Nathan and Ryan head into pure ’60s pop chaos with Harum Scarum (1965), one of Elvis Presley’s most baffling and colorful musical misfires. Cast as a reluctant action hero in a fictional Middle Eastern kingdom, Elvis sings, fights assassins, and stumbles through a plot that feels like a spy movie filtered through a Vegas revue. The hosts break down the film’s camp appeal, questionable stereotypes, and why Harum Scarum often lands on “worst Elvis movie” lists—while still being weirdly fascinating as a time capsule of mid-’60s excess.

Nathan and Ryan saddle up for Blind Justice (1994), a TV movie that boldly transplants the spirit of Zatoichi into a post–Civil War Western. Starring Armand Assante as a blind gunslinger escorting an orphaned boy across dangerous territory, the film blends samurai honor, frontier justice, and made-for-TV grit. The hosts discuss the movie’s odd-but-compelling cultural mashup, Assante’s intense performance, and why this forgotten Western deserves a second look from fans of genre hybrids and ’90s TV movies.

Nathan and Ryan lock in to Wedlock (1991), a gritty sci-fi action thriller where prison reform means strapping explosive collars to inmates and pairing them off in deadly “marriages.” Starring Rutger Hauer, Mimi Rogers, and Joan Chen, the film blends cyberpunk aesthetics, high-concept dystopian ideas, and early-’90s action cheese. The hosts break down the movie’s wild premise, its surprisingly prescient tech paranoia, and whether Wedlock works better as science fiction or as a pulpy B-movie thriller. It’s love, loyalty, and head-popping consequences—Drive-In style.