Matt feels on top of the world—he’s the head of a film studio and dating a doctor named Sarah. He becomes even more intrigued by her when she shows enthusiasm for one of the movies he produced, which happens to be playing on TV. Being the cinephile he is, Matt gives her a full breakdown of his role in the production and how he brings films to life as a studio head.

Sarah, invested in Matt, asks him to accompany her to a charity gala as a step toward deepening their relationship. Matt agrees, despite knowing she assumes he doesn’t take himself seriously—a notion confirmed when he finds himself unprepared for a room full of self-serious professionals.

Back at The Continental, Matt and his team meet in the boardroom to discuss marketing strategies for an outrageous Johnny Knoxville film featuring zombies that infect people through diarrhea titled, Duhpocalypse. While everyone loves the trailer, theater owners in the heartland refuse to screen it due to the crude joke. Matt insists the joke stays as the trailer’s hook and vows to negotiate with theater owners, all while preparing to attend the gala. With a hard 10 p.m. deadline looming, he promises to stay on call to review and approve final trailer cuts remotely.

At the gala, Matt and Sarah engage in starkly contrasting work conversations—hers about potential cancer trial breakthroughs, his about exploding diarrhea in a trailer. As they take in the evening, Matt’s cinephile instincts are sparked when he realizes the venue was once home to many classic film productions. Yet as he finds himself surrounded by doctors, the difference in social class and occupational values becomes increasingly evident.

As Matt begins mingling with Sarah’s colleagues, his ego is challenged. They suggest that streaming is superior and imply that his line of work isn’t nearly as meaningful as theirs in cancer research. Pushed into a corner, Matt passionately defends the value of art, arguing that cinema is just as essential to the human experience as medicine. But the teasing and dismissal of his work continue, leaving him increasingly uncomfortable.

Meanwhile, the marketing team sends over trailer cuts throughout the evening. Matt finally approves a version he loves, right before returning to the group. At their table, Sarah’s colleagues engage in a charity auction, bidding on a golf lesson package and agreeing to cap their bid at $100,000. When a rival table matches it, Steve, a colleague of Sarah’s, raises the bid to $110,110. Just as they appear to win, Matt unexpectedly outbids them with a $200,000 donation—going against his own table.

This angers everyone. Matt attempts to justify his move as a generous donation, adding that oncologists need artists too. Sarah is deeply upset and demands that he give the golf trip to Steve and her colleagues. Matt ultimately approaches them, apologizes for outbidding, and offers the trip for free. In return, he asks that they recognize his work as equally important. They refuse, and Sarah continues to belittle his profession, insisting movies don’t compare to medicine. Their argument ends in the realization that neither truly respects the other’s profession, leading to a breakup.

Before the night concludes, the trailer for Duhpocalypse is officially approved by theaters. However, Matt collapses at the gala and is stretchered off to the hospital with a broken pinky.

This episode was another hilarious entry in the series, showcasing the tension between artistic and medical professions. Seth Rogen shines as a cinephile navigating a world that looks down on what he does. The episode smartly pits art and medicine against each other, highlighting how each is perceived by those within their respective fields. It’s a clever commentary on social class and professional validation, wrapped in a sharp, comedic package. The show continues to deliver top-tier content for cinephiles while offering a thoughtful nod to those in the medical field.

Rating: 8/10