Calamity Jane (1953) Review | Doris Day's Most Underrated Performance | MNWD Ep. 33

On Golden Pond (1981) Review | Henry Fonda's Final Masterpiece | MNWD Ep. 40

On Golden Pond gave Henry Fonda the only Oscar of his career — and he died just five months later. Katharine Hepburn won her fourth. Jane Fonda produced it as a way back to her own father. It's a quiet film about aging, distance, and the things fathers and children never quite manage to say to each other. This week Mark and Riley dig into all of it — but with a twist you won't get anywhere else: Mark directed On Golden Pond, so he's breaking this one down from the director's chair, not the actor's.

The Odd Couple (1968) Review | A Comedy That Still Holds Up | MNWD Ep. 39

The Odd Couple (1968) pairs Jack Lemmon's neurotic, freshly divorced Felix against Walter Matthau's slovenly, exasperated Oscar, and the chemistry between them is the entire engine of the film. Neil Simon wrote the script, and more than fifty years later the comedic timing still lands. This week continues our Summer from the Stage series, and Mark played Murray the cop, one of the regulars at Oscar's poker table, in a theatrical production of the show. Riley and Mark get into what makes Lemmon and Matthau's pairing feel so effortless, whether Felix or Oscar is genuinely the harder roommate, and what changes in the conversation when you've actually performed inside this world. New episodes every Sunday at 5PM CT. Find us on YouTube, Spotify, Apple Podcasts, and everywhere you listen.

Brighton Beach Memoirs (1986) Review | Reviewed by Someone Who Played Jack | MNWD Ep. 38

Brighton Beach Memoirs (1986) adapts Neil Simon's own semi-autobiographical play about a cramped, struggling Brooklyn household during the Great Depression. Jonathan Silverman plays Eugene, the teenage narrator caught between adolescence and his family's hardships, and Bob Dishy plays Jack Jerome, the father quietly exhausted from trying to hold everything together. This week's episode continues our Summer from the Stage series, and Mark played Jack in a theatrical production of the show, bringing firsthand experience inside the role to the conversation. Riley and Mark get into what Neil Simon's voice does differently on screen versus on stage, how Bob Dishy keeps Jack sympathetic even while barely holding it together, and what it means to watch someone else perform a role you've lived inside yourself. New episodes every Sunday at 5PM CT. Find us on YouTube, Spotify, Apple Podcasts, and everywhere you listen.

The Rainmaker (1956) Review | Reviewed by Someone Who Actually Played Starbuck | MNWD Ep. 37

The Rainmaker (1956) stars Burt Lancaster as Starbuck, a charming, larger-than-life con man who rides into a drought-stricken town promising rain, and Katharine Hepburn as Lizzie, the rancher's daughter who slowly, reluctantly lets herself believe in something for the first time. This week is the second episode in our Summer from the Stage series, and Mark played Starbuck in a theatrical production of the show. Reviewing a film when you've lived inside its central character is a completely different experience, and that comes through in the conversation. Riley and Mark get into what Lancaster brings to Starbuck that makes him so magnetic, how Hepburn finds the emotional truth in Lizzie without ever playing for sympathy, and what the play gets right that the film has to work harder to earn. Mark brings his personal experience inside this role alongside his theater lens. New episodes every Sunday at 5PM CT. Find us on YouTube, Spotify, Apple Podcasts, and everywhere you listen.

You Can't Take It With You (1938) Review | Reviewed by Someone Who Played Kolenkhov | MNWD Ep. 36

You Can't Take It With You (1938) won Best Picture and Best Director for Frank Capra, and this week it kicks off our Summer from the Stage series — episodes where Mark has personally performed in a theatrical production of the film being reviewed. For this one, Mark played Boris Kolenkhov, the boisterous Russian ballet instructor at the center of the story's most chaotic scenes. Riley and Mark get into what Capra understood about ensemble filmmaking, what James Stewart and Jean Arthur bring to their scenes together that feels completely unforced, and what changes when you review a film you've actually lived inside as a performer. Mark brings not just his theater lens but his personal history with this specific material. New episodes every Sunday at 5PM CT. Find us on YouTube, Spotify, Apple Podcasts, and everywhere you listen.