Send us a text We get into the big, squishy middle of Bioware's big, squishy DRAGON AGE sequel.

Send us a text In which we've talked about all the other Python projects, so why not?

Send us a text Do not judge James Remar! Few have been tested as he has!

Send us a text In which we look at the first proper Gilliam joint.

Send us a text We aren't just whacking off! We do take this seriously!

Send us a text It's not the messiah, it's a very naughty podcast

Send us a text In which we dig into the latest Jesse Plemons joint.

Send us a text After a decade, Bioware returns to Thedas, to frequently confounding effect.

Send us a text We talk about JABBERWOCKY, Terry Gilliam's first solo directing project and a movie that definitely exists.

Send us a text We talk about what it means to be a Carpenter Movie, and why his most imitated film is not the one that best represents his style.

Send us a text We return to Delco to ponder whether We Are Back, as far as Sunday Night appointment viewing on HBO is concerned

Send us a text Tim Meadow for President, d*** it.

Send us a text No one expects Dan Shea to return to Frame Work! One of his chief weapons is surprise, surprise and fear, surprise and fear and an almost fanatical devotion to examining the filmography of Terry Gilliam...

Send us a text Things get messy when Noah Hawley adapts ALIEN while getting more excited about PETER PAN, and accidentally getting sidetracked into WESTWORLD.

Send us a text We talk about people biting James Cameron's style...which basically means a Michael Bay episode. With enough BATTLESHIP to shake a stick at. You know, for kids!

Send us a text We continue looking at the people and projects that have offered our auteurs the most sincere flattery. What makes a movie "Nolanesque"? Does he have an heir apparanent, and why did that not become Duncan Jones? Let's find out!

Send us a text We finally reach the (fairly abrupt) end of INQUISITION, and the extensive DLC expansions.

Send us a text We continue to examine the influence and imitations of our anointed directors' signature styles. In Fincher's case, this mainly takes the form of reviewing the attempts of his various collaborators to recreate the magic without him.

Send us a text In which we offer very tepid defenses of Ethan Coen's tepid new lesbian detective yarn

Send us a text Chris Prentice drops in to talk about the cottage industry of Tarantino knock-offs that arose in the 1990s (and beyond). Why do they have long, tortured titles full of numbers and locations? Why do they all end on the same boat? These questions and more will be answered in digressive, non-linear fashion on this week's Frame Work.