546 – Getting Paid For Obsession, Ocarina of Time in 2026, Widow’s Bay

The podcast opens with a playful debate over alien movies, pivoting to a heated discussion about labor equity in independent filmmaking after an art director’s viral Instagram post revealing she earned just $300 a day on the $750,000 indie hit *Obsession*, which grossed $165 million. The hosts dissect the moral and structural contradictions: while the crew worked grueling, multi-hat roles for pennies, the film’s success brought massive profits to producers and executives like Jason Blum—yet no one on set could have predicted the windfall. The conversation grapples with whether the art director’s public call-out is justified or counterproductive, weighing the need for systemic change against the reality that low pay is often the price of entry in the industry. They argue that while profit-sharing is unrealistic for most indie crews, the real solution lies in production companies building equity into their models from the start. The episode then shifts to a nostalgic celebration of *The Legend of Zelda: Ocarina of Time*’s upcoming Switch 2 remake, with the hosts speculating it’s less about nostalgia than about re-establishing a narrative-rich, time-traveling Zelda mythos for a new generation—especially as a foundation for a live-action movie. Finally, they praise the Apple TV+ series *Widow’s Bay*, a horror-comedy that masterfully blends the tone of *Parks and Recreation* with Stephen King’s lore, balancing absurd humor with genuine dread in a way no other show has achieved.