This week the guys dive headfirst into Planes, Trains & Automobiles — John Hughes’ chaotic travel masterpiece and the greatest Thanksgiving movie ever made.

Adam, Jeff, and Steve unload the travel trauma, male vulnerability, behind-the-scenes madness, and the emotional knockout ending that still destroys everyone who watches it.

Featuring:

• The mythical 3-hour “Hughes Cut”

• Neal Page’s rental counter meltdown

• Del Griffith: empathy king

• Holiday TV bumpers, airport announcements & 90s commercials

• Louis’ Holiday Hotline™ and Darius’ ongoing credit-card crisis

• The official ruling on whether Houseguest counts as a Thanksgiving movie

Whether you’re stuck in traffic or crying in an airport bathroom, this episode is your perfect long-ride companion.

It’s Thanksgiving season on Rewind or Die, and the crew is hitting the highway with Ed O’Neill’s most unhinged road trip ever. This week, Adam, Jeff, and Steve break down John Hughes’ forgotten holiday comedy Dutch — the Planes, Trains and Automobiles cousin who shows up late, muddy, and emotionally unstable.

They’ll dig into:

• 🧨 The dinner-roll fight that redefined “family bonding”

• 💣 Why John Hughes’ empathy era ended in a motel explosion

• 🧥 The philosophical power of Ed O’Neill’s trench coat

• 👦 The most punchable prep-school kid in cinematic history

• 📺 How this movie lived on through ‘90s cable reruns and USA Network marathons

It’s a Thanksgiving movie, a class war, and a therapy session disguised as a road trip, all rolled into one VHS tape that somehow didn’t melt in the car.

If you love Planes, Trains, Uncle Buck, or just yelling “He deserved that!” at your TV — this one’s for you.

So buckle up, grab a deck of questionable playing cards, and join us for the comedy, the chaos, and the fireworks-fueled fatherhood of Dutch.

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Because nothing says family like convincing your friends to listen to three grown men argue about John Hughes movies.

Steve Martin runs a motor pool like it’s a Vegas casino, Phil Hartman’s out for blood, Dan Aykroyd’s accidentally in charge, and somewhere in the chaos—Chris Rock’s hacking a government computer and saying “I’m in.”

This week, the Rewind or Die crew reports for duty with 1996’s Sgt. Bilko—the military comedy so 90s it somehow features a hover tank, Cathy Silvers from Happy Days, and Travis Tritt for absolutely no reason.

Adam, Jeff, and Steve dig deep into Jonathan Lynn’s farcical filmmaking, Steve Martin’s con-man charisma, and why this movie might secretly be the last great analog comedy before the era of irony took over.

It’s scams, salutes, and sitcom energy running on government time.

Highlights Include:

• The Art of the Scam: why Steve Martin makes dishonesty look wholesome

• Phil Hartman as a villain who’s technically right but cosmically doomed

• The “I’m In” hacking scene that redefined 90s computer logic

• Why Sgt. Bilko and Captain Ron might share a cinematic universe

• The rise and fall of the “Dad Comedy” franchise dream

• A bonus debate: Was Major Thorn actually the hero?

And if you’ve ever wondered what happens when charisma outranks competence, grab your VHS copy and fall in—because this episode proves that sometimes the greatest military strategy is just talking your way out of everything.

Michael Myers is back… on basic cable. The Rewind or Die crew dives headfirst into Halloween 4: The Return of Michael Myers — the slasher sequel that refuses to die, still plays on TV every October, and somehow feels like the coziest apocalypse ever filmed.

Adam, Jeff, and Steve break down the mask that looks like a haunted department store mannequin, Donald Pleasence’s all-caps performance art, and how this modest little sequel accidentally invented the modern “legacy reboot.” It’s horror comfort food — crispy, foggy, and slightly pink around the mask.

Topics include:

• Michael Myers: OSHA’s worst nightmare.

• The great Pink Mask disaster of 1988.

• Loomis: small-town prophet, large-caliber problem.

• The mob that couldn’t shoot straight.

• Why Halloween 4 is the VHS equivalent of pumpkin pie.

Evil never dies — it just gets a sponsorship from AMC.

The Rewind or Die crew dives into Halloween III: Season of the Witch (1982) — the Halloween movie without Michael Myers but with killer commercials, cursed masks, Tom Atkins, and enough shamrock-shake chaos to melt your TV. And somehow, it’s the one that makes the most sense in 2025.

This week, Adam, Jeff, and Steve break down John Carpenter’s weirdest sequel — a corporate horror fever dream of apocalyptic TV mind control, ancient druids, and pure ‘80s madness. Along the way: the rise of Tom Atkins as a hard-drinking hero, a detour through Uncle O’Grimacey’s lost Shamrock Shake commercial, and the eternal question — can you really steal Stonehenge?

It’s the ultimate cult-horror redemption episode: chaotic, nostalgic, and mint-flavored.

Turn it off? Not a chance.

Michael Myers never punched out — he just moved to the night shift.

In this deliriously fun deep dive, the Rewind or Die crew clocks in for Halloween II (1981) — the rare sequel that doesn’t even let its characters rest. Adam, Jeff, and Steve break down Carpenter’s Budweiser-fueled script, Loomis’ screaming marathon, Jamie Lee Curtis’ nap-heavy performance, and the empty hospital with the world’s worst staffing plan.

They get into why this movie accidentally invented the “immediate sequel,” how Carpenter went from suburban slasher to world-builder, and how this one film quietly shaped every horror franchise that followed. It’s smart, chaotic, and packed with the kind of delirious VHS-era energy that made you fall in love with horror in the first place.

Because evil didn’t die that night — it just worked overtime.

John Carpenter made Halloween for three hundred thousand dollars and accidentally rewired the entire horror genre. In this kickoff to the Rewind or Die Halloween mega-block, Adam, Jeff, and Steve dive into the indie nightmare that turned small-town suburbia into the scariest place on Earth.

They break down how Carpenter’s minimalist direction, Debra Hill’s grounded writing, and Jamie Lee Curtis’ debut created the blueprint for every slasher that followed. From the haunting simplicity of that five-note score to the camera that stalks like a ghost, the guys trace how Halloween weaponized silence, shadows, and hedges to invent modern fear itself.

Expect chaos, laughter, and way too much discussion about hedges, VHS cover art, and whether Michael Myers technically has a job title. It’s the movie that cost less than a house and made terror timeless.

Featuring:

– The true story of how Halloween’s low-budget ingenuity changed Hollywood forever

– Carpenter’s “less is more” horror math

– Donald Pleasence’s “EVIL!” acting masterclass

– Jamie Lee Curtis becoming the final girl prototype

– And the eternal question: would Haddonfield have survived if they’d just installed streetlights?

Rewind or Die: the podcast that digs deep, laughs harder, and remembers when movies were scarier because you had to rewind them.

John Carpenter’s They Live isn’t just a movie — it’s a prophecy wrapped in a suplex.

Adam, Jeff, and Steve throw on the sunglasses to see the truth: the 1980s were ruled by aliens, Reaganomics, and bad cable reception.

This episode’s got it all:

• Rowdy Roddy Piper’s finest hour (and finest mullet)

• The six-minute alley fight that changed history

• Bubblegum flights, hat tier lists, and why Mr. Belvedere got hurt sitting down

• Carpenter’s rage, capitalism’s collapse, and Steve ranking sunglasses like it’s March Madness

Put the glasses on, hit play, and prepare for the chaos.

REWIND OR DIE: THEY LIVE — chew bubblegum, kick ass, and subscribe before the aliens do.