The Playlist Podcast Network

Robin Hood has been a lot of things over the centuries: noble thief, romantic outlaw, swashbuckling folk hero, animated fox, Kevin Costner with an accent that wanders wherever it pleases. But in Michael Sarnoski’s hands, the myth becomes something darker, sadder, and more spiritually eviscerated. His new film, “The Death of Robin Hood,” is less interested in the legend as a heroic brand than in the man who might be trapped beneath its curse.
Written and directed by Sarnoski, “The Death of Robin Hood” stars Hugh Jackman as an aging, haunted Robin Hood, a man grappling with a life of violence after a battle leaves him gravely injured. In the care of a mysterious Prioress played by Jodie Comer, he’s offered something that might look like salvation, if he can survive long enough to accept it. The film also stars Bill Skarsgård, Murray Bartlett, and Noah Jupe, and arrives in theaters June 19 via A24.
READ MORE: ‘Obsession’: Curry Barker On His Twisted Wish-Fulfillment Horror Breakout, Inde Navarrette’s Wild Performance, ‘Texas Chainsaw Massacre,’ & More [The Discourse Podcast]
Sarnoski joined The Playlist’s The Discourse podcast to talk about stripping away centuries of heroic varnish, finding the emotional soul of Robin Hood, reuniting with cinematographer Pat Scola, and writing the upcoming “Death Stranding” movie. And early in the conversation, he acknowledged a thread that has become increasingly clear across his work, from “Pig” to “A Quiet Place: Day One” to “The Death of Robin Hood”: these are stories about people who, in some way, already feel dead before the movie begins.

Just when you think Spider-Man has lost all novelty, “Spider-Noir” finds its spark by going backward into smoke, shadow, bruised conscience, silly accents, and old Hollywood fatalism. It’s still a comic-book story, complete with masks, villains, superpowers, and a hero trying to decide whether he can outrun the thing he was built to become, but its real trick is tonal. The series treats noir not as a costume rack, but as an emotional statement.
On this episode of Bingeworthy, host Mike DeAngelo is joined by writer, producer, and showrunner Oren Uziel to talk about Season 1 of “Spider-Noir,” the live-action Marvel/Sony series starring Nicolas Cage as Ben Reilly (No, not Peter Parker), a washed-up private investigator in 1930s New York forced to confront his past as the masked vigilante known as The Spider. The series, which is now streaming on Prime Video after its MGM+ debut, also stars Lamorne Morris, Li Jun Li, Karen Rodriguez, Brendan Gleeson, Jack Huston, and more.

Following up on a cultural phenomenon like “Yellowstone” is no easy task. Any spin-off has to balance honoring what made the original series a hit while finding its own fresh ground. With “Dutton Ranch,” especially after the letdown of “Marshals,” that challenge falls on Beth Dutton and Rip Wheeler, who leave Montana behind for Texas in hopes of building something new, only to discover that new beginnings come with familiar dangers. Maybe they’re magnets for this kind of thing.
“Dutton Ranch,” the new “Yellowstone” spin-off that follows Beth Dutton and Rip Wheeler as they gamble everything on a new life in Texas. Kelly Reilly and Cole Hauser return as the fan-favorite couple, with Finn Little back as Carter. This time, the Dutton orbit expands to include Annette Bening as Beulah Jackson, a formidable Texas rancher whose power, control, and family legacy put her directly in Beth’s path. The series also stars Ed Harris, Jai Courtney, J.R. Villarreal, Marc Menchaca, Juan Pablo Raba, Natalie Alyn Lind, and more.
READ MORE: ‘Dutton Ranch’ Review: Beth and Rip’s Texas Reset Is Mostly A ‘Yellowstone’ Rehash With Fewer Culture-War Detours
On this episode of Bingeworthy, host Mike DeAngelo speaks with Reilly, Bening, and Hauser about carrying the “Yellowstone” legacy into a new chapter. The conversations cover Beth and Rip’s move from Montana to Texas, Beulah’s dangerous grip on power, the show’s darker Episode 4 turn, and how the creative team approached evolving characters that fans already know inside and out.

Some shows walk into the room with a genre label pinned neatly to their shirt. They wear it like a badge of honor and adhere to all rules therein. “Maximum Pleasure Guaranteed” kicks the door open, knocks over the lamp, checks its phone (Where's my phone?!), spirals emotionally, and somehow still has time to become a murder mystery. It's part divorce drama, part paranoid thriller, part loneliness comedy, and part “please stop making that decision, Paula” anxiety machine. Better yet, it knows exactly how messy that cocktail should taste, and, boy, does it taste good.
The new Apple TV+ series stars Tatiana Maslany as Paula, a lonely single mother caught in the meat grinder of divorce, custody fights, work stress, and modern connection. When she reaches out through her computer for something that looks like intimacy, or maybe just proof that she still exists outside everyone else’s demands, she tumbles into a voyeuristic thriller that writer David Rosen described as a “modern day Rear Window.” The series also stars Jake Johnson as Carl, Paula’s ex-husband and co-parent, a man who often looks like the reasonable adult in the room until reason starts feeling a little too much like the wrong kind of control.
On this episode of Bingeworthy, host Mike DeAngelo speaks with Maslany, Johnson, Rosen, and director David Gordon Green about building the show’s live-wire tone, turning a broken relationship into a suspense engine, and finding humor inside a life that already feels like it has 19 browser tabs open.

Be careful what you wish for, sure. But maybe be even more careful what you confuse for love, because Curry Barker’s “Obsession” takes one of horror’s oldest tricks and turns it into something queasy, funny, tragic, and deeply uncomfortable. It is the kind of movie that starts with a premise simple enough to fit on a cursed greeting card, then keeps tightening the rope until everyone in the room starts laughing from sheer discomfort. 
Written, directed, and edited by Barker, “Obsession” follows Bear (Michael Johnston), a music store employee, as his crush on his childhood friend and co-worker, Nikki (Inde Navarrette), leads him to buy a strange object called the One Wish Willow. He wishes for Nikki to love him more than anyone else in the world. The wish works, which is exactly the problem. The film also stars Cooper Tomlinson, Megan Lawless, and Andy Richter, and opens in theaters on May 15 from Focus Features.
Barker joined The Discourse to discuss the new horror film, which arrives after his micro-budget YouTube breakout “Milk & Serial” and his acclaimed short “The Chair.” The conversation covered the film’s uncomfortable festival reactions, the dark emotional machinery behind unearned love, Navarrette’s knockout performance, the possibility of more One Wish Willow stories, and his upcoming work on “Texas Chainsaw Massacre” and “Anything But Ghosts.”