. Crying and singing.
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This week the lads review Anora, the 2024 American romantic comedy-drama written, directed, produced and edited by Sean Baker.
The film stars Mikey Madison as Anora “Ani” Mikheeva, a New York lap dancer who impulsively marries the wealthy son of a Russian oligarch, played by Mark Eydelshteyn.
Supporting performances from Yura Borisov, Karren Karagulian, Vache Tovmasyan, Darya Ekamasova, and Aleksei Serebryakov round out a film that swept awards in 2024.
Both hosts loved it. Properly loved it. A genuine cracker.
The Aussie finally brings a decent opening story — which immediately triggers the Scotsman to ask the logical question: what’s the succession plan for the podcast if one of them meets their maker?
From there, things drift into strip clubs past and present (the Aussie goes slightly bashful), and a shout-out to American listeners — roughly 25% of the audience tuning in from the States.
When they finally get into the film, it’s detailed and thoughtful — until the Aussie corrects the Scotsman one time too many. Was it “kicked” or “punched” in the face? Does it matter? Apparently it does. The Scotsman flips. Flow ruined. A firm declaration follows: no more interruptions. Ever.
There’s a strong debate about the meaning of the ending — two very different interpretations. At one point the Aussie tells the Scotsman, “That’s your best 90 seconds in 200 episodes.” Want to know why? You’ll have to listen.
Rohan Reminisces takes us back through 2024 — including Anatomy of a Fall, Barbie, and Poor Things — alongside the major global headlines of the year, including the wars in Gaza and Ukraine.
The Scotsman isn’t firing on all cylinders this week and misses a few quiz questions. He also pulls out Russian and Italian accents, then demands to know why that doesn’t make him a racist. The pronunciation of “pho” somehow becomes another battleground.
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This week the podcast revisits Scarface, the 1983 crime epic directed by Brian De Palma and written by Oliver Stone. A remake of the 1932 original, it stars Al Pacino as Cuban refugee Tony Montana, alongside Michelle Pfeiffer as Elvira Hancock and Steven Bauer as Manny Ribera.
Arriving in Miami during the Mariel boatlift, Tony claws his way from dishwasher to cocaine kingpin through ambition, violence and pure ego. As the empire grows, so does the paranoia. Addiction, pride and distrust burn every bridge in sight, building to one of cinema’s most operatic downfalls.
And then the shock.
A 5/5 from the Aussie. Rare air. First one of the year.
Before they get to the film, there’s another travel story. The Aussie meets up with Chris, the independent airport driver again, and appears to be paying way over the odds, but apparently, he can afford it. He also bumps into Stan Wawrinka at the airport, causes mild chaos by acknowledging him publicly, and that opens the floodgates to name-dropping: Tiger Woods, Shane Warne, Nadia Bartel, Clayton Oliver, Eddie Betts and Heather Graham. The debate quickly shifts to whether celebrities are public property.
The Scotsman counters with a far less glamorous update: his heating and cooling unit has died and it’s going to cost a fortune. And he asks if he can borrow some money from the Aussie.
Once the intro dust settles, the Scotsman waits for the verdict on the movie. Drum roll. The Aussie "absolutely loves it" and breaks down why. The discussion goes deep. This film earns the time.
They dissect the final scene and inevitably act out the immortal line "say hello to my little friend". The Scotsman tells the story slightly wrong. The Aussie corrects him. 
Rohan Reminisces takes us back to 1983. The Scotsman demands better questions next week. They touch on Cheers, favourite cast members, Trading Places, Risky Business and the Aussie sings "Flashdance... What a Feeling" from Flashdance. You may need earplugs.
Then the biggest shock in 225 episodes: the Scotsman forgets to prepare trivia. The Aussie goes low with "are you embarrassed and going to have a cry". No tears. Professional recovery. Comes back swinging.
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This week on Aussie and the Scotsman, the lads take on Brothers (2009), the American psychological thriller directed by Jim Sheridan starring Tobey Maguire, Jake Gyllenhaal, Natalie Portman, Sam Shepard, Clifton Collins Jr., and Mare Winningham.
SPOILER ALERT - Watch before listening. This is an absolute must watch
The film follows Captain Sam Cahill (Maguire), a US Marine. It’s heavy, confronting, and — according to the Aussie — essential viewing. “Watch this before listening,” he insists. “It’ll shake you to your soul.”
The episode opens with the Aussie calling the Scotsman his brother, while the Scotsman is already deep in complaint mode — this time about parking meters.
The Aussie, once again, arrives with “no stories,” which pushes the Scotsman to the brink… until a surprising revelation about how much the Aussie’s kids can bench press.
Things escalate when the Aussie declares himself the Tobey Maguire of the friendship — a man of honour — and makes it abundantly clear that the Scotsman is not.
A brief detour into the Scotsman’s former life as a daddy blogger (yes, adadslife.com.au gets dragged up) threatens to derail the episode entirely.
The big moral questions raised by Brothers take centre stage — guilt, loyalty, trauma, and what honour really means. And then there’s Rohan Reminisces. Set in 2007, it collapses in real time when the Aussie abandons the segment mid-flow to search for a song on his phone, ask for wiring, and destroy what little structure remained.
The Scotsman issues a final ultimatum over the complete lack of preparation. For the first time ever, Rohan Reminisces is shut down early — leaving the Scotsman in a spiral of despair and the Aussie largely unfazed.
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This week we are reviewing Munich, the 2005 thriller directed by Steven Spielberg and written by Tony Kushner and Eric Roth, starring Eric Bana as Avner Kaufman — a Mossad agent chosen to lead a five-man team tasked with hunting down the eleven men responsible for planning the 1972 Munich Olympic massacre.
Daniel Craig, Geoffrey Rush and Mathieu Kassovitz round out a cast in one of Spielberg's most morally complex and politically courageous films. This is a heavier episode than most. Both hosts are Jewish, and they say so up front. This is a film about Jewish revenge for Jewish deaths, and they are going to try to be fair. They mostly manage it. The episode opens with the Scotsman offering something approaching an apology for his behaviour during the Oceans 11 episode — not a full apology, he makes clear, just an acknowledgement that he was, in his own words, a bit manic. The Aussie accepts this with more grace than the Scotsman deserves. Then Munich. And the conversation that follows is one of the most serious and genuinely moving the podcast has produced. The Scotsman walks through both sides of the argument with real care — the Israeli case for Operation Wrath of God, the Palestinian context in which Black September emerged, what the film gets right, what it omits, and why Spielberg was attacked by both sides simultaneously and responded by saying he was not interested in making a political argument. He was interested in making a human one. The moment that stops the episode cold is Golda Meir's line — delivered quietly, with the weight of someone who has just heard something she cannot unhear. "I normally speak about peace. But today I listen with new ears. The world needs to know you cannot do this. This decision is solely on me." The Aussie says it is the best line in the film. He is not wrong. They debate the Daniel Craig line — "the only blood that counts is Jewish blood" — and both hosts reject it immediately. That rejection leads into one of the most honest conversations the podcast has had about antisemitism in Australia right now, armed guards at every Jewish school, the Bondi attack in December 2025, October 7, and what it actually feels like to live as a Jewish person in this country today. It is uncomfortable. It is important. It earns its place. Eric Bana's performance gets enormous credit — Spielberg called it the finest he had directed since Liam Neeson in Schindler's List. The safe house scene, where an Israeli agent and a Palestinian operative share a stairwell and a conversation, is singled out as one of the great scenes in the film. The final intercutting of the sex scene with the massacre flashbacks is described as unforgettable and haunting. The Aussie's son Oliver also sent through his written analysis of the film — read out in full — and it is genuinely excellent.  Rohan Reminisces takes us back to 1972 — the French Connection winning Best Picture, Gene Hackman taking Best Actor, the Godfather, American Pie, Watergate, Gough Whitlam, and the introduction of the CT scan.  Ratings: 4.4 from the Aussie, 3.95 from the Scotsman. The Scotsman closes with a stiff whiskey. It feels right. The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. Hit subscribe or follow — it genuinely helps the show keep growing. Thanks for listening.

This week the podcast takes on The Florida Project, the quietly devastating 2017 drama from Sean Baker, written with Chris Bergoch and starring Brooklynn Prince, Bria Vinaite, and a superb Willem Dafoe.
It’s six-year-old Moonee running feral through a budget motel in Kissimmee, Florida — living in the shadow of Walt Disney World while her mum scrambles to keep a roof over their heads.
It’s bright colours, sticky ice creams and childhood chaos… sitting right on top of poverty, instability and the constant threat of homelessness. Fantasy in the background. Hard reality in the foreground.
The episode? Off to a shaky start. The Aussie is coughing his lungs out. The Scotsman is demanding parental justice after his son Max  slams a Bunnings trolley into his Achilles and claims it’s “Dad’s fault for swerving into his path”
Then the Aussie drops a jet ski story. Big mistake. The Scotsman quivers - PTSD alert.
That unleashes the Lysterfield BMX near-catastrophe, the proud (and very specific) claim of finishing third in butterfly at the Scottish Schools Swimming Championships, and an unexpectedly detailed breakdown of why freestyle is actually front crawl. There’s also a swim meet involving croup that probably should never have happened.
Interruptions start flying. The Aussie snaps. The Scotsman refuses to yield. The irony is not lost on anyone.
Eventually — somehow — they circle back to the film.
The Scotsman loved it. Properly loved it. He was bracing for backlash. The Aussie starts conflicted but ends up moved. Both land north of 4/5.
This one hits. The kids are phenomenal. Dafoe is restrained and human. The film doesn’t manipulate — it just sits there and lets you feel uncomfortable. It’s about growing up surrounded by manufactured magic while real life quietly unravels.
At one point, they seriously consider flying to America, driving Route 66 and taking the show on the road. That may or may not survive the edit.
Rohan Reminisces returns to 2017. He’s on time. That’s the good news. The rest? Needs work.
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This week we are reviewing Seabiscuit, the 2003 drama directed by Gary Ross and starring Tobey Maguire, Jeff Bridges and Chris Cooper — the true story of a small, overlooked, knock-kneed horse who became a symbol of hope for an entire nation during the Great Depression.
And we have a very special guest to help us do it.
Brett Ratten is in the studio. Carlton premiership player. Club captain. Three-time best and fairest. 255 games. Part of the famous 1995 premiership side and the 1999 grand finalists.
Then senior coach at Carlton, St Kilda, caretaker at North Melbourne, and part of the Hawthorn premiership dynasty under Alistair Clarkson. One of the most decorated careers in the history of the game.
The Aussie has been looking forward to this for weeks. Brett barely gets a chance to breathe. The first hour covers Carlton history in forensic detail — the 1993 grand final loss to Essendon when Michael Long was unstoppable, the 1994 straight-sets exit at Waverley, Greg Williams picking up his best and fairest that year, putting the trophy aside and telling the younger players they needed to take the next step up, and the galvanising effect that speech had on the group going into 1995.
The 1999 prelim win over Essendon — when Quartermain had declared Carlton would lose by 70 — gets full treatment, including why over-celebrating that win may have cost them the grand final the following week.
Brett tells us why he vomited before many games, how a miserable 1993 grand final performance became the greatest lesson of his playing life, and why his most profound moments in coaching had nothing to do with trophies.
And then, finally, Seabiscuit. Brett chose this film deliberately. A story about broken people finding their way back — an owner carrying the grief of losing a son, a trainer who sees something others dismiss, a jockey nobody believes in, and a horse everyone else has written off.
Brett has owned racehorses himself, including Mornington Glory, a Group One winner. He knows this world. And he knows what it means when someone puts their arm around a player — or a horse — that the rest of the world has given up on.
The line that lands hardest: "You don't throw a whole life away just because he's banged up a little." Brett says it quietly. He does not need to explain why it resonates.
The episode closes with the Scotsman playing the original 1938 radio commentary of Seabiscuit's race against War Admiral. Live. Crackling. Genuinely incredible.
Brett hears it for the first time. The goosebumps are not just his.
Ratings: 4 from Brett, 4 from the Scotsman, 3.5 from the Aussie. And a thank you to Brett Ratten that the Scotsman struggles to get through.
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This week on Aussie and the Scotsman, the boys review The Founder (2016), the biographical drama directed by John Lee Hancock.
Starring Michael Keaton as salesman-turned-mogul Ray Kroc, the film charts the brutal, calculated rise of McDonald's — and how its original founders were ultimately forced aside.
Nick Offerman and John Carroll Lynch co-star as brothers Richard and Maurice McDonald, with Linda Cardellini as Ray Kroc’s third wife Joan Smith, and B. J. Novak as McDonald’s corporate operator Harry J. Sonneborn.
Rohan is finally on time — but immediately calls Rob a bully and racist over his accents, which naturally launches a full-blown discussion about accents in general.
That conversation leads to India, cricket, and a vivid story from Oval Maidan in Mumbai, where the Scotsman and his son bravely took their lives in their hands for a casual game of cricket under a chorus of “ball, ball, ball, ball, ball…”.
WhatsApp etiquette rears its head again. The boys sing Delilah (crediting Tom Jones very loosely). Campbell’s Cash & Carry gets a mention. Things go wildly off-road when the biblical story of Samson enters the chat, followed by impressions of Acropolis Now favourites Con the Fruiterer, Effie, and Franco Cozzo. It becomes clear very quickly that the boys have had far too much coffee.
The big debate: was Ray Kroc a good guy or a bad guy? A ruthless businessman or just playing the game? 
Rohan Reminisces takes us back to 1954, including the cost of a hamburger at the time — genuinely hilarious — and what might be the most chaotic multiple-choice presentation ever delivered (C, B, A or D… somehow all at once). The episode wraps with a discussion on the ten biggest and most famous brands in the world.
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Welcome back to Doctor Andrew for our third music quiz episode — and this time, we’re diving into the world of musicals.
Now, fair warning: it takes a while for the Aussie to warm up… and to be honest, he never really gets there. If musicals were a sport, he’s on the bench, in the wrong uniform, holding a cricket bat.
Meanwhile, Doctor Andrew is absolutely on fire. The moment a track starts, he’s shouting out the answer before the Scotsman’s even found the play button. Lightning fast. No hesitation. Just musical theatre dominance.
From Phantom of the Opera to Singin’ in the Rain, Les Misérables, Grease, The Greatest Showman and more — we cover all the big hitters. Some classics. Some curveballs. And plenty of opportunities for you to yell at us when we miss an obvious one.
Tune in, play along, and see if you can outscore The Doc (spoiler: probably not). And let us know how many you got right — or if you, like the Aussie, barely made it past “Greased Lightning”.
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This week on Aussie and the Scotsman, the lads review Ocean’s Eleven (2001), the American heist comedy directed by Steven Soderbergh.
The first instalment in the Ocean’s trilogy, the film is a remake of the 1960 Rat Pack classic and boasts one of the most stacked casts of the early 2000s — George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Andy García, Don Cheadle, Casey Affleck, Scott Caan, Elliott Gould, Bernie Mac, and Carl Reiner.
The story follows Danny Ocean and Rusty Ryan as they plan an audacious $160 million heist targeting three Las Vegas casinos owned by Terry Benedict — who also happens to be dating Danny’s ex-wife. Slick, stylish, and very much of its time.
The episode opens with the Scotsman genuinely upset — not performative, not exaggerated — properly rattled. What’s caused it? You’ll have to listen.
That mood doesn’t last long though, thanks to a recent movie moderation where the podcast was repeatedly referred to as “The Someone and the Scotsman.” Twice. The Scotsman lifts instantly. The Aussie is mortified. Balance is restored.
A detour into the Scotsman’s deep hatred of shopping follows, which is then over-analysed in forensic detail. Lunch chat appears — specifically a roast beef roll — and a firm declaration that the MCG does a very strong version.
Once again, the Aussie arrives with no story. Not acceptable. Worse still, the Scotsman believes Ocean’s Eleven itself is not worthy of the podcast. “We’re only doing it because of the cast,” argues the Aussie.
The Scotsman tears it apart regardless — dated, coasting on charm, and no longer good enough for a modern audience. The Aussie struggles to defend it, made worse by some “rubbish” film knowledge, including confusing the Rat Pack with the “Brat Pack.” I mean seriously!
Rohan Reminisces takes us back to 2001 — Oscar winners, major pop-culture moments, the launch of Wikipedia, the first iPod, and the release of Shrek, which inevitably triggers the Scotsman’s Shrek impression. 
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This week the boys review the 1996 black comedy crime classic Fargo, written, directed, produced and edited by Joel and Ethan Coen.
Starring Frances McDormand, William H. Macy, Steve Buscemi, Harve Presnell and Peter Stormare, the film follows pregnant police chief Marge Gunderson as she investigates a botched kidnapping plot hatched by a desperate car salesman that spirals wildly out of control.
The podcast kicks off with a discussion on neighbour etiquette, before quickly descending into the realisation that the Aussie may not actually like children or animals.
He’s officially become the grumpy one.
Barking dogs, screaming kids and inconsiderate neighbours all get a serve, before the Aussie tells a genuinely distressing story about a dog left home alone for a week — which no one enjoys hearing.
It’s only the second Coen Brothers film the podcast has covered (after No Country for Old Men), and for the Scotsman, Fargo sits right at the top of their catalogue.
The Aussie, watching it for the first time, is pleasantly surprised and thoroughly entertained.
Trouble brews when the Scotsman suggests the Aussie bears an uncomfortable resemblance to William H. Macy’s sleazy car salesman — a comparison that does not go down well.
That accusation opens the door to an unbelievable Repo Man story from the Aussie’s younger years: a two-year pursuit of a car and its owner that ends in a full-blown standoff. The Scotsman is horrified by how much joy this still brings him.
Rohan Reminisces takes the show back to 1987, with Wall Street, Fatal Attraction and The Untouchables dominating the year, alongside The Joshua Tree, Rick Astley, peak MTV and a shared childhood love of Dallas.
Trivia Time promptly derails things further, dragging Cagney & Lacey, Columbo and a badly mangled Murder, She Wrote reference into the mix.
Another chaotic serving from the Aussie and the Scotsman.
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This week the Aussie and the Scotsman review the 1982 American science-fiction classic E.T. the Extra-Terrestrial, produced and directed by Steven Spielberg and written by Melissa Mathison.
The film follows Elliott, a young boy who befriends a stranded alien and, with the help of his family and friends, tries to get E.T. home. The cast includes Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton and a very young Drew Barrymore.
The podcast opens with tension. The Scotsman senses something’s off and pushes the Aussie until he finally admits he’s been quietly salty over the blood-pressure saga — despite it not being the Scotsman’s fault.
This somehow escalates into “do you want me to kiss you or something?” and a public demand for 10,000 likes if the lads are to kiss on air.
The conversation then veers into road rage, with the Scotsman sharing a couple of stories that don’t exactly flatter him. There’s some undignified behaviour, strong language, and a clear warning: the C-word makes several appearances.
As for the film, cards are firmly on the table.
The Scotsman gives E.T. a full 5/5, declaring it essential viewing for "every human alive". The Aussie, watching through the eyes of a 51-year-old grumpy, cynical adult, is far less impressed.
The argument rages until Rohan Reminisces, where the chat jumps to Sexy Beast, a Ben Kingsley impression, the Commodore 64, the arrival of CDs, Pac-Man dominance, and a fairly underwhelming delivery of the segment itself.
The episode closes with both hosts attempting their best “E.T. phone home” impressions — with mixed results.
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This week we are reviewing Michael, the 2026 biographical drama directed by Antoine Fuqua — the man behind Training Day and The Equalizer — starring Jaafar Jackson, the 27-year-old nephew of Michael Jackson as Michael himself, alongside a powerhouse Colman Domingo as Joe Jackson.
The film begins in Gary, Indiana in 1966 and follows Michael from his childhood as the lead singer of the Jackson 5 through the Motown years, the Off the Wall and Thriller era, the Pepsi commercial accident, and up to the Bad World Tour in London in 1988. The allegations, the trials, and his death in 2009 are not depicted. An epilogue card reads: his story continues. Both hosts went to see this together during the week. 
The Scotsman went in not wanting to support the Jackson estate because of the allegations. He came out calling it the greatest film he has seen in a long time.
The Aussie was dancing in his seat.  But this episode does something most reviews of this film have not.
They give the allegations a dedicated, serious section — both sides of the argument, the Jordan Chandler case, the 2005 criminal trial, the Leaving Neverland accusations, what was found and what was not found, the settlement, and the Robson and Safechuck civil case due in November 2026. The Scotsman presents it without taking a side. The Aussie declares his hand.  The debate underneath all of this is genuinely compelling. Would Michael Jackson have made it without Joe Jackson?
The Scotsman says yes — absolutely, inevitably, on his own terms. The Aussie says the father was seventy percent of it. They argue about this for a while.  Jaafar Jackson gets enormous credit from both hosts. The voice, the movement, the sweetness, the vulnerability — trained for years in his uncle's specific choreographic style. Colman Domingo as Joe Jackson — terrifying, cold, never given a redemption arc — is described as the best supporting performance in any biopic of the last decade. The scene where Michael fires his father by fax. Joe Jackson walking into the room holding the paper. Michael unable to look at him. "He always wins," Michael says. The Scotsman says it was one of the most uncomfortable scenes he has sat through. There is also a disagreement about Paul McCartney's singing voice — the Scotsman gives him four out of ten — and a moment where the Aussie confidently calls George Harrison the drummer of The Beatles. He is not. . Rohan Reminisces goes back to 1982 — the year Thriller dropped — and for once, it actually delivers. Gandhi, Ben Kingsley, Meryl Streep in Sophie's Choice, Rocky 3, Rambo, Blade Runner, ET, and the Falklands War. The first test tube baby also makes an appearance in a way that briefly derails the entire segment. Ratings: 4.7 from the Aussie, 4.5 from the Scotsman. Go and see this at the cinema. Do not wait for streaming. The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. Hit subscribe or follow — it genuinely helps the show keep growing.
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