Stuart tells us about the Hitman video games and the associated movies. At least, we think that’s what this one is about. Honestly, it takes us a while to stay on topic.

The prophecy has been fulfilled. The Flop House got to sit down and discuss a bad movie with the godfather of “bad movie comedy” as a genre, Joel Hodgson, as well as Matt McGinnis, who works with Joel on a little show you may know as Mystery Science Theater 3000: The Return — and they would like to return AGAIN — this time beholden to no network — so please check out their just-announced Kickstarter for all-new episodes of MST3K! …but also please enjoy us trying to puzzle our way through the truly puzzling “mod superspy becomes caveman-styled new messiah” movie, The Final Programme.

We round out our discussion of Zack Snyder’s Justice League with another (find the first ZS cut episode here, and our discussion of the theatrical cut here). Now let us never speak of it again.

Look, it was probably inevitable that we’d end up discussing Zack Snyder’s Justice League, and we’ll say this — it is certainly the most Zack Snyder-y Justice League we’ve ever seen (check out of our discussion of the theatrical cut here). In fact, it’s SO Zach Snyder-y that it’s four hours long… so we’ve split our ZSJL episode in TWO! That’s double the discussion of this already over-discussed movie. YOU’RE WELCOME, WORLD!

Elliott gets us to talk about the Oscar nominations in the dumbest way possible.

I don’t know if this modern world has broken us, or what, but the clever podcast show notes just aren’t flowing right now. This movie is bad and it should feel bad. Get the fuck outta here, Tom & Jerry. From hell’s heart, we stab at thee.

Stuart leads Dan and Elliott in a quiz game, which — to the untrained eye — might seem to just be an excuse to do goofy shit and talk about television.

If we have Glen Weldon, co-host of the Pop Culture Happy Hour podcast and author of the marvelous Superman: The Unauthorized Biography on as a guest, you’d better believe we’re gonna go down one of the many fascinating cul-de-sacs in the “super” cinematic universe — in this case 1984’s “Supergirl,” or — as we prefer to think about it — The Adventures of Faye Dunaway’s Fabulous Witch and Her Companions.