It's our annual Oscars episode, with our resident Oscars Scholar, Denise Rodriguez*! Despite the fabulous "Sinners" getting a record 16 noms, we found some egregious snubs to discuss: Eva Victor, Naomi Ackie, and "Sorry, Baby"; Jesse Plemons for "Bugonia", Jennifer Lawrence and "Die My Love", to name a few.

We get hot and heavy about the new casting category (only one man nominated here), "Sinners" and the other films/performances nominated that we loved. Plus, the perpetual injustice of the Diane Warren nomination, and why it's time for a Best Performance By a Non-Binary Actor category.

*Denise has recently launched an exciting new service: Menopause Doula! She explains that menopause starts much earlier than you might think. And traditional medicine is not cutting the mustard on diagnosis and treatment. Check out her website for more information and also connect with her and other middle-aged uterus owners on instagram and facebook.

On the season 10 finale of Paid in Puke Podcast, we're devouring Halina Reijn's (Bodies, Bodies, Bodies) 2024 erotic drama, Babygirl, starring Harris Dickinson, Sophie Wilde, Antonio Banderas, and the Goddess of Movies herself, Nicole Kidman. This film is a marvel of performance, sex positivity, nuanced dialog, and stunning cinematography. Topics include how sub/dom relationships are portrayed, Nicole's flawless acting, and the gentle masculinity of Harris Dickinson.

On the Lunchtime Poll, we reveal what someone could have in their pocket that would placate us immediately.

Paid in Puke Podcast will return in March, 2026, with our annual Oscars episode!

On season 10, episode 9 of Paid in Puke, we're falling for John Dahl's 1993 neo-noir The Last Seduction, starring Linda Fiorentino, Peter Berg, and Bill Pullman. Fiorentino commands the screen as a femme fatale who is as brilliant and sexy as she is cold, and calculating. She steals the whole pot from a joint drug deal devised with her husband (Pullman), and hides out in small town in upstate NY. There, she passes the time with a naive townie (Berg), who eventually proves himself to be useful in ways other than sex. Dahl directed this film as a black comedy, but the script is also extremely smart and tight, making it a standout of the 90's neo-noir genre.

We have a lot of fun dissecting Bridget's schemes, appreciating her fashion and quick wit, marveling at the range of Bill Pullman, the ahead-of its time race and homophobia commentary (including a non-problematic trans character played by an actual trans woman!) and the surprising connections to Barb and Star Go To Vista Del Mar.

On the Lunchtime Poll, we reveal the aliases we would adopt if we were ever to go on the lam.