If you're reeling from an explosive summer, you're in luck. There are currently two movies in theaters (and in the VOD-o-sphere as well as iTunes) that are both hilarious and treat relationships with a complexity and realism that you might be missing. The first is Sleeping With Other People, a romantic comedy where Jason Sudeikis and Alison Brie use a safe word for when they're feeling sexual tension. We'll talk with writer/director Leslye Headland about finding honesty with a high concept.

The second is People Places Things, the story of a graphic novelist/teacher (played brilliantly by Jemaine Clement) who is going through divorce, trying to be a good father and trying to contemplate defining his life now that half of it is over. We'll also speak with its writer/director, James C. Strause.

Plus, Geoff and I will answer some of your screenwriting questions, and, since I'm moving across the planet over the next two months, we'll briefly consider the role packing up everything plays in a handful of films.

The most radical thing about The Look of Silence isn't that a man sits knee-to-knee while interviewing the men who brutally murdered his brother, but that the man approaches those interviews with the goal of forgiving them.

Kevin Pollak's latest movie is a documentary that questions whether pain is necessary to create the kind of comedy that resonates. Misery Loves Comedy sees an enormous amount of professional funny people explaining their experiences, and Pollak joins us this week to discuss the myth of the tortured artist and what he learned crafting 700 hours of footage into a 90-minute movie.

Plus, Geoff and I will dissect a serious scene from a comedy -- specifically the To The Pain speech from The Princess Bride -- in order to see how one cup of dirt and three cups of sugar can create meaningful dramatic moments in a movie that makes you laugh. 

Double plus, we'll have a spoiler-free interrogation reviewification of Avengers: Age of Ultron that sends us to the corner store for ear plugs. 

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Now that we've had time to process Ex Machina, it's easy to recognize that we haven't had enough time to fully process Ex Machina. However, we're going to dive into the deep end of its concepts, philosophies and plot devices with writer/director Alex Garland. We'll also discuss the game theory of misdirecting your audience and compare the isolation of Ex Machina to Garland's other scripts.

Plus, with Geoff still on assignment, we're pleased to have author and screenwriter Jason Arnopp fill in as guest-host for a conversation about what horror and sci-fi have in common.

You should follow Jason (@jasonarnopp), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

If you're standing in the rain with a lost love, this is the perfect episode to listen to. It'll dry you right out.

This week, Geoff and I will briefly question why Nicholas Sparks keeps getting away with writing the same exact story over and over before sharing a list of some of our favorite tragedies. Somehow, the topics blend together perfectly.

Plus, we'll answer screenwriting questions about annoying characters and overbearingly bleak tones, and The Immigrant writer/director James Gray will talk about actors with surprising styles and what he got out of film school.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

This week on the show it's our honor to have modern indie pioneer Hal Hartley join us to discuss love, religion and revenge in his latest movie Ned Rifle.

Plus, we brainstorm 6 pitches for animated children's movies that Disney should remake as live-action, and Geoff's pick for what actor should play Ursula in a dark Little Mermaid wins everything.

Double plus, we answer your screenwriting questions about managing to live while attempting to sell a script in L.A., the difficulties for non-English-speaking writers, and the guidelines for killing your main character in a blaze of glory at the end. 

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

Should TV shows and movies with mysteries at their hearts reveal their answers or is it better to let the top spin? What's the right balance in making your audience wonder and making your audience gasp at the answers? Geoff and I will consider these questions with Lost, Agatha Christie and Inception in tow. Plus, Geoff offers a 4-layer dip for categorizing mysterious stories. We'll call it the Oldboy Upstream Color Spectrum until someone else comes up with a better name.

The bigger question on the show this week is whether we want the things we think we want. With new episodes of The X-Files coming soon, and so much geek culture co-opted, repackaged and dumped on our doorsteps, it's starting to seem like the disappointments outweigh the anticipation.

Our big finish is a conversation with Justin Benson and Aaron Moorhead, the filmmakers behind the romance-horror Spring, where a misguided old monster and a misguided young monster help each other while falling in love. It's as if Linklater and Cronenberg had a baby (with dragon wings and squid arms).

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

In Everly, Salma Hayek's title character is stuck inside a highrise apartment with well-armed bad guys constantly coming through the door. She'll need a lot of fire power and guts to survive the night.

Naturally, director Joe Lynch says, "the whole movie is about a mother and daughter reconnecting."

Our conversation with the filmmaker obviously covers the emotion and tonally wild action of Everly, but we also cover topics like making movies that Hollywood won't and the European techno-erotica of RoboCop. Plus, Lynch's enthusiasm should replace the three cups of coffee and that eight ball you were planning on crushing today.

Also on the program, I try to pinpoint exactly why the Oscars feel perfunctory and devoid of meaning.

We'll be speaking with a co-lead for one of the semi-finalist teams, Tim Wen, whose short film Unexpected Arrival earned one of the top spots and a chance to compete for the grand prize. He'll talk about the challenge of making something quick without a budget and how to aim the camera in a way that hides your flaws.

Plus, while Geoff is sleeping off an egg nog bender, I'll offer three ingredients for a successful boxing movie and challenge you to correct me without your fists.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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If you're waiting for a call to explain your existence, this week's show might be it. We'll talk with Terry Gilliam about religious themes in his movies, ask him to psychoanalyze Don Quixote and then find out what he'd do if he ran a billion-dollar movie studio.

Plus, Geoff and I offer the lessons we've learned going into the final week of the Six Week Spec Challenge and offer/dissect some creepy/funny two-sentence stories.

As a bonus, we'll present our favorite three two-sentence stories from the ones you sent in.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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We'll speak with short filmmaker Josh Soskin about the benefits and challenges of going the festival route, and the best way to take the next step after completing a film.

Plus, we'll have an Interrogation Reviewification of Gone Girl, and we'll cover our favorites from Fantastic Fest.

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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We wanted to discuss magic, laughter and the difficult stuff that lies in between this week because Robin Williams was so much more than a comedian. One of the very best, to be sure, but he was like a Guinness World Record holder who somehow found time for a dozen other hobbies. Which he then mastered.

So what was supposed to be a normal-length segment ballooned into a winding conversation about  a tireless artist's power to find a human connection in everything he did. We talk funny stuff, dark stuff, and Geoff explains how Williams in Mrs. Doubtfire made him understand his own dad.

Plus, we speak with To Be Takei director Jennifer M. Kroot about chronicling Sulu in his natural habitat (and a little on how to hide in plain sight with a massive camera on your shoulder).

You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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Let's say you desperately want to make a feature film, but you don't have any money to do it. Can you scrape together a few thousand? Good, because writer/director Joshua Caldwell and producer Travis Oberlander join us this week to explain how they made Layover for only $6,000.

Beyond making a movie for a few months' rent, Geoff and I will answer your screenwriting questions and continue our star-spangled conversation from last week by exploring the concepts of Freedom and Revolution as they apply (for better and worse) to filmmaking.

You should follow Caldwell (@joshua_caldwell), Travis Oberlander (@tobewan), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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In less than 300 days, writer/producer/director Brian Koppelman has delivered 300 screenwriting lessons, 6 seconds at a time. That's a half hour of Vines that act as miniature cattle prods for anyone looking to have the creative section of their brain lit up.

To celebrate the achievement, Brian joins me to explain what a beloved cookie has to do with the writing process, to describe the methods he uses to get unstuck, and to challenge a conventional way of thinking about "breaking into the business."

You should follow Brian (@briankoppelman), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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This week on the show, 13 Sins director Daniel Stamm explains why the title I chose for this article is a bad one, discusses The Hero's Journey as addiction and describes how he's using his knowledge of movie marketing (and misleading trailers) to subvert the system. They should really let German directors make more rom-coms.

Plus, Geoff and I will break down movie scenes that make us break down in order to figure out how they make us cry. Fair warning: the first ten minutes of Up will be discussed. Come prepared.

You should follow Daniel Stamm (@stammdaniel), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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Cadillac and the Producers Guild of America recently launched Make Your Mark, a short film competition that challenges producers to create compelling content with limited resources. Contestants will make a short film over a single weekend in late June, and the 30-second Cadillac spot featuring the grand prize winner’s film will air during the 2015 Academy Awards.

As such we'll be speaking with last year's winner Jason Shulz, who offers his experience and some helpful lessons for those filmmakers who want to hoist the trophy for themselves this year.

Plus, in a segment that tears up apart, Geoff and I will chat about the pure, accidental brilliance of The Room and what it's like to watch an unintentionally terrible movie while sitting next to its director.

Last, but definitely not least, we'll talk to Enlisted creator Kevin Biegel about why he's fighting so hard to promote a show that's already been cancelled. He'll also offer some keen advice about breaking into TV writing that you won't want to miss.

You should follow Kevin Biegel (@kbiegel), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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Clark Gregg recently wrote, directed and starred in an indie called Trust Me, and instead of asking one question about it before moving on to nine questions about Marvel movies, we took the opportunity to dig deep into what's clearly a very personal work. In the movie he plays a former child actor turned child actor agent (have fun, Psych majors) who discovers an amazingly gifted young actress who might join a major franchise and bring him the success he's always dreamed of. Spoiler alert: Loki never shows up.

Plus, Geoff and I answer your screenwriting questions and then discuss some bizarre real-life things that would make amazing movies.

Follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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As it turns out, it's completely possible to spend the warmest months without seeing a single superhero or explosion, and on this week's show, Geoff and I proclaim our excitement for the indie/non-blockbuster pics that might provide greatness this season. We'll also talk about our all-time favorite screenplays to read. 

Through music and misery, we ask the big questions this week. Specifically, Neil Miller and Geoff get philosophical over High Fidelity and debate whether we're truly defined by what we like (as opposed to what we're like) when it comes to relationships. Plus, Geoff describes a few ways to get into the TV show-writing business (and a few ways not to).

And on our main stage, the stellar Stephen Frears joins us to talk about Philomena and capriciousness, and to offer perhaps the single most important piece of filmmaking advice the show has ever heard.

You should follow Neil (@rejects), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

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Paul Walker's performance in Hours is a different animal. In the film, he stars as a man who loses his wife during childbirth and must watch over his ailing newborn in a hospital evacuated by the threat of Hurricane Katrina. It's high concept with a big beating heart, and we'll speak with writer/director Eric Heisserer about the challenges of crafting it, and the contextual shift left by Walker's tragic death.

Plus, Eric Vespe (aka Quint) from Aint It Cool News will try to convince Geoff to see The Hobbit: The Desolation of Smaug regardless of how the dragon's name is pronounced, and we've got a fundamental screenwriting question on tap for both Geoff and Heisserer. It's our penultimate show, so we're swinging for the fences.

You should follow Eric Vespe (@ericvespe), Eric Heisserer (@HIGHzurrer), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis.

And, as always, if you like the show (or hate it with seething fervor), please help us out with a review.