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    TV & Film

    Stay Through the Credits

    We’re Dan and Julia, and we cannot watch a movie without arguing about it.

    Stay Through the Credits is what happens when two people with very different taste share one couch (or one mic). One of us cries at everything. One of us says “it’s fine, it’s just a movie” and then thinks about it for three days. Guess which is which.

    Every week we talk about the films and shows we can’t stop thinking about: the masterpieces, the guilty pleasures, the endings that ruined our night, and the hidden gems we’ll bully you into watching.

    No film-school gatekeeping. No pretending we liked the boring one.

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    Latest Episodes:
    Cannes Day Four: Does He Deserve Forgiveness? May 15, 2026
    Show notes

    ilm fourteen of the festival and Reed Van Dyk's Atonement is the most morally serious American film we've seen at Cannes. A Marine. An Iraqi mother. A knock on the door ten years later. We talk about what the film gets right, where it stumbles, and why Hiam Abbass is giving one of the performances of the festival. Day four dispatch from the Croisette.


    Cannes Day Four: Something Light, Something True May 15, 2026
    Show notes

    We open day four with Words of Love, Rudi Rosenberg's Un Certain Regard family drama about a girl chasing a father who won't answer the door. It's warm, it's funny, it's not trying to win the Un Certain Regard prize, and after three days of Cannes we needed it more than we expected. First dispatch from day four on the Croisette.


    Cannes Day Three: The One That Lost the Thread May 14, 2026
    Show notes

    Film Twelfth of the festival and Farhadi's Parallel Tales is our biggest disappointment so far. Not a disaster, just a misfire, which from a filmmaker of his caliber hurts just as much. We talk voyeurism, Kieslowski, wasted greatness, and one genuinely interesting idea about sound that arrives too late. Day three dispatch from the Croisette.


    Cannes Day Three: Bring Someone You Love May 14, 2026
    Show notes

    Film eleven of the festival and Tangles wrecked us. Leah Nelson's animated debut about a daughter watching her mother disappear to Alzheimer's is funny and drawn in monochrome and completely devastating. Julia Louis-Dreyfus gives one of the best voice performances we've heard in years. We talk about grief, animation, and why we walked out still holding hands.


    Cannes Day Three: This Is What We Came For May 14, 2026
    Show notes

    Film ten of the festival and Pawel Pawlikowski's Fatherland is the one. Thomas Mann, his daughter Erika, a road trip through a country trying to forget what it did, and Sandra Hüller doing things on screen we still cannot fully explain. Our highest score of Cannes so far. Day three dispatch from the Croisette.


    Cannes Day Three: What the Ice Hides May 14, 2026
    Show notes

    Film two of day three and Manuela Martelli's The Meltdown gives us one of the festival's most haunting central images: a country that tried to ship its trauma to a world expo and watch it dissolve. We talk about post-Pinochet Chile, a missing girl in the snow, and why a perfect metaphor sometimes needs a sharper thriller around it. Day three dispatch from the Croisette.


    Cannes Day Three: The Weight of the Morning May 14, 2026
    Show notes

    We open day three with Forsaken, Vincent Garenq's docudrama about the murder of French schoolteacher Samuel Paty. The subject is essential, Antoine Reinartz is extraordinary, and yet the film keeps reaching for thriller when it should be reaching for truth. We talk about what this story needed and what it got. First dispatch from day three on the Croisette.


    Cannes Day Two: Give In May 13, 2026
    Show notes

    We close out our second day at Cannes with Jane Schoenbrun's wildest, warmest film yet. Teenage Sex and Death at Camp Miasma is about slashers, orgasms, Gillian Anderson in a fedora, and the radical act of letting yourself feel good. We talk about why this might be the most joyful film at the festival so far. Day two wrap from the Croisette.


    Cannes Day Two: The Woman Who Carries Everything May 13, 2026
    Show notes

    Film six of our second day and A Woman's Life gives us the festival's best performance so far in Léa Drucker, wrapped inside a film that starts vast and slowly shrinks. We talk about obsession, facial reconstruction, and why the second half can't quite keep up with the first. More from the Croisette still to come.


    Cannes Day Two: The One That Got Away May 13, 2026
    Show notes

    Film five of our second day at Cannes, and Ashes is the one that frustrates most. Diego Luna's immigrant drama strips itself so bare it forgets to have a pulse. We talk about what the film owed its source material, what it owed Anna Díaz, and why restraint without depth is just emptiness. More dispatches from the Croisette still to come.


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