
Overinvested
Podcast de Overinvested Podcast
Overinvested is a weekly podcast from pop culture obsessives Gavia Baker-Whitelaw and Morgan Leigh Davies. Each episode, Gavia and Morgan dive into a film, TV show, or comic they just can't stop thinking about.
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328 episodios
Steffan and Gavia discuss Wes Anderson's The Phoenician Scheme, a dark comedy starring Benicio del Toro as a corrupt businessman who reconnects with his estranged daughter (Mia Threapleton) while embarking on an ambitious construction project. Among other topics, this episode covers Wes Anderson's trademark aesthetic, his relationship with absurdism, his casting choices, and this film's stylized historical setting.

Vampire fans Claire and Gavia discuss 2025's biggest horror movie, Sinners. Directed by Ryan Coogler, this historical drama explores the roots of blues music in 1930s Mississippi, starring Michael B. Jordan as a pair of identical twins who open a juke joint in their home town. Among other topics, this episode covers the film's meticulously researched historical storytelling, its imaginative use of music, and its unique vampire mythos.

Steffan and Gavia dig into the history and artistry of The Wicker Man (1973), starring Edward Woodward and Christopher Lee. Among other topics, this episode explores the film's influence on the folk horror genre, its relationship with the neo-Pagan movement, and its underrated nature as a musical.

Claire and Gavia review William Friedkin's 1980 crime thriller Cruising, starring Al Pacino as a New York cop who goes undercover in local gay bars, searching for a serial killer who targets men in the leather community. Controversial at the time, this film has since become a cult classic, praised for its remarkable exploration of masculine identity and violence.

Steffan and Gavia review Mickey 17, the new sci-fi comedy from filmmaker Bong Joon Ho (Parasite). Robert Pattinson stars as a man who signs up for a years-long space voyage, agreeing to a grueling contract where his body can be killed and resurrected again and again. Echoing Bong’s work on films like Snowpiercer and Okja, this provides the basis for a bleak yet absurd anti-capitalist satire.
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