Brad finally watches David Fincher’s Se7en for the first time, leading to a debate over whether its legendary serial-killer story is a masterpiece of moral pessimism or simply an exceptionally well-made crime procedural. Then Bob and Brad review Bardstown Bourbon Company Discovery Series 2026, a mature, oak-forward 112-proof blend that comes tantalizingly close to the show’s "no-brainer recommendation" line.

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Brad watches Richard Linklater’s Before Sunrise for the first time, and both hosts fall hard for its honest portrait of young love, memory, longing, and two people talking their way toward something profound over one night in Vienna.

Then they finish their Clyde May’s lineup with Alabama Style Whiskey, a pour that lands lower in quality than the brand’s bourbon and rye.

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Bob and Brad finally watch Martin McDonagh’s In Bruges and fall hard for its mix of pitch-black comedy, tragedy, moral philosophy, and extraordinary performances from Colin Farrell, Brendan Gleeson, and Ralph Fiennes. Then they review Clyde May’s Straight Rye Whiskey, a bright, fruit-forward 94-proof rye that continues the brand’s surprisingly strong showing.

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Bob and Brad kick off a new three-film run with Arthur Penn’s Bonnie and Clyde, debating whether its groundbreaking violence, editing, and New Hollywood influence still make it a great movie or merely an important one. Then they finally try Clyde May’s Straight Bourbon Whiskey, a surprisingly flavorful 92-proof pour that ends up impressing both hosts far more than expected.

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Bob recaps the Kentucky Bourbon Festival before he and Brad explain Vulture’s Movies Fantasy League, including how to join the Film & Whiskey mini-league and why fantasy movies may be easier—and more addictive—than fantasy football. Then they preview the biggest releases still coming in 2026, from Dune: Part Three, Godzilla Minus Zero, and Avengers: Doomsday to awards contenders, strange festival movies, and whatever exactly Tom Cruise is doing in Digger.

JOIN THE MOVIES FANTASY LEAGUE HERE: vulture.com/filmandwhiskey

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Bob and Brad finally watch Ridley Scott’s Thelma & Louise for the first time and come away stunned by Geena Davis and Susan Sarandon, a brilliant screenplay, and one of the best films they’ve discovered in years. Then they review Bardstown Bourbon Company Victoria Pineapple Finish, an unusually sweet, rum-and-pineapple-influenced whiskey that sparks a debate over whether Bob is allowed to keep calling it a liqueur.

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Bob and Brad hit the road with 1977’s Smokey and the Bandit, celebrating Burt Reynolds, Sally Field, Jackie Gleason, Jerry Reed, and 95 minutes of gloriously uncomplicated car-chase chaos. Then they review Stillman Sonder 10-Year American Single Malt and discover that an impressive age statement doesn’t always make for an impressive whiskey.

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Buster Keaton directed and starred in The General (1926), a Civil War train chase turning 100 this year. Bob came in expecting a polite "important silent film" rewatch and left raving about the audacity of it.

The pour is Stillman's Sonder 10 Year Bourbon from Dancing Goat Distillery, MGP-distilled and finished in North American and Andean oak.

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Bob and Brad celebrate 500 episodes of Film & Whiskey by looking back at seven years of movies, arguments, favorite discoveries, listener memories, infamous hot takes, and the community that somehow grew around their weekly conversations. They also mark the occasion with Bardstown Bourbon Company Lochs of Jura, a complex bourbon-and-rye blend finished for 32 months in casks previously used for Scotch from the Isle of Jura.

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Bob and Brad tackle the show's first double feature, watching James Whale's Frankenstein (1931) and Bride of Frankenstein (1935) back-to-back alongside Sagamore Spirit Bottled in Bond Rye, and end up split on nearly everything.

On the original, Bob calls it a landmark rather than a great film and praising mainly its craft, while on the sequel Brad sees a campy cash grab that lampoons the first film.

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Bob and Brad revisit Peter Jackson’s King Kong (2005), over two decades after fourteen-year-old Bob called it “about as damn perfect of a movie as you can get.” They agree that the film’s final two hours remain extraordinary, but sharply divide over whether its first hour provides essential character development or desperately needs trimming.

Along the way, they examine King Kong as distinctly American folklore, how Peter Jackson shifted audience sympathy from the Depression-era expedition to Kong himself, and why “beauty killed the beast” is really about a creature whose capacity for wonder leaves him defenseless against exploitation.

They also review SHĀNG East + West Kentucky Blend, a softer and more affordable sorghum-whiskey follow-up to Dàn Yǎ.

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