Imagine a breakfast wrap. You know the one, because there really is only one.

Sausage, egg, cheese, bacon and a potato rusty all wrapped together.

Yep, there it is.

I think my work here is done.

Serve them until 11am.

It's very difficult to keep the line between the past and the breakfast. served until 11 a.m.

It's very difficult to keep the line between the past and the present.

You believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome back to the next picture show, a movie of the week podcast devoted to a classic film and the way it's shaped our thoughts on a recent release.

I'm Tasha Robinson, here again with... Keith Phipps, Scott Tobias.

And...

Genevibovic.

Coming back in front of the mic from her usual producer position.

This week, we're talking about Joel and

Ethan Cohen's movies Bart and Fink and Hail Caesar, two films released 25 years apart, but both

about the hapless wrecks of humanity working for the fictional capital pitchers at the height

of the studio system. They're very different movies. Barton Fink is about a struggling screenwriter,

played by John Torturo, alone in a ratty hotel trying to bang out the script to a Wallace-Berry wrestling pitcher he has no connection to. Hail Caesar is inspired by real-life studio fixer Eddie Manix, who handled scandals for MGM, and it stars Josh Brolin as a character named Eddie Manix, who's trying to manage capital pitchers' constant crises and stable of unruly stars while pondering over an

opportunity to walk away and take a lucrative job at Lockheed aviation. But both films are

fundamentally about the trouble of making art, whether that trouble comes from external sources

or internal ones, and both of them are right-what-you-know stories about the industry the

...